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Powers of (Body) Horror
French film director and screenwriter Julia Ducournau's sophomore body horror film, Titane (2021), like its predecessors of the same genre, examines the malleability and fragility of human corporeality. The film can be categorized under the New French Extremity, a genre coined by art critic James Quandt, who disapprovingly expressed his concerns with the rampant depictions of blood and violence in film; however, this article contends that Ducournau's film offer much more than mere shock factor and spectacle of taboo objects. Featuring a protagonist who is a manifestation of Donna Haraway's radical cyborg, Titane can be situated alongside recent debates in posthuman concerns, but more importantly, in its intersection and close connection to feminist and queer discourse. Although many have utilized Julia Kristeva's abject/-ion to examine the horror film genre through a feminist lens, this article seeks to expand on such existing literature by pointing to its emancipatory powers and its potential for a more inclusive, posthuman queer mode of being and kinship beyond the symbolic order.
Journal Article
\It Is a Quest to Question, to Probe, to Rediscover Qualities Using Cinema as a Tool\: In Conversation with Wanjiru Kinyanjui
Wanjiru Kinyanjui, author, screenwriter, and filmmaker, teaches film production at Kenyatta University. She studied German and English literature before training in filmmaking at the Deutsche Film und Fernsehakademie (DFFB) beginning in the late 1980s. A trailblazer among the cohort of women studying in Germany during the 1990s, her student film Black in the Western World (dir. Wanjiru Kinyanjui, 1992, Germany) as well as A Lover and Killer of Colour (dir. Wanjiru Kinyanjui, 1988, Germany) were seminal works about the postcolonial, diasporic African experience from a woman's perspective. Wanjiru Kinyanjui's filmography includes:... If Joined by a Stranger /... wenn ein Fremder dazu kommt... (1987, Germany), The Reunion (1988, Canada), A Lover and Killer of Colour, The Bird with the Broken Wing (1991, TV episode), Clara Has Two Countries (1992, TV episode), Berlin African Time (1991), Black in the Western World (1992), Vitico, A Living Legend (1993, Germany), The Battle of the Sacred Tree (1995, France, Germany, and Kenya), Koi and Her Rights / Koi na Haki Zake (1997, TV episode), Daudi's Gift / Zawadi ya Daudi (1997, Tanzania), Die Rechte der Kinder-Anruf aus Afrika (1997-1998, TV Series), African Children (1999), And This Is Progress (2000), Say No to Poverty (2001, Kenya), Member of the Jury (2001) Bahati (2007), Manga in America (2007), and (Africa Is A Woman's Name) Amai Rose: A Portrait of a Zimbabwean Woman (2009, Spain). Here she traces her beginnings, as a child fascinated with storytelling, to the period as a film student in Germany, and her varied experiences around race, language, culture, and filmmaking while living there.
Journal Article
Irena's Vow
This is a film review of Irena's Vow (2023), directed by Louise Archambault.
Journal Article
