Read more
Anticolonialism, Ontology, and Semiotics places anticolonial theory, semiotic analysis, and contemporary Hollywood film into conversation.
Synthesizing Algirdas Greimas' semiotic square with the theories of anticolonial philosophers like Frantz Fanon, Eldridge Cleaver, and Sylvia Wynter, Anderson reconstructs an anticolonial social ontology for use as a method of film analysis. Using this ontology to interpret a wide range of films, the book defies the assumptions and challenges the conclusions of postcolonial and intersectional approaches. Reaching beyond the application of anticolonial theory for the purpose of film criticism, the book uses theory to interpret film while using film to illustrate and interpret theory. Along the way, readers are challenged to reconsider class, race, gender, sexuality, violence, and liberation not only in the cinematic world but also in the worlds we all inhabit.
This concise yet broad-reaching work will interest scholars and students of film studies, film philosophy, anticolonialism and postcolonialism, race and gender studies.
List of contents
List of Figures
Preface
Acknowledgments
1 On Anticolonial Theory and Semiotics
2 Colonial Semiotics in
The Amazing Spider-Man 2 3 Epistemology, Ontology, and White Womanhood in
Gone Girl and
The Hateful Eight4 On Convalescence and Going Native in
Hairspray and
Captain Marvel5 On Anticolonial Revolution in
Get Out and
Django UnchainedPostscript
Index
About the author
Patrick D. Anderson is an Associate Professor of Philosophy in the Department of Humanities at Central State University. His research focuses on the anticolonial tradition of Africana political theory, with an emphasis on archival research and anticolonial theories of social ontology.
