Hollywood and world cinema influences: tracing intertextuality in the works of two contemporary filmmakers from Francophone Africa; Mahamat Saleh Haroun and Abderrahmane Sissako

Don’t tell me the moon is shining; show me the glint of light on broken glass Anton Chekhov Representations of Africa in cinema are almost as old as cinema itself and date back to Hollywood’s silent era. Most early examples feature the continent as a mere exotic backdrop and include The Sheik (Melford 1921), soon followed, in 1926, by George Fitzmaurice’s Son of the Sheik starring Rudolph Valentino. The next decade brought Van Dyke’s Tarzan movies, Robert Stevenson’s King Solomon’s Mines (1937), and, on the European side, Duvivier’s Pépé le Moko (1936). For representations of Francophone Africa by Africans themselves, the viewing public more or less had to wait, however, until decolonisation in the 1960s (with, for example, Sembene Ousmane’s Borom Sarret and La Noire de…, both released in 1966 and, in 1968, Mandabi). Since then Francophone African cinema has come a long way and has diversified into various strands. Between Borom Sarret and Mahamat-Saleh Haroun’s 2006 Daratt, Saison sèche - or the same director’s Un homme qui crie, almost half a century has elapsed. Over this period, films inevitably have addressed a spectrum of visual, ideological and political tropes. They range from unadorned depictions of the newly independent states and their societies to highly aestheticised productions, not to mention surreal and poetic visions as displayed for instance in Djibril Diop Mambéty’s Touki Bouki (1973). Most of the early films send an overt socio-political message which is a clear and explicit denunciation of a corrupt state of affairs (Souleymane Cissé’s Baara, 1977). They aim to trigger strong emotional and political responses from the viewer, in unambiguous support for the film-maker’s stand. Sembene himself declared: “I consider cinema a means of political action” (Murphy 2000: 221). Similarly, the Mauritanian director Med Hondo wishes to “take up this technical medium and to make it a mouthpiece on behalf of [his] fellow Africans and Arabs” (Jeffries 2002: 11). All this echoes the claims of the Fédération Panafricaine des Cinéastes (FEPACI, founded in 1969), an organisation “dedicated to the liberation of Africa”. In sharp contrast to the incipient momentum given Francophonie by Bourguiba, the Nigerien Hamani Diori and the Senegalese Senghor, who invoked a worldwide communauté organique francophone, FEPACI called for “the creation of an aesthetics of disalienation… [using] didactic... forms to denounce the alienation of countries that were politically independent but culturally and economically dependent on the West” (Diawara 1996: 40). Sembene’s Xala (1974) became the blueprint for this, to this day the best-known vein of Francophone African cinema. Thus considered, this pedigree seems a million miles from mainstream global cinema with its overriding mission to entertain. A question therefore arises: to what extent can a cinema that sprang from such beginnings be seen to interface in any meaningful way with a global film industry that, overwhelmingly and for a century, has indeed entertained the world – with Hollywood at its centre?

'It was as if she had said....': May Sinclair and reading narratives of cure

May Sinclair was one of the most widely read and successful English women novelists of the first half of the twentieth century. She had interests and themes in common with many of those now considered to have been at the heart of English modernism. In terms of formal experimentation too her concerns chime with the aesthetic innovations of, for example, pound, Eliot and Woolf. Her early interest in psychoanalysis and support for the suffrage campaign also mark her out as a modern. Despite some work from feminist literary critics and her partial categorisation as modernist, however, her work still lacks a critical framework within which it can be read. Indeed, some of the work done by feminist critics on her has paradoxically re-marginalised her. In this thesis I aim to provide one critical framework through which Sinclair's work can be read. My contention is that the occluding of one aspect of her work and thought- its movement toward intellectual, emotional and aesthetic wholeness - has marred previous critical readings of her. By paying attention to this through a focus on discourses of cure, this thesis reads Sinclair's work with an awareness of its language, cultural context and intertextual relations. Early twentieth-century medical discourse, psychoanalysis, mysticism, the chivalric and the psychical are all used to read the works. At the same time, my aim is to read Sinclair's work without eliding its difficulties. Rather, I aim to read her in a way that acknowledges the difficulties of and fraught moments in her writing as markers of its significance.

Interaction Rituals and Jumbled Emotions Among “Relative Strangers”: Simulated Patient Work on a Trainee Complementary Therapy Practitioner Program

Learning games such as role-play (which we refer to as “simulated interaction rituals”) are commonly used as social tools to develop trainee health practitioners. However, the effect of such rituals on individual and group participant emotions has not been carefully studied. Using a heuristic approach, we explore the experiences of complementary therapy practitioner trainees (and their trainers) participating in a personal development course. Ten trainees and two tutors were interviewed, observational notes taken, and a secondary qualitative analysis undertaken. Participants and tutors described a medley of disparate emotional and moral responses to group rituals, conceptualized in this article as “jumbled emotions.” Such emotions required disentangling, and both trainees and staff perceived participating in unfamiliar rituals “with relative strangers” as challenging. Front of stage effects are frequently processed “backstage,” as rituals threaten social embarrassment and confusion. Concerns around emotional triggers, authenticity, and outcomes of rituals arise at the time, yet trainees can find ways to work through these issues in time.

