Les Inrocks - “Exode” : quand les réfugiés filment ...
Critique de la série Netflix Dear White People.
America’s swollen prison population is a great place to find captive labour. Ava DuVernay’s documentary brings this spectre of slavery out of the closet.
(How to write about Lil’ Kim now that she has been deemed obsolete by the course of time, and, more importantly, now that she has radically betrayed herself by altering her appearance?
How to “visualize” this dysmorphia, this inability to see herself (which would be the dramatic parts of the biopic) without falling into psychological simplicity, without letting her pathologies overdetermine her story and without losing sight of her capacity for reinvention throughout her career. As much as I feel like I know her, that I can do her justice, there is an aspect of her that remains and will remain mysterious.
Despite the show’s popularity and the recognition of Raven-Symoné’s comedic gift, it’s surprising that That’s So Raven and its star have not garnered much critical attention from feminists and/or slapstick comedy enthusiasts. A lot has been written about the Disney sitcom, but its success has almost always been measured in terms of numbers: the 100th episode milestone, the record number of viewers, the money made from the merchandising. Is it Raven-Symoné’s race, her gender, her age, the channel on which the show was broadcast—and thus its intended audience, tween girls—that can explain this inattention? It’s most likely some combination of all of the above. But also, because of the transgressive nature of their craft, physical comediennes have been notoriously erased from the canon of slapstick, both dissuaded from entering the space of comedy and excised from its history, and a young comedienne like Raven-Symoné was even more vulnerable to such erasure. Put another way: who takes t(w)een girls seriously?
Comment Daech instrumentalise la pop culture pour recruter et terroriser le monde.
Thu Thu Shein On Myanmar's Budding Industry, Value ...
New French Film On the Challenges Facing Today's Ge...
In the tradition of Ken Loach and the Yugoslav Black Cinema from the 60s, Ikić is taking a social realist approach to his examination of Europe’s changing urban landscape.