Toni Pressley-Sanon – författare

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 Imagination focus 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.Raoul Peck: Power, Politics, and the Cinematic Imagination provides 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.

The figure of the zombie that entered the popular imagination with the publication of William Seabrook's The Magic Island (1929)--during the American occupation of Haiti--still holds cultural currency around the world.This book calls for a rethinking of zombies in a sociopolitical context through the examination of several films, including White Zombie (1932), The Love Wanga (1935), I Walked with a Zombie (1943) and The Serpent and the Rainbow (1988). A 21st-century film from Haiti, Zombi candidat a la presidence ... ou les amours d'un zombi, is also examined.A reading of Heading South (2005), a film about the female tourist industry in the Caribbean, explores zombification as a consumptive process driven by capitalism.

Honorable Mention, Latin American Studies Association Haiti-Dominican Republic Section Isis Duarte Book Prize"Untwines the aesthetic, sociohistorical, and spiritual ties that bind and unbind the first black republic to the African continent."—Gina Athena Ulysse, author of Why Haiti Needs New Narratives: A Post-Quake Chronicle"A nonlinear, creative, powerful reflection on history and the stories we tell about ourselves. What was disconnected is now remembered using the very tools and methodologies employed by Haitians themselves."—Patrick Bellegarde-Smith, author of Haiti: The Breached Citadel"Pressley-Sanon''s important book demonstrates that Haitian Vodou is a serious enterprise with its own phenomenology and epistemologies, and that the religion’s unique pragmatic dimensions offer initiatory answers to otherwise unanswerable questions about Haiti’s past, present, and future. A must-read."—Claudine Michel, editor, Journal of Haitian Studies"Reveals an impressively rich cultural landscape inhabited by women and men whose legendary resilience in the face of adversity clothes a ferocious dedication to their identity as free people."—LeGrace Benson, author of Arts and Religions of Haiti: How the Sun Illuminates Under Cover of DarknessGathering oral stories and visual art from Haiti and two of its "motherlands" in Africa, Istwa across the Water recovers the submerged histories of the island through methods drawn from its deep spiritual and cultural traditions.Toni Pressley-Sanon employs three theoretical anchors to bring together parts of the African diaspora that are profoundly fractured because of the slave trade. The first is the Vodou concept of marasa, or twinned entities, which she uses to identify parts of Dahomey (the present-day Benin Republic) and the Kongo region as Haiti''s twinned sites of cultural production. Second, she draws on poet Kamau Brathwaite''s idea of tidalectics—the back-and-forth movement of ocean waves—as a way to look at the cultural exchange set in motion by the transatlantic movement of captives. Finally, Pressley-Sanon searches out the places where history and memory intersect in story, expressed by the Kreyòl term istwa.Challenging the tendency to read history linearly, this volume offers a bold new approach for understanding Haitian histories and imagining Haitian futures.

Gathering oral stories and visual art from both sides of the Atlantic, Istwa across the Water stitches together fragmented parts of the African diaspora. Toni Pressley-Sanon challenges the tendency to read history linearly and recovers the submerged histories of Haiti through alternative methods rooted in the island’s spiritual and cultural traditions.Using the Vodou concept of marasa, or twinned entities, this book takes parts of Dahomey (the present-day Benin Republic) and the Kongo region—from where many Haitians are descended—as Haiti’s twinned sites of cultural production. It draws on poet Kamau Brathwaite’s idea of tidalectics, the back-and-forth movement of ocean waves, as a way to look at cultural exchange. Above all, it searches out the places where history and memory intersect, expressed by the Kreyòl term istwa, offering a bold new approach for understanding Haitian histories and imagining Haitian futures.

Honorable Mention, Latin American Studies Association Haiti-Dominican Republic Section Isis Duarte Book PrizeGathering oral stories and visual art from Haiti and two of its "motherlands" in Africa, Istwa across the Water recovers the submerged histories of the island through methods drawn from its deep spiritual and cultural traditions.Toni Pressley-Sanon employs three theoretical anchors to bring together parts of the African diaspora that are profoundly fractured because of the slave trade. The first is the Vodou concept of marasa, or twinned entities, which she uses to identify parts of Dahomey (the present-day Benin Republic) and the Kongo region as Haiti's twinned sites of cultural production. Second, she draws on poet Kamau Brathwaite's idea of tidalectics—the back-and-forth movement of ocean waves—as a way to look at the cultural exchange set in motion by the transatlantic movement of captives. Finally, Pressley-Sanon searches out the places where history and memory intersect in story, expressed by the Kreyòl term istwa.Challenging the tendency to read history linearly, this volume offers a bold new approach for understanding Haitian histories and imagining Haitian futures.