Raoul Peck

span>This comprehensive collection of essays dedicated to the work of filmmaker Raoul Peck is the first of its kind. The essays, interview, and keynote addresses collected in Raoul Peck: Power, Politics, and the Cinematic Imaginationfocus on the ways in which power and politics traverse the work of Peck and are central to his cinematic vision. At the heart of this project is the wish to gather diverse interpretations of Raoul Peck's films in a single volume. The essays included herein are written by scholars from different disciplines and are placed alongside Peck's own articulations around the nature of power and politics.span style="font-style:italic;">Raoul Peck: Power, Politics, and the Cinematic Imaginationprovides an introduction to Peck's better-known films, interpretations of his rarely seen and recently released early films, and original analyses of his more recent films. It endeavors to explore the ways in which the dual themes of power and politics inform the work of Peck by taking a multidisciplinary approach to contextualizing his filmography. It culls contributions from scholars who write from a wide range of disciplines including history, film studies, literary studies, postcolonial studies, French and Francophone studies and African studies. The result is a volume that offers divergent perspectives and frames of expertise by which to understand Peck's oeuvre that continues to expand and deepen.

Raoul Peck: Power, Politics and the Cinematic Imagination includes a collection of essays by leading scholars and an interview and two keynotes addresses by the Haitian filmmaker Raoul Peck. The volume focuses on the ways in which power and politics have shaped his oppositional gaze and inform his films and his method as a director.

IntroductionSophie Saint-Just and Toni Pressley-SanonHistory is Too Important to Leave to Hollywood: Colonialism, Genocide and Memory in the Films of Raoul PeckAlyssa Goldstein SepinwallDisrupting Conventional Film Structure: Letters, Voice-Over, and Traumatic Irruption in Raoul Peck's FilmsJoëlle Vitiello"My Story is Not a Nice Story": Sometimes in April (2005) and the Rwandan Genocide FilmJane M. BryceFraming the Dispersal in Diaspora: Raoul Peck, Transnational FilmmakerSophie Saint-JustOn the Edge of Silence: l'(in)-imaginable and Gendered Representations of the Rwandan Genocide from Photography to Raoul Peck's Sometimes in AprilMyriam J. A. ChancyHaitian National Identity and Gender in Raoul Peck's Moloch Tropical Tama Hamilton-WrayInterrogating Images: Lumumba: Death of a Prophet as Reflexive AutoBiographical DocumentaryRachel GabaraPostcolonialism and the Poetics of Pragmatism: Raoul Peck's Fatal Assistance and Alain Resnais's Hiroshima mon amour Alessandra Benedicty-Kokken "Haiti mon amour"John P. WalshLòt Bo and Anba Dlo: The Dialectics of Raoul Peck's Désounen: Dialogue with DeathToni Pressley-SanonPolitics, Masculinity, and Apocalyptic Memory in L'homme sur les quaisMartin MunroLessons from the Cinema of Raoul PeckOlivier BarletTranslated by Sophie Saint-JustStolen Images or Footnotes: Keynote Address to the 2013 Haitian Studies Association ConferenceRaoul PeckTranslated by Sophie Saint-Just"Beyond Help?": Address by Raoul Peck, Conference on "Beyond Aid: From Charity to Solidarity", Frankfurt, Germany - February 20, 2014Raoul PeckTranslated by Alyssa Goldstein SepinwallAbout the Contributors