African cinema: manifesto and practice for cultural decolonization Volume 1 Colonial antecedents, constituents, theory, and articulations
Gespeichert in:
| Weitere Verfasser: | , |
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| Format: | Buch |
| Sprache: | English |
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Bloomington, Indiana
Indiana University Press
2023
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| Schriftenreihe: | Studies in the cinema of the Black diaspora
Studies in the cinema of the Black diaspora |
| Online-Zugang: | Inhaltsverzeichnis Klappentext |
| Beschreibung: | xiv, 608 Seiten Illustrationen |
| ISBN: | 9780253066213 9780253066206 |
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Datensatz im Suchindex
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| adam_text | Contents Acknowledgments xiii On Decoloniality: African and Diasporic Cinema 1 Michael T. Martin and Gaston J. M. Kaboré Part I: Colonial Formations Colonial Cinema 19 Roy Armes The Colonialist Regime of Representation, 1945-1960 37 James E. Genova Politics of Cultural Conversion in Colonialist African Cinema 69 Femi Okiremuette Shaka The African Bioscope: Movie-House Culture in British Colonial Africa 99 James Burns From the Inside: The Colonial Film Unit and the Beginning of the End 115 Tom Rice The Independence Generation: Film Culture and the Anti-Colonial Struggle in the 1950s 137 Odile Goerg
X Contents Part II: Constituting African Cinema What is Cinema for Us? 165 Med Hondo A Cinema Fighting for Its Liberation 169 Férid Boughedir Where Are the African Women Filmmakers? 176 Haile Gerima The FEPACI and Its Artistic Legacies 184 Sada Niang New Avenues for FEPACI: Interview with Seipati Bulane-Hopa 211 Monique Mbeka Phoba The Six Decades of African Film 215 Olivier Barlet Africa, The Last Cinema 232 Clyde Taylor The Pan-African Cinema Movement: Achievements, Misadventures, and Failures (1969-2020) 248 Férid Boughedir Part III: Theorizing African Cinema African Cinema(s): Definitions, Identity, and Theoretical Considerations 271 Alexie Tcheuyap Theorizing African Cinema: Contemporary African Cinematic Discourse and Its Discontents 292 Esiaba Irobi The Theoretical Construction of African Cinema 315 Stephen A. Zacks Towards a Critical Theory of Third World Films TESHOME 329 H. Gabriel Africans Filming Africa: Questioning Theories of an Authentic African Cinema David Murphy 349
xi Contents Tradition/Modernity and the Discourse of African Cinema 369 Jude Akudinobi Towards a Theory of Orality in African Cinema Keyan G. Film and the Problem of Languages in Africa Paulin SOUMANOU 404 Vieyra In Defense of African Film Studies BOUKARY 383 Tomaselli, Arnold Shepperson, and Maureen Eke 410 SaWADOGO Part IV: Articulations of African Cinema Dossier 1: Key Dates in the History of African Cinema 419 Curated by Olivier Barlet and Claude Forest Dossier 2: Ousmane Sembène 449 Curated by Samba Gadjigo and Sada Niang • Sembène’s Legacy to FESPACO 451 Samba Gadjigo and Sada Niang • Vigil for a Centennial 459 Ousmane Sembène • Cinema as Evening School 460 Ousmane Sembène • Statement at Ouagadougou (1979) 463 Ousmane Sembène • Art for Man’s Sake: A Tribute to Ousmane Sembène 479 Samba Gadjigo • On “Mediated Solidarity”: Reading Ousmane Sembène in Sembène! Michael T. Martin • Ousmane Sembène: An Annotated Gallery 485 523 Cole Nelson Dossier 3: African Women in Cinema 533 Curated by Beti Ellerson Index 591
FILM AND MEDIA | AFRICAN STUDIES African Cinema: Manifesto and Practice for Cultural Decolonization combines theory and praxis as a means to explore the social, cultural, political, economic, and gendered dynamics of African cinemas within a global context, all of which are determining factors in how African filmmaking practitioners and stakeholders negotiate their place as directors, producers, organizers, activists, scholars, distributors, cultural readers. The collection is an important addition to African Cinema Studies in particular, and the library of Film Studies in general. —BETI ELLERSON, Founder and Director, Centre for the Study and Research of African Women in Cinema 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 counterhistorical formation and theorization. It comprises essays by film scholars and filmmakers alike, among them Roy Armes, Med Hondo, Fèrid 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 an homage and overview
of Ousmane Sembène, 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. iupress.org Studies in the Cinema of the Black Diaspora Michael T. Martin and David C. Wall, editors Ф ISBN 9780253066213 978025306621390000 INDIANA UNIVERSITY PRESS 9 780253 066213
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Contents Acknowledgments xiii On Decoloniality: African and Diasporic Cinema 1 Michael T. Martin and Gaston J. M. Kaboré Part I: Colonial Formations Colonial Cinema 19 Roy Armes The Colonialist Regime of Representation, 1945-1960 37 James E. Genova Politics of Cultural Conversion in Colonialist African Cinema 69 Femi Okiremuette Shaka The African Bioscope: Movie-House Culture in British Colonial Africa 99 James Burns From the Inside: The Colonial Film Unit and the Beginning of the End 115 Tom Rice The Independence Generation: Film Culture and the Anti-Colonial Struggle in the 1950s 137 Odile Goerg
