Challenging established views and assumptions about traditions and practices of filmmaking in the African diaspora, this three-volume set offers readers a researched critique on black film. Volume One of this landmark series on African cinema draws together foundational scholarship on its history and evolution. Beginning with the ideological project of colonial film to legitimize the economic exploitation and cultural hegemony of the African continent during imperial rule to its counter-historical formation and theorization. It comprises essays by film scholars and filmmakers alike, among them…mehr
Challenging established views and assumptions about traditions and practices of filmmaking in the African diaspora, this three-volume set offers readers a researched critique on black film. Volume One of this landmark series on African cinema draws together foundational scholarship on its history and evolution. Beginning with the ideological project of colonial film to legitimize the economic exploitation and cultural hegemony of the African continent during imperial rule to its counter-historical formation and theorization. It comprises essays by film scholars and filmmakers alike, among them Roy Armes, Med Hondo, Fÿrid Boughedir, Haile Gerima, Oliver Barlet, Teshome Gabriel, and David Murphy, including three distinct dossiers: a timeline of key dates in the history of African cinema; a comprehensive chronicle and account of the contributions by African women in cinema; and a homage and overview of Ousmane Sembÿne, the "Father" of African cinema.
Michael T. Martin is Professor of Cinema and Media Studies at the Media School at Indiana University, Bloomington. He is editor or coeditor of several anthologies, including (with David C. Wall) The Politics and Poetics of Black Film: Nothing But a Man and Race and the Revolutionary Impulse in The Spook Who Sat by the Door. Martin directed and coproduced the award-winning feature documentary on Nicaragua, In the Absence of Peace , distributed by Third World Newsreel. Gaston Jean-Marie Kaboré is a film director, producer, and screenwriter and the former director of the Centre National du Cinéma in Burkina Faso.
Inhaltsangabe
Dedication Acknowledgments African Cinema and the Diasporic: Introductory Considerations, by Michael T. Martin and Gaston Jean-Marie Kaboré Part I: Colonial Formations Colonial Cinema, by Roy Armes The Colonialist Regime of Representation, 1945-1960, by James E. Genova Politics of Cultural Conversion in Colonialist African Cinema, by Femi Okiremuete Shaka The African Bioscope: Movie-House Culture in British Colonial Africa, by James Burns From the Inside: The Colonial Film Unit and the Beginning of the End, by Tom Rice The Independence Generation: Film Culture and the Anti-Colonial Struggle in the 1950s, by Odile Goerg Part II: Constituting African Cinema What Is Cinema for Us?, by Med Hondo A Cinema Fighting for Its Liberation, by Férid Boughedir Where Are the African Women Filmmakers?, by Haile Gerima The FEPACI and Its Artistic Legacies, by Sada Niang New Avenues for FEPACI: Interview with Seipati Bulane-Hopa, by Monique Mbeka Phoba The Six Decades of African Film, by Olivier Barlet Africa, The Last Cinema, by Clyde R. Taylor The Pan-African Cinema Movement: Achievements, Misadventures, and Failures (1969-2020), by Férid Boughedir Part III: Theorizing African Cinema African Cinema(s): Definitions, Identity, and Theoretical Considerations, by Alexie Tcheuyap Theorizing African Cinema: Contemporary African Cinematic Discourse and Its Discontents, by Esiaba Irobi The Theoretical Construction of African Cinema, by Stephen A. Zacks Toward a Critical Theory of Third World Films, by Teshome H. Gabriel Africans Filming Africa: Questioning Theories of an Authentic African Cinema, by David Murphy Tradition/Modernity and the Discourse of African Cinema, by Jude Akudinobi Toward a Theory of Orality in African Cinema, by Keyan G. Tomaselli, Arnold Shepperson, and Maureen N. Eke Film and the Problem of Languages in Africa, by Paulin Soumanou Vieyra In Defense of African Film Studies, by Boukary Sawadogo Part IV: Articulations of African Cinema Dossier 1: Key Dates in the History of African Cinema, by Olivier Barlet and Claude Forest Dossier 2: Ousmane Sembène, by Sada Niang and Samba Gadjigo Dossier 3: African Women in Cinema, by Beti Ellerson
Dedication Acknowledgments African Cinema and the Diasporic: Introductory Considerations, by Michael T. Martin and Gaston Jean-Marie Kaboré Part I: Colonial Formations Colonial Cinema, by Roy Armes The Colonialist Regime of Representation, 1945-1960, by James E. Genova Politics of Cultural Conversion in Colonialist African Cinema, by Femi Okiremuete Shaka The African Bioscope: Movie-House Culture in British Colonial Africa, by James Burns From the Inside: The Colonial Film Unit and the Beginning of the End, by Tom Rice The Independence Generation: Film Culture and the Anti-Colonial Struggle in the 1950s, by Odile Goerg Part II: Constituting African Cinema What Is Cinema for Us?, by Med Hondo A Cinema Fighting for Its Liberation, by Férid Boughedir Where Are the African Women Filmmakers?, by Haile Gerima The FEPACI and Its Artistic Legacies, by Sada Niang New Avenues for FEPACI: Interview with Seipati Bulane-Hopa, by Monique Mbeka Phoba The Six Decades of African Film, by Olivier Barlet Africa, The Last Cinema, by Clyde R. Taylor The Pan-African Cinema Movement: Achievements, Misadventures, and Failures (1969-2020), by Férid Boughedir Part III: Theorizing African Cinema African Cinema(s): Definitions, Identity, and Theoretical Considerations, by Alexie Tcheuyap Theorizing African Cinema: Contemporary African Cinematic Discourse and Its Discontents, by Esiaba Irobi The Theoretical Construction of African Cinema, by Stephen A. Zacks Toward a Critical Theory of Third World Films, by Teshome H. Gabriel Africans Filming Africa: Questioning Theories of an Authentic African Cinema, by David Murphy Tradition/Modernity and the Discourse of African Cinema, by Jude Akudinobi Toward a Theory of Orality in African Cinema, by Keyan G. Tomaselli, Arnold Shepperson, and Maureen N. Eke Film and the Problem of Languages in Africa, by Paulin Soumanou Vieyra In Defense of African Film Studies, by Boukary Sawadogo Part IV: Articulations of African Cinema Dossier 1: Key Dates in the History of African Cinema, by Olivier Barlet and Claude Forest Dossier 2: Ousmane Sembène, by Sada Niang and Samba Gadjigo Dossier 3: African Women in Cinema, by Beti Ellerson
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