In recent decades, scholars in a variety of humanities fields have thoroughly interrogated the ways in which established critical practices and theoretical frameworks have reproduced paradigms of coloniality. Yet cinema studies lags in this initiative. This article examines how presentist tendencies in particular have contributed to the ongoing Eurocentrism of academic work on film, by focusing on the acute challenges of film preservation and access, and the persistent sway of French theory.
|Original language||English (US)|
|Number of pages||17|
|State||Published - May 2015|
All Science Journal Classification (ASJC) codes
- Visual Arts and Performing Arts