A Migrant Culture on Display: The French Migrant and French Gastronomy in London (19th – 21st centuries)

The large contemporary French migrant population – estimated by the French Consulate at around 300,000–400,000 in the UK, the majority living in London and the South-East – remains ‘absent’ from studies on migration, and, in a study of migrant food history in Britain, is considered not to have left traces as a migrant community. Over the centuries, the presence of various French communities in London has varied significantly as far as numbers are concerned, but what does not change is their simultaneous ‘visibility’ and ‘invisibility’ in accounts of the history of the capital: even when relatively ‘visible’ at certain historical moments, they still often remain hidden in its histories. At times the French in London are described as a ‘sober, well-behaved […] and law-abiding community’; at other times they ‘appeared as a foreign body in the city’. This article reflects on the dynamics at play between a migrant culture associated with high cultural capital (so much so that is often emulated by those who are not French) and the host culture perception of and relationship to it, in order to consider what this may ‘mean’ for the French (and Francophone) migrant experience. French gastronomy and culinary knowledge is taken as an example of material culture and of cultural capital ‘on display’ specifically in the activity of dining out, especially in French restaurants, or in those influenced by French gastronomy. The social activity of dining out is replete with displays of knowledge (linguistic, culinary), of cultural literacy, of modes of behaviour, of public identity, and of rituals strictly codified in both migrant and host cultures. Dining out is also an emotional and politically-charged activity, fraught with feelings of suspicion (what is in the food? what does the chef get up to in the kitchen?) and of anxieties and tensions concerning status, class and gender distinctions. This article considers the ways in which the migrant French citizen of London may be considered as occupying an ambiguous position at different times in history, simultaneously possessing cultural capital and needing to negotiate complex cultural encounters in the connections between identity and the symbolic status of food in food production, food purveying and food consumption.

‘Learning to be Zen’: Women travellers and the imperative to happy

This paper follows the emotional management of lone, independent women travellers as they move through tourist spaces, based on my doctoral research Embodiment and Emotion in the experiences of independent women tourists (2012). Specifically, this paper will focus on ‘gendering happiness’ by arguing that women travellers are significantly compelled to feel and display characteristics of happiness, humour and ‘learning to be Zen’ in order to be successful travellers. The imperative to become, and remain, happy and humorous in the face of embodied, emotional and gendered constraints is a key feature of women’s reflections of their travelling experiences, mirroring the recent emergence of literature into happiness and positive thinking within feminist theory (Ehrenreich 2010, Ahmed 2010). Negotiating ‘bad’ emotions provides a powerful insight into the perceptions of women travellers; to remain happy can mask problematic power relations and other forms of resistance. This is not to say that emotional negotiation is not partly a form of effective resistance, rather, I wish to make room for the freedom to be unhappy and angry in travelling space without feeling failure for not achieving a successful travelling identity.

Performance Evaluation of a Statistical and a Neural Network Model for Nonrigid Shape-Based Registration

Shape-based registration methods frequently encounters in the domains of computer vision, image processing and medical imaging. The registration problem is to find an optimal transformation/mapping between sets of rigid or nonrigid objects and to automatically solve for correspondences. In this paper we present a comparison of two different probabilistic methods, the entropy and the growing neural gas network (GNG), as general feature-based registration algorithms. Using entropy shape modelling is performed by connecting the point sets with the highest probability of curvature information, while with GNG the points sets are connected using nearest-neighbour relationships derived from competitive hebbian learning. In order to compare performances we use different levels of shape deformation starting with a simple shape 2D MRI brain ventricles and moving to more complicated shapes like hands. Results both quantitatively and qualitatively are given for both sets.

e-poltergeist

E-poltergeist takes over the user’s internet browser, automatically initiating Web searches without their permission. Web-based artwork which explores issues of user control when confronted with complex technological systems, questioning the limits of digital interactive arts as consensual reciprocal systems. e-poltergeist was a major web commission that marked an early stage of research in a larger enquiry by Craighead and Thomson into the relationship between live virtual data, global communications networks and instruction-based art, exploring how such systems can be re-contextualised within gallery environments. e-poltergeist presented the 'viewer' with a singular narrative by using live internet search-engine data that aimed to create a perpetual and virtually unstoppable cycle of search engine results, banner ads and moving windows as an interruption into the normal use of an internet browser. The work also addressed the ‘de-personalisation’ of internet use by sending a series of messages from the live search engine data that seemed to address the user directly: 'Is anyone there?'; 'Can anyone hear me?', 'Please help me!'; 'Nobody cares!' e-poltergeist makes a significant contribution to the taxonomy of new media art by dealing with the way that new media art can re-address notions of existing traditions in art such as appropriation and manipulation, instruction-based art and conceptual art. e-poltergeist was commissioned ($12,000) for 010101: Art in Technological Times, a landmark international exhibition presented by the San Francisco Museum of Modern Art, which bought together leading international practitioners working with emergent technologies, including Tatsuo Miyajima, Janet Cardiff, Brian Eno. Peer recognition of the project in the form of reviews include: Curating New Media. Gateshead: Baltic Centre for Contemporary Art. Cook, Sarah, Beryl Graham and Sarah Martin ISBN: 1093655064; The Wire; http://www.wired.com/culture/lifestyle/news/2000/12/40464 (review by Reena Jana); Leonardo (review Barbara Lee Williams and Sonya Rapoport) http://www.leonardo.info/reviews/feb2001/ex_010101_willrapop.html All the work is developed jointly and equally between Craighead and her collaborator, Jon Thomson, Slade School of Fine Art.

