Description
Book SynopsisAn authoritative guide to African cinema with contributions from a team of experts on the topic A Companion to African Cinema offers an overview of critical approaches to African cinema. With contributions from an international panel of experts, the Companion approaches the topic through the lens of cultural studies, contemporary transformations in the world order, the rise of globalization, film production, distribution, and exhibition. This volume represents a new approach to African cinema criticism that once stressed the sociological and sociopolitical aspects of a film. The text explores a wide range of broad topics including: cinematic economics, video movies, life in cinematic urban Africa, reframing human rights, as well as more targeted topics such as the linguistic domestication of Indian films in the Hausa language and the importance of female African filmmakers and their successes in overcoming limitations caused by gender inequality. The book also highlights a comparati
Table of ContentsNotes on Contributors x
Introduction: Critical Approaches to Africa’s Cinema, From the Age of Liberation and Struggle to the Global, Popular, and Curatorial 1
Kenneth W. Harrow and Carmela Garritano
Part I Time/Crisis/Uncertainty 21
1 Cinematic Economies of the Hypercontemporary in Haroun and Sissako 23
Justin Izzo
2 Approaching the Uncertain Turn in African Video‐Movies: Subalternity, Superfluity, and (Non‐)Cinematic Time 44
Jacques de Villiers
3 Life in Cinematic Urban Africa: Inertia, Suspension, Flow 69
Karen Bouwer
Part II Trauma/Violence/Precarity in an Age of Global Neoliberalism 89
4 At the Intersection of Trauma, Precarity, and African Cinema: A Reflection on Mahamat‐Saleh Haroun’s Grigris 91
MaryEllen Higgins
5 Reframing Human Rights: Hotel Rwanda (2004), A Screaming Man (2010), Global Conflict, and International Intervention 112
Dayna Oscherwitz
6 “The Invisible Government of the Powerful”: Joseph Gaï Ramaka’s Cinema of Power 136
Akin Adesokan
Part III Sound/Form/Dub 155
7 Transcultural Language Intimacies: The Linguistic Domestication of Indian Films in the Hausa Language 157
Abdalla Uba Adamu
8 The (Aural) Life of Neo‐colonial Space 176
Vlad Dima
9 “Outcast Orders” and the Imagining of a Queer African Cinema: A Fugitive, Afro‐Jazz Reading of Karmen Geï 194
Lindsey Green‐Simms
Part IV Platforms/Informality/Archives 217
10 Streaming Quality, Streaming Cinema 219
Moradewun Adejunmobi
11 Between the Informal Sector and Transnational Capitalism: Transformations of Nollywood 244
Jonathan Haynes
12 Nollywood Chronicles: Migrant Archives, Media Archeology, and the Itineraries of Taste 269
Noah Tsika
Part V National Industries/Media Cities/Transnational Flows 291
13 African Videoscapes: Southern Nigeria, Ethiopia, and Côte d’Ivoire in Comparative Perspective 293
Alessandro Jedlowski
14 Nairobi‐based Female Filmmakers: Screen Media Production between the Local and the Transnational 315
Robin Steedman
Part VI Genre/Poetics/Gender 337
15 Darker Vision: Global Cinema and Twenty‐first‐Century Moroccan Film Noir 339
Suzanne Gauch
16 From Ethnography to Essay: Realism, Reflexivity, and African Documentary Film 358
Rachel Gabara
17 New Algerian Cinema: Portrayals of Women in Films Post‐Les années noires 379
Valérie K. Orlando
18 “Qu’elle aille explorer le possible!”: Or African Cinema according to Jean‐Pierre Bekolo 402
P. Julie Papaioannou
Part VII Movement/Fluidity and Aesthetics/Migration 421
19 Relational Histories in African Cinema 423
Sheila Petty
20 Crossing Lines: Frontiers, Circulations, and Identity in Contemporary African and Diaspora Film 444
Melissa Thackway
Part VIII The End of Film Criticism?: The New Beginning of Curation and Bricolage 465
21 Towards Alternative Histories and Herstories of African Filmmaking: From Bricolage to the “Curatorial Turn” in African Film Scholarship 467
Lindiwe Dovey
Index 486
