Special issue: The (de)colonial pedagogical possibilities of film and film festivals (part 2) /library/oar/handle/123456789/57696 2025-12-28T20:53:16Z 2025-12-28T20:53:16Z /library/oar/handle/123456789/57839 2020-06-21T05:16:23Z 2020-06-01T00:00:00Z

Title: Postcolonial Directions in Education : volume 9 : issue 1 Editors: Hickling Hudson, Anne; Mayo, Peter; Raykov, Milosh; Medel, Sonia; Mazawi, Andre Elias Abstract: Table of contents: 1/ MEDEL, S., & MAZAWI, A. E. - Special issue : the (de)colonial pedagogical possibilities of film and film festivals (part 2) -- 2/ ATOUI, F. - Return, recollect, imagine : decolonizing images, reclaiming Palestine -- 3/ GLICK, S., & DEAN, A. - Learning to be “good enough” : Hollywood’s role in standardizing knowledge and the myth of meritocracy -- 4/ BASSAN, N. - Festivals of films, decolonial spaces, and public pedagogy : some preliminary reflections -- 5/ COLIN, C. - Cámara de Combate. Latin American film festival(s) as reflection-action -- 6/ CRAMMOND, S. - imagineNATIVE. On Screen Protocols & Pathways: A Media Production Guide to Working with First Nations, Metis and Inuit Communities, Cultures, Concepts & Stories [book review] -- 7/ SANTOS, A. - Women made visible: Feminist art and media in post-1968 Mexico City [book review].

2020-06-01T00:00:00Z /library/oar/handle/123456789/57838 2020-06-21T05:16:33Z 2020-06-01T00:00:00Z

Title: Special issue : the (de)colonial pedagogical possibilities of film and film festivals (part 2) [editorial] Abstract: This two-part Special Issue focuses on the role films and film festivals play in representing the relationships between diversity, modernity, and coloniality, from perspectives of diverse people involved in filmmaking and film festival engagement. The aim is to centre the perspectives of racialized, Indigenous, women and marginalized minoritized peoples within the film and education fields. Part 1, published in Postcolonial Directions in Education, Volume 8, Issue 2 (2019), unpacked the ontological and epistemic problematics that underpin audiovisual artistic forms as historically and politically situated narratives. Contributors engaged the challenges associated with pushing back on hegemonic modes of visual representation prevalent in film and cinematic encounters. Simultaneously, contributors delved into the decolonizing poetics of visual sovereignty and how these could be leveraged to effect social and political learning and transformation. Dr. Dorothy Christian captured this double-struggle by referencing the work of Māori filmmaker Barry Barclay. She pointed out that Barclay’s notion of “talking in/talking out” is central to a decolonizing “Indigenous gaze” that shifts and flips the camera’s lens around, offering new horizons on knowledge and being (conversation of Dr. Christian, with Medel & Mazawi, 2019, p. 165). [excerpt from the introduction]

2020-06-01T00:00:00Z Atoui, Farah /library/oar/handle/123456789/57837 2020-06-21T05:16:34Z 2020-06-01T00:00:00Z

Title: Return, recollect, imagine : decolonizing images, reclaiming Palestine Authors: Atoui, Farah Abstract: This article engages with Recollection, a film by Palestinian filmmaker Kamal Aljafari, and And yet my mask is powerful (Part 1), a video by Palestinian artists Basel Abbas and Ruanne Abou-Rahme, as visual articulations of Palestinian resistance against Israeli practices of settler-colonial erasure. The paper explores how these works both activate, and are activated by, the Palestinian decolonial struggle. These works visually materialize a radical politics of decolonization that problematizes and subverts colonial practices and narratives. Engaging with (material, visual, discursive) sites of colonial violence and destruction as generative sites, these works recover and recenter Palestinian existence. They expose the colonial project’s failure to fully erase and representationally evacuate traces of Palestinian presence. From the artists’ decolonial creative processes and practices, new countervisual languages emerge that imagine/image an alternative reality, unbound from colonial time, space and narrative.

2020-06-01T00:00:00Z Glick, Stephanie Dean, Allyson /library/oar/handle/123456789/57836 2020-06-21T05:16:40Z 2020-06-01T00:00:00Z

Title: Learning to be “good enough” : Hollywood's role in standardizing knowledge and the myth of meritocracy Authors: Glick, Stephanie; Dean, Allyson Abstract: Written for teacher educators and pre-service teachers, we analyze education-themed Hollywood blockbusters Stand and Deliver (Musca, 1988) and Dangerous Minds (Bruckheimer & Simpson, 1995) that were released alongside neo-liberal, classist, racist U.S. education policies of the 1980s and 1990s. We posit that these films boosted mainstream acceptance of the standardized testing industry and thus, the myth of meritocracy. In addition to featuring harmful narratives about racially, culturally, and economically marginalized students, the pictures promote high-stakes testing rather than interrogating the industry’s reliance on marginalized students to “fail” tests so that centered or privileged students have a standard for measuring “success.” We argue that the films continue to influence dominant national attitudes because the film narratives are often passed down intergenerationally from teacher to pre-service teacher. Countering these messages, we analyze a third feature length film, Whale Rider (Barnett, Hübner, & Sanders, 2002), for its dedication to positive (not utopian) depictions of Māori epistemologies. Created outside of Hollywood’s financial grip, this picture illustrates how film has the power to expand thinking on the value of Other ways of knowing. Simultaneously, we problematize the picture for its absence of address of colonial oppression.

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