Identification of image attributes that are most affected with changes in displayed image size

This paper describes an investigation of changes in image appearance when images are viewed at different image sizes on a high-end LCD device. Two digital image capturing devices of different overall image quality were used for recording identical natural scenes with a variety of pictorial contents. From each capturing device, a total of sixty four captured scenes, including architecture, nature, portraits, still and moving objects and artworks under various illumination conditions and recorded noise level were selected. The test set included some images where camera shake was purposefully introduced. An achromatic version of the image set that contained only lightness information was obtained by processing the captured images in CIELAB space. Rank order experiments were carried out to determine which image attribute(s) were most affected when the displayed image size was altered. These evaluations were carried out for both chromatic and achromatic versions of the stimuli. For the achromatic stimuli, attributes such as contrast, brightness, sharpness and noisiness were rank-ordered by the observers in terms of the degree of change. The same attributes, as well as hue and colourfulness, were investigated for the chromatic versions of the stimuli. Results showed that sharpness and contrast were the two most affected attributes with changes in displayed image size. The ranking of the remaining attributes varied with image content and illumination conditions. Further, experiments were carried out to link original scene content to the attributes that changed mostly with changes in image size.

Using a whole person approach to support people with cancer: a longitudinal, mixed methods service evaluation

Introduction: Improved models of care are needed to meet all the support needs of people with cancer, which encompass psychological, emotional, physical, spiritual, sexual, occupational, social and existential needs. The aim of this paper is to (1) evaluate short and long-term impacts of using a whole person approach to support people with cancer on the Living Well with the Impact of Cancer Course (LWC); (2) use these data to inform strategic decisions about future service provision at Penny Brohn UK. Methods: Longitudinal mixed-methods service evaluation (n=135). Data collected included health related quality of life (HRQoL) (FACIT-SpEx); Concerns (types and severity - MYCaW); lifestyle behaviour (bespoke questionnaire) and participants’ experiences over 12 months post course. Results: Statistically and clinically significant improvements from baseline - 12 months in severity of MYCaW Concerns (n=64; p<0.000) and mean total HRQoL (n=66; p<0.000). The majority of MYCaW concerns were ‘psychological and emotional’ and about participants’ wellbeing. Spiritual, emotional and functional wellbeing contributed most to HRQoL improvements at 12 months. Barriers to maintaining healthy lifestyle changes included lack of support from family and friends, time constraints, and returning to work. 3-6 months post-course was identified as the time when more support was most likely to be needed. Conclusions: Using a whole person approach for the LWC enabled the needs of participants to be met, and statistically and clinically significant improvements in HRQoL and MYCaW Concerns were reported. Qualitative data analysis explored how experiencing whole person support enabled participants to make and sustain healthy lifestyle changes associated with improved survivorship. Barriers experienced to making health behaviour change were also identified. These data then informed wider and more person-centred clinical provision to increase the maintenance of positive long-term behaviour changes. Comparison of whole person approaches to cancer treatment and support and standard care are now urgently needed.

Understanding alexithymia in female adolescents: the role of attachment style

Adults with alexithymia retrospectively report emotional difficulties with caregivers during childhood. However, the association between attachment style and alexithymic traits may be evident at an earlier stage than adulthood, i.e. during adolescence. Sixty school-based healthy females aged 9–18 years (mean 14.08, SD 2.71 years) participated in an Attachment Style Interview (ASI) and completed the Toronto Alexithymia Scale (TAS-20). Greater levels of alexithymia were exhibited by both anxious and avoidant insecurely attached groups compared to securely attached participants. Fear of separation (characteristic of anxious attachment style) predicted both overall alexithymia scores and the specific alexithymic trait of ‘difficulty identifying feelings’ (DIF). Constraints on closeness (an avoidant attachment attitude) predicted ‘difficulty describing feelings’ (DDF). Low felt attachment to primary caregiver was a predictor of ‘externally oriented thinking’ (EOT). These findings indicate that features of anxious and avoidant insecure attachment styles are differentially related to the separate facets of alexithymia in female adolescents. Specifically, the findings concerning fear of separation may reflect the adolescent struggle for autonomy and the resulting effects on the affect regulation system. Our results also suggest that the normative differentiation of the emotional and cognitive aspects of alexithymia may occur on a developmental trajectory.