African cinema: manifesto and practice for cultural decolonization Volume 2 FESPACO - formation, evolution, challenges
Gespeichert in:
| Weitere Verfasser: | , |
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| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
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: | xvi, 641 Seiten Illustrationen |
| ISBN: | 9780253066251 9780253066244 |
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| adam_text | Contents xiii Preface Ardiouma Soma, General Delegate of FESPACO (2014-2020) Acknowledgments xiv African Cinema and the Diasporic: Introductory Considerations 1 Michael T. Martin and Gaston J. M. Kaboré Part I: Sites and Contexts of Exhibition African Film Festivals in Africa: Curating “African Audiences” for “African Films” 17 Lindiwe Dovey On Tracking World Cinema: African Cinema at Film Festivals 54 Manthia Diawara African Women on the Film Festival Landscape: Organizing, Showcasing, Promoting, Networking 65 Beti Ellerson African Cinema in the Tempest of Minor Festivals 96 Sambolgo Bangré Postcolonial Film Collaboration and Festival Politics Dorothee Wenner 101
X Contents Part II: FESPACO: An Evolving Cinematic and Cultural Formation African Cinema and Festival: FESPACO 111 Manthia Diawara FESPACO: Promoting African Film Development and Scholarship 123 M. Africanus Aveh FESPACO and Cultural Valorization 135 Mahir Çaul African Cinema: Between the “Old” and the “New” 139 Mbye Cham Statement at Ouagadougou (1979) 146 Ousmane Sembène A Name Is More Than the Tyranny of Taste 163 Wole Soyinka Cine-Agora Africana: Meditating on the Fiftieth Anniversary of FESPACO 177 Aboubakar Sanogo Cultural Politics of Production and Francophone West African Cinema: FESPACO 1999 190 Teresa Hoefert deTurégano A Mirage in the Desert? African Women Directors at FESPACO 206 Claire Andrade-Watkins Cabascabo, the Film That Lastingly Established FESPACO: Interview with Alimata Salambéré, President of the First Edition ( 1969) 214 Olivier Barlet The Long Take: Gaston Kaboré on FEPACI FESPACO 222 Michael T. Martin Pressing Revelations: Notes on Time at FESPACO Rod Stoneman 251
Contents Fifty Years of Women’s Engagement at FESPACO xi 259 Beti Ellerson Thiaroye or Yeelen? The Two Ways of African Cinemas Férid Boughedir Long Live Cinema! Long Live FESPACO. A Luta Continual 269 274 Claire Diao Rethinking FESPACO As an Echo 279 Michel Amarger Going to the Cinema in Burkina Faso Mustapha Ouedgraogo 282 FESPACO and Its Many Afterlives Sheila Petty 290 FESPACO Film Festival Colin Dupré 296 Part III: Conditionalities and Challenges Towards Reframing FESPACO Imruh Bakari 301 FESPACO Past and Future: Voices from the Archive 315 June Givanni The Opening of South Africa and the Future of African Film Mahir §aul 329 FESPACO 2019: Moving Toward Resurrection 334 Olivier Barlet Fifty Years of Memories for Shaping the Future! Rémi Abéga 351
xil Contents Part IV: Commentaries: Filmmakers, Film Scholars, and Media Professionals 355 Part V: Documents Resolution on the Pan-African Film Festival of Ouagadougou (1972) Regulations of the Carthage Film Festival (1970s) Regulations of the Pan-African Film Festival of Ouagadougou (1980) Regulations for the Official Juries of the 26th Edition of FESPACO (2019) FESPACO Award Winners (1972-2019) FESPACO 50th Anniversary Symposium (2019) Manifesto of Ouagadougou (2017) FESPACO Poster Gallery (1969-2019) Organizing Themes of the FESPACO Festival (1973-2019) Major Events of FESPACO (1969-2016) The African Film Library of Ouagadougou 467 470 477 481 483 487 493 498 514 516 519 Part VI. Dossiers Dossier 1: Paul Robeson Award Initiative (PRAI) 524 Dossier 2: The Higher Institute of Image and Sound/Studio School (ISIS-SE) 551 Dossier 3: Imagine Film Training Institute • Power to the Imagination (2020) 580 606 Rod Stoneman • Founding Myths and Storytelling: The African Modern (2011) Michael T. Martin 613 Index 623
FILM AND MEDIA | AFRICAN STUDIES Setting out, African Cinema positioned itself at the intersection of a theory and practice of cultural self-apprehension, with all the contradictions that come with that position. In this three-volume compendium, Martin, Kaboré and their various collaborators have provided a comprehensive, almost exhaustive, account eventuating in a third element— history. A more comprehensive account will be hard to find anywhere else. — AKIN ADESOKAN, Indiana University 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 Two of this landmark series on African cinema is devoted to the decolonizing mediation of the Pan-African Film Television Festival of Ouagadougou (FESPACO), the most important, inclusive, and consequential cinematic convocation of its kind in the world. Since its creation in 1969, FESPACO s mission is, in principle, remarkably unchanged: to unapologetically recover, chronicle, affirm, and reconstitute the representation of the African continent and its global diasporas of people, thereby enunciating in the cinematic all manner of pan-African identity, experience, and the futurity of the Black World. This volume features historically significant and commissioned essays, commentaries, conversations, dossiers, and programmatic statements and manifestos that mark and elaborate the key moments in the evolution of FESPACO over the span of the past five decades. ■ MICHAEL T. MARTIN s 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 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 ISBN 9780253066251 Michael T. Martin and David C. Wall, editors 978025306625190000 INDIANA UNIVERSITY PRESS 9 780253 066251 ;
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| adam_txt |