X Contents Part II: Constituting African Cinema What is Cinema for Us? 165 Med Hondo A Cinema Fighting for Its Liberation 169 Férid Boughedir Where Are the African Women Filmmakers? 176 Haile Gerima The FEPACI and Its Artistic Legacies 184 Sada Niang New Avenues for FEPACI: Interview with Seipati Bulane-Hopa 211 Monique Mbeka Phoba The Six Decades of African Film 215 Olivier Barlet Africa, The Last Cinema 232 Clyde Taylor The Pan-African Cinema Movement: Achievements, Misadventures, and Failures (1969-2020) 248 Férid Boughedir Part III: Theorizing African Cinema African Cinema(s): Definitions, Identity, and Theoretical Considerations 271 Alexie Tcheuyap Theorizing African Cinema: Contemporary African Cinematic Discourse and Its Discontents 292 Esiaba Irobi The Theoretical Construction of African Cinema 315 Stephen A. Zacks Towards a Critical Theory of Third World Films TESHOME 329 H. Gabriel Africans Filming Africa: Questioning Theories of an Authentic African Cinema David Murphy 349
xi Contents Tradition/Modernity and the Discourse of African Cinema 369 Jude Akudinobi Towards a Theory of Orality in African Cinema Keyan G. Film and the Problem of Languages in Africa Paulin SOUMANOU 404 Vieyra In Defense of African Film Studies BOUKARY 383 Tomaselli, Arnold Shepperson, and Maureen Eke 410 SaWADOGO Part IV: Articulations of African Cinema Dossier 1: Key Dates in the History of African Cinema 419 Curated by Olivier Barlet and Claude Forest Dossier 2: Ousmane Sembène 449 Curated by Samba Gadjigo and Sada Niang • Sembène’s Legacy to FESPACO 451 Samba Gadjigo and Sada Niang • Vigil for a Centennial 459 Ousmane Sembène • Cinema as Evening School 460 Ousmane Sembène • Statement at Ouagadougou (1979) 463 Ousmane Sembène • Art for Man’s Sake: A Tribute to Ousmane Sembène 479 Samba Gadjigo • On “Mediated Solidarity”: Reading Ousmane Sembène in Sembène! Michael T. Martin • Ousmane Sembène: An Annotated Gallery 485 523 Cole Nelson Dossier 3: African Women in Cinema 533 Curated by Beti Ellerson Index 591
FILM AND MEDIA | AFRICAN STUDIES "African Cinema: Manifesto and Practice for Cultural Decolonization combines theory and praxis as a means to explore the social, cultural, political, economic, and gendered dynamics of African cinemas within a global context, all of which are determining factors in how African filmmaking practitioners and stakeholders negotiate their place as directors, producers, organizers, activists, scholars, distributors, cultural readers. The collection is an important addition to African Cinema Studies in particular, and the library of Film Studies in general." —BETI ELLERSON, Founder and Director, Centre for the Study and Research of African Women in Cinema 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 counterhistorical formation and theorization. It comprises essays by film scholars and filmmakers alike, among them Roy Armes, Med Hondo, Fèrid 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 an homage and overview
of Ousmane Sembène, 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. iupress.org Studies in the Cinema of the Black Diaspora Michael T. Martin and David C. Wall, editors Ф ISBN 9780253066213 978025306621390000 INDIANA UNIVERSITY PRESS 9 780253 066213 |
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| spelling | African cinema manifesto and practice for cultural decolonization Volume 1 Colonial antecedents, constituents, theory, and articulations edited by Michael T. Martin and Gaston J.M. Kaboré ; with Allison J. Brown, Cole Nelson, and Joseph E. Roskos Bloomington, Indiana Indiana University Press 2023 xiv, 608 Seiten Illustrationen txt rdacontent n rdamedia nc rdacarrier Studies in the cinema of the Black diaspora Martin, Michael T. 1947- (DE-588)133862879 edt Kaboré, Gaston 1951- (DE-588)141725893 edt (DE-604)BV049360331 1 Erscheint auch als Online-Ausgabe, web PDF 978-0-253-06622-0 Erscheint auch als Online-Ausgabe 978-0-253-06623-7 Digitalisierung UB Bayreuth - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=034620516&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung UB Bayreuth - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=034620516&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Klappentext |
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| title_full | African cinema manifesto and practice for cultural decolonization Volume 1 Colonial antecedents, constituents, theory, and articulations edited by Michael T. Martin and Gaston J.M. Kaboré ; with Allison J. Brown, Cole Nelson, and Joseph E. Roskos |
| title_fullStr | African cinema manifesto and practice for cultural decolonization Volume 1 Colonial antecedents, constituents, theory, and articulations edited by Michael T. Martin and Gaston J.M. Kaboré ; with Allison J. Brown, Cole Nelson, and Joseph E. Roskos |
| title_full_unstemmed | African cinema manifesto and practice for cultural decolonization Volume 1 Colonial antecedents, constituents, theory, and articulations edited by Michael T. Martin and Gaston J.M. Kaboré ; with Allison J. Brown, Cole Nelson, and Joseph E. Roskos |
| title_short | African cinema |
| title_sort | african cinema manifesto and practice for cultural decolonization colonial antecedents constituents theory and articulations |
| title_sub | manifesto and practice for cultural decolonization |
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