In light of this, I argue that Rouch's story needs to be retold, as one that is not altogether unique, or even specifically French, but rather, as part of a narrative about Franco-African (post)colonial history.
Unpacking this history helps to resituate Rouch's film work as part of a larger discussion about the complexities of the (post)colonial encounter, and about the role that visual artifacts can play in helping contemporary thinkers work through those complexities.
When play becomes rule-bound game, these activities become dialogic and narrative encounters of the self with the social.
And when games become institutionalized and ritualized as sports, theories of the social order and the natural order come fully into contact.
The analysis herein focuses on the structure, and to a lesser extent the infrastructure, of one of our most omnipresent yet overlooked media.
Typographical shapes have been neglected by works in media studies that address "print media" and the threat of "digital media," and also by design fields that study the semiotic, socio-historical, or classificatory sides of typography.
Many former students have now spoken out about the physical, emotional and sexual abuse that took place at the schools.
The IRS system is now recognized as one of the major factors in the attempted destruction of Aboriginal cultures, languages and communities in Canada.
In both practice and study, we ignore the visual thing before us, and instead look through typography at its linguistic, social, and symbolic functions.
Both critiquing and bracketing these traditional function-focused studies of typography, this dissertation uses Flusser's concept of the techno-image and the model of the diagram, to propose a shape-based analysis of this medium.