{"product_id":"african-cinema-manifesto-and-practice-for-cultural-decolonization-9780253066213","title":"African Cinema Manifesto and Practice for","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eChallenging 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, 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 a homage and overview of Ousmane Sembène, the Father of African cinema.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\"\u003ci\u003eAfrican Cinema: Manifesto and Practice for Cultural Decolonization \u003c\/i\u003ecombines 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\u003cbr\u003e\u003cbr\u003e\"Setting out, \u003ci\u003eAfrican Cinema\u003c\/i\u003e 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\u003cbr\u003e\u003cbr\u003e\"This is a long-awaited volume of detailed, and analytical information and commentary that maps the development of the cinema of a large continent and the background ideas that have influenced its formation.\"—June Givanni, Director of the June Givanni Pan African Cinema Archive (JGPACA)\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eDedication\u003cbr\u003eAcknowledgements\u003cbr\u003eAfrican Cinema and the Diasporic: Introductory Considerations, by Michael T. Martin and Gaston Jean-Marie Kaboré\u003cbr\u003e\u003cb\u003ePart I: Colonial Formations\u003cbr\u003e\u003c\/b\u003eColonial Cinema, by Roy Armes\u003cbr\u003eThe Colonialist Regime of Representation, 1945-1960, by James E. Genova\u003cbr\u003ePolitics of Cultural Conversion in Colonialist African Cinema, by Femi Okiremuete Shaka\u003cbr\u003eThe African Bioscope: Movie-House Culture in British Colonial Africa, by James Burns\u003cbr\u003eFrom the Inside: The Colonial Film Unit and the Beginning of the End, by Tom Rice\u003cbr\u003eThe Independence Generation: Film Culture and the Anti-Colonial Struggle in the 1950s, by Odile Goerg\u003cbr\u003e\u003cb\u003ePart II: Constituting African Cinema\u003cbr\u003e\u003c\/b\u003eWhat Is Cinema for Us?, by Med Hondo\u003cbr\u003eA Cinema Fighting for Its Liberation, by Férid Boughedir\u003cbr\u003eWhere Are the African Women Filmmakers?, by Haile Gerima\u003cbr\u003eThe FEPACI and Its Artistic Legacies, by Sada Niang\u003cbr\u003eNew Avenues for FEPACI: Interview with Seipati Bulane-Hopa, by Monique Mbeka Phoba\u003cbr\u003eThe Six Decades of African Film, by Olivier Barlet\u003cbr\u003eAfrica, The Last Cinema, by Clyde R. Taylor\u003cbr\u003eThe Pan-African Cinema Movement: Achievements, Misadventures, and Failures (1969-2020), by Férid Boughedir\u003cbr\u003e\u003cb\u003ePart III: Theorizing African Cinema\u003cbr\u003e\u003c\/b\u003eAfrican Cinema(s): Definitions, Identity, and Theoretical Considerations, by Alexie Tcheuyap\u003cbr\u003eTheorizing African Cinema: Contemporary African Cinematic Discourse and Its Discontents, by Esiaba Irobi\u003cbr\u003eThe Theoretical Construction of African Cinema, by Stephen A. Zacks\u003cbr\u003eToward a Critical Theory of Third World Films, by Teshome H. Gabriel\u003cbr\u003eAfricans Filming Africa: Questioning Theories of an Authentic African Cinema, by David Murphy\u003cbr\u003eTradition\/Modernity and the Discourse of African Cinema, by Jude Akudinobi\u003cbr\u003eToward a Theory of Orality in African Cinema, by Keyan G. Tomaselli, Arnold Shepperson, and Maureen N. Eke\u003cbr\u003eFilm and the Problem of Languages in Africa, by Paulin Soumanou Vieyra\u003cbr\u003eIn Defense of African Film Studies, by Boukary Sawadogo\u003cbr\u003e\u003cb\u003ePart IV: Articulations of African Cinema\u003cbr\u003e\u003c\/b\u003eDossier 1: Key Dates in the History of African Cinema, by Olivier Barlet and Claude Forest\u003cbr\u003eDossier 2: Ousmane Sembène, by Sada Niang and Samba Gadjigo\u003cbr\u003eDossier 3: African Women in Cinema, by Beti Ellerson\u003c\/p\u003e","brand":"Indiana University Press","offers":[{"title":"Default Title","offer_id":49400623202647,"sku":"9780253066213","price":29.7,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780253066213.jpg?v=1730471139","url":"https:\/\/bookcurl.com\/products\/african-cinema-manifesto-and-practice-for-cultural-decolonization-9780253066213","provider":"Book Curl","version":"1.0","type":"link"}