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Kerstin Knoph (International) assertion Kerstin Knoph i(6666610 works by)
Gender: Female
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Works By

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1 Belinda Wheeler, Ed. : A Companion to Australian Aboriginal Literature Kerstin Knoph , 2016 single work essay
— Appears in: Zeitschrift Für Australienstudien , no. 30 2016; (p. 126-132)

'This book is a valuable asset to every library focusing on Indigenous Studies in general and Australian Aboriginal Studies in particular. It offers a comprehensive overview of Australian Aboriginal literature from its beginnings in print up to the present with a focus on a variety of topics and genres, including life writing, songpoetry, (young) adult fiction, gothic texts, drama, film and popular music. The book itself is aesthetically very enjoyable, with a beautiful painting on the cover mixing different Aboriginal artistic styles (it would have been nice to get information on the artist and title), a superb (copy)editing, a pleasant font, and general handling. The editor provides a very helpful twelve page-chronology of Australian Aboriginal history and a ten-page index.' (Introduction)

1 Jindabyne and the Apology : Intercultural Relations, Violence, Ethics, and the Precarious State PDF 61-88 of Reconciliation in Australian Cinema Kerstin Knoph , 2016 single work criticism
— Appears in: Zeitschrift Für Australienstudien , no. 30 2016; (p. 61-88)

'The Australian film Jindabyne (dir. Ray Lawrence, 2006) opens with a blurry shot of dry grasslands and a string of barbed wire in sharp focus horizontally across the screen (Fig. 1). The shot runs for 32 seconds before the camera tilts up, bringing into focus both the grassland and a cluster of huge boulders on a hill in the background – all in one take, no cut. Next the camera shows a pick-up truck, motor idling, with an older non-Aboriginal man behind the wheel hiding behind the rocks – the murderer of an Aboriginal woman, as we will learn later – followed by an extreme high angle long shot of the dry landscape below the hill where a car is approaching. Shots inside the car present a young Aboriginal woman, happily driving, while intercutting shows the man leaving his hide-out to intercept her.' (Introduction)

1 Kangaroos, Petrol, Joints and Sacred Rocks : Australian Cinema Decolonized Kerstin Knoph , 2013 single work criticism
— Appears in: Studies in Australasian Cinema , October vol. 7 no. 2-3 2013; (p. 189-200)
'This article takes issue with the colonial imaginary of Indigenous people in Australia that is deconstructed by contemporary Indigenous films. It briefly discusses the concept of ‘decolonizing the lens of power’ and ‘returning/reversing the colonial gaze’. Through a close analysis of the two films Stone Bros. and Samson & Delilah, both made in the spirit and context of Kevin Rudd’s national apology to the Indigenous people of Australia, it will present Indigenous decolonizing work in cinema. It concentrates on their presentation of modern Indigenous life and cultural traditions, political and historical criticism, play with stereotypes, film-making aesthetics and employment of mainstream genres.' (Author's abstract)
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