Contents xiii Preface Ardiouma Soma, General Delegate of FESPACO (2014-2020) Acknowledgments xiv African Cinema and the Diasporic: Introductory Considerations 1 Michael T. Martin and Gaston J. M. Kaboré Part I: Sites and Contexts of Exhibition African Film Festivals in Africa: Curating “African Audiences” for “African Films” 17 Lindiwe Dovey On Tracking World Cinema: African Cinema at Film Festivals 54 Manthia Diawara African Women on the Film Festival Landscape: Organizing, Showcasing, Promoting, Networking 65 Beti Ellerson African Cinema in the Tempest of Minor Festivals 96 Sambolgo Bangré Postcolonial Film Collaboration and Festival Politics Dorothee Wenner 101
X Contents Part II: FESPACO: An Evolving Cinematic and Cultural Formation African Cinema and Festival: FESPACO 111 Manthia Diawara FESPACO: Promoting African Film Development and Scholarship 123 M. Africanus Aveh FESPACO and Cultural Valorization 135 Mahir Çaul African Cinema: Between the “Old” and the “New” 139 Mbye Cham Statement at Ouagadougou (1979) 146 Ousmane Sembène A Name Is More Than the Tyranny of Taste 163 Wole Soyinka Cine-Agora Africana: Meditating on the Fiftieth Anniversary of FESPACO 177 Aboubakar Sanogo Cultural Politics of Production and Francophone West African Cinema: FESPACO 1999 190 Teresa Hoefert deTurégano A Mirage in the Desert? African Women Directors at FESPACO 206 Claire Andrade-Watkins Cabascabo, the Film That Lastingly Established FESPACO: Interview with Alimata Salambéré, President of the First Edition ( 1969) 214 Olivier Barlet The Long Take: Gaston Kaboré on FEPACI FESPACO 222 Michael T. Martin Pressing Revelations: Notes on Time at FESPACO Rod Stoneman 251
Contents Fifty Years of Women’s Engagement at FESPACO xi 259 Beti Ellerson Thiaroye or Yeelen? The Two Ways of African Cinemas Férid Boughedir Long Live Cinema! Long Live FESPACO. A Luta Continual 269 274 Claire Diao Rethinking FESPACO As an Echo 279 Michel Amarger Going to the Cinema in Burkina Faso Mustapha Ouedgraogo 282 FESPACO and Its Many Afterlives Sheila Petty 290 FESPACO Film Festival Colin Dupré 296 Part III: Conditionalities and Challenges Towards Reframing FESPACO Imruh Bakari 301 FESPACO Past and Future: Voices from the Archive 315 June Givanni The Opening of South Africa and the Future of African Film Mahir §aul 329 FESPACO 2019: Moving Toward Resurrection 334 Olivier Barlet Fifty Years of Memories for Shaping the Future! Rémi Abéga 351
xil Contents Part IV: Commentaries: Filmmakers, Film Scholars, and Media Professionals 355 Part V: Documents Resolution on the Pan-African Film Festival of Ouagadougou (1972) Regulations of the Carthage Film Festival (1970s) Regulations of the Pan-African Film Festival of Ouagadougou (1980) Regulations for the Official Juries of the 26th Edition of FESPACO (2019) FESPACO Award Winners (1972-2019) FESPACO 50th Anniversary Symposium (2019) Manifesto of Ouagadougou (2017) FESPACO Poster Gallery (1969-2019) Organizing Themes of the FESPACO Festival (1973-2019) Major Events of FESPACO (1969-2016) The African Film Library of Ouagadougou 467 470 477 481 483 487 493 498 514 516 519 Part VI. Dossiers Dossier 1: Paul Robeson Award Initiative (PRAI) 524 Dossier 2: The Higher Institute of Image and Sound/Studio School (ISIS-SE) 551 Dossier 3: Imagine Film Training Institute • Power to the Imagination (2020) 580 606 Rod Stoneman • Founding Myths and Storytelling: The African Modern (2011) Michael T. Martin 613 Index 623
FILM AND MEDIA | AFRICAN STUDIES "Setting out, African Cinema positioned itself at the intersection of a theory and practice of cultural self-apprehension, with all the contradictions that come with that position. In this three-volume compendium, Martin, Kaboré and their various collaborators have provided a comprehensive, almost exhaustive, account eventuating in a third element— history. A more comprehensive account will be hard to find anywhere else." — AKIN ADESOKAN, Indiana University 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 Two of this landmark series on African cinema is devoted to the decolonizing mediation of the Pan-African Film Television Festival of Ouagadougou (FESPACO), the most important, inclusive, and consequential cinematic convocation of its kind in the world. Since its creation in 1969, FESPACO's mission is, in principle, remarkably unchanged: to unapologetically recover, chronicle, affirm, and reconstitute the representation of the African continent and its global diasporas of people, thereby enunciating in the cinematic all manner of pan-African identity, experience, and the futurity of the Black World. This volume features historically significant and commissioned essays, commentaries, conversations, dossiers, and programmatic statements and manifestos that mark and elaborate the key moments in the evolution of FESPACO over the span of the past five decades. ■ MICHAEL T. MARTIN s 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 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 ISBN 9780253066251 Michael T. Martin and David C. Wall, editors 978025306625190000 INDIANA UNIVERSITY PRESS 9 780253 066251 ; |
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| spelling | African cinema manifesto and practice for cultural decolonization Volume 2 FESPACO - formation, evolution, challenges 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 xvi, 641 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 2 Erscheint auch als Online-Ausgabe, web PDF 978-0-253-06626-8 Erscheint auch als Online-Ausgabe 978-0-253-06627-5 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=034620526&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=034620526&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 2 FESPACO - formation, evolution, challenges 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 2 FESPACO - formation, evolution, challenges 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 2 FESPACO - formation, evolution, challenges 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 fespaco formation evolution challenges |
| title_sub | manifesto and practice for cultural decolonization |
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