دانلود کتاب Popular Ethiopian Cinema: Love and Other Genres

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Cover\nHalftitle page\nSeries page\nTitle page\nCopyright page\nDedication\nContents\nFigures\nAcknowledgements\nNote\nIntroduction: Courtship and the curiosity of cinema in Addis Ababa, Ethiopia\n ፍ ቅር – Fiker (love) and Amharic film\n Amharic film genres, melodrama and fiker\n Ethiopia, identity and Amharic film\n Structure of the book\nPart One The history\n 1 Film exhibition in Ethiopia – A long history\n Menelik, modernity and movies\n Foreigners and early film exhibition\n Cinéma-parlant chez Gleyze\n Cinema Empire opens, 1934\n Waugh between Mon Ciné and the Cinema Empire\n The Hellenic-French connection\n Italian occupation\n Reclaiming and renaming cinemas\n Genre imports\n Hollywood allure and corruption\n Socialism on big and small screens\n Bollywood and a new love\n The decline of cinemas and the rise of video houses\n New cinemas for a new era\n 2 A history of film production in Ethiopia\n ሂ ሩት አባቷ ማነው ? – Hirut, abatwa mannew? 1964\n Television, training and foreign film productions\n ጉ ማ – Gouma (Gumma), 1974 and Michel Papatakis\n The Derg and state-funded film production\n The Ethiopian film corporation\n The video revolution and the regime change\n Commercial Amharic cinema begins – 2002 to 2007\n The golden years – 2007 to 2011\n Reaching a plateau and diversifying\n Amharic festival films\nPart Two The films\n 3 The የፍቅር ፊልም – yefiker film (love film)\n Frontrunners\n Commercial viability and the melodramatic mode\n Love and money in ቀዝቃዛ ወላፈን – Kezkaza Welafen (2002)\n ጉ ዲፈቻ – Gudifecha (2002) a family affair\n Philosophizing fiker in እቴጌ ፪ – Etege 2 (2010/11)\n ረ ቡኒ – R ebuni (2014) and romantic reservations\n Love and sacrifice\n Pathos, sentimentality and suffering\n 4 The rise of the አስቂኝ የፍቅር ፊልም – assikiñ yefiker film (humorous love film)\n Whether to laugh or cry\n የወንዶች ጉዳይ – Yewendoch Gudday a man’s world\n Characters and community\n Gendered conflicts\n Convergent aesthetics of fiker in commercial Amharic cinema\n 5 Violence and order in the ልብ አንጠልጣይ ፊልም – lib anteltay film (suspense film)\n The film noir/thriller aesthetics of Ethiopian suspense\n ሔ ርሜላ – Hermela (2005) a threat in the shadows\n Non-linear narratives and ስርየት – Siryet (2007)\n Didactic dénouements\n Crime, kick-ass women and genre hybridity\n Infiltrating Amharic film genres\n The rural aesthetic\n Beyond ‘village films’\n 6 The absence of romance and the የቤተሰብ ፊልም – yebeteseb film (family film)\n Fiker of family\n ኮሞሮስ – Comoros (2008) expressing national tragedy\n Public/private displays of the family as nation\n The innocence of youth and the child actor\n A comedic turn\n Family before romance\n The affective acrobatics of Amharic film genres\nPart Three The industry\n 7 Promoting Amharic film genres\n Theatrical release\n The distribution dilemma\n A film promoter’s prerogative?\n Paratextual indicators of genre\n 8 Producing Amharic film genres\n Divergent genre discourses\n Genre in the production pipe-line\n The case of Tewodros ‘Teddy’ Teshome\n Film premieres and genre prestige\n 9 Perceiving Amharic film genres\n Consuming the global\n Who are Ethiopia’s cinemagoers and why the cinema?\n Structuring free time and an education of fiker\n Conclusion: Of fiker and film\nNotes\nReferences\nFilmography\nIndex