Relevant bibliographies by topics / Africa – In motion pictures

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Africa – In motion pictures'

Author: Grafiati
Published: 4 June 2021
Last updated: 26 January 2023

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Africa – In motion pictures.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Africa – In motion pictures"

1

Eckardt, Michael. "South African film history vs the history of motion pictures in South Africa." South African Theatre Journal 25, no. 1 (March 2011): 72–77. http://dx.doi.org/10.1080/10137548.2011.626961.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Steyn, Raita. "Socio-cultural Status of Albinism in Africa: Challenging Myths, Concepts, and Stereotypes." Journal of Global Awareness 3, no. 2 (December 28, 2022): 1–18. http://dx.doi.org/10.24073/jga/3/02/03.

Full text
Abstract:
This article analyses the socio-cultural status of Albinism in Africa and the role unchallenged stereotypes, irrational concepts, and unfounded beliefs play in the lives of persons with albinism. Following some beliefs, persons with albinism” do not die but vanish” to later “return as ghosts to haunt the living.” The author discusses this paradox about persons with albinism identified as hunted victims and simultaneously haunting perpetrators. The research examines the concept of albinism being a curse from dead ancestors or theodicy and its association with supernatural powers. By a comparative and diachronic approach, the study challenges unsubstantiated stereotypes. This study aims at social awareness by demystifying established myths and discussing study cases and examples referring to media, art, performing arts, literature, photography, and motion pictures.
APA, Harvard, Vancouver, ISO, and other styles
3

Reynolds, G. ""Africa Joins the World": The Missionary Imagination and the Africa Motion Picture Project in Central Africa, 1937-9." Journal of Social History 44, no. 2 (December 1, 2010): 459–79. http://dx.doi.org/10.1353/jsh.2010.0052.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Ibrahim, Muhammad Muhsin. "Hausa film industry and the ‘menace’ of appropriation of Indian romantic movies." Journal of African Media Studies 14, no. 2 (June 1, 2022): 327–39. http://dx.doi.org/10.1386/jams_00081_1.

Full text
Abstract:
Against many odds, the Hausa film industry alias Kannywood has come of age. The film industry survives several pressing challenges from within and outside Nigeria, perhaps more than its counterparts anywhere else. Although there is no denying that the quality of its output has significantly improved, its survival has little or nothing to do with that. Many critics, including the Motion Pictures Practitioners Association of Nigeria (MOPPAN) leadership, call ‘bad’ films, are still being made. Romantic movies, laden with a typical and predictable pattern of the love triangle, song and dance sequences among other appropriated and plagiarized Bollywood modalities, remain the favourite of producers and arguably that of the audience. However, according to some surveys, such films lack merit in the realm of critical film discourse in Africa and beyond. This article is set out to discuss this issue through a content analysis of a recent film titled Sareena (Nuhu 2019). The movie, released in 2019, is a bloated, implausible melodrama and a direct mimicry of a famous Indian film, Kaabil (Gupta 2017).
APA, Harvard, Vancouver, ISO, and other styles
5

Désalmand, Françoise, André Szantai, and Michel Desbois. "An attempt to retrieve low cloud motion winds over land in the African Monsoon flow on Meteosat pictures." Geophysical Research Letters 26, no. 3 (February 1, 1999): 319–22. http://dx.doi.org/10.1029/1998gl900286.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Dalziel, Ian W. D., and John F. Dewey. "The classic Wilson cycle revisited." Geological Society, London, Special Publications 470, no. 1 (February 9, 2018): 19–38. http://dx.doi.org/10.1144/sp470.1.

Full text
Abstract:
AbstractIn the first application of the developing plate tectonic theory to the pre-Pangaea world 50 years ago, attempting to explain the origin of the Paleozoic Appalachian–Caledonian orogen, J. Tuzo Wilson asked the question: ‘Did the Atlantic close and then reopen?’. This question formed the basis of the concept of the Wilson cycle: ocean basins opening and closing to form a collisional mountain chain. The accordion-like motion of the continents bordering the Atlantic envisioned by Wilson in the 1960s, with proto-Appalachian Laurentia separating from Europe and Africa during the early Paleozoic in almost exactly the same position that it subsequently returned during the late Paleozoic amalgamation of Pangaea, now seems an unlikely scenario. We integrate the Paleozoic history of the continents bordering the present day basin of the North Atlantic Ocean with that of the southern continents to develop a radically revised picture of the classic Wilson cycle The concept of ocean basins opening and closing is retained, but the process we envisage also involves thousands of kilometres of mainly dextral motion parallel with the margins of the opposing Laurentia and Gondwanaland continents, as well as complex and prolonged tectonic interaction across an often narrow ocean basin, rather than the single collision suggested by Wilson.
APA, Harvard, Vancouver, ISO, and other styles
7

Young, Linda. "Motion Pictures." SMPTE Journal 105, no. 4 (April 1996): 177–78. http://dx.doi.org/10.5594/j15829.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Masson, Alan J. "Motion Pictures." SMPTE Journal 108, no. 2 (February 1999): 75–78. http://dx.doi.org/10.5594/j17112.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Masson, Alan J. "Motion Pictures." SMPTE Journal 107, no. 1 (January 1998): 11–13. http://dx.doi.org/10.5594/j17616.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Bonnaud, Irène, Suzanne Doppelt, Christophe Triau, and Sacha Zilberfarb. "Motion pictures." Vacarme 15, no. 2 (2001): 60. http://dx.doi.org/10.3917/vaca.015.0060.

Full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Africa – In motion pictures"

1

Inocencio, Jessica Lynn. "The hybridization of African identities in African film." Thesis, Nelson Mandela Metropolitan University, 2007. http://hdl.handle.net/10948/828.

Full text
Abstract:
This paper traces the construction of African identities in A Reasonable Man (South Africa 1999), Chikin Biznis: The Whole Story (South Africa 1998), Fools (South Africa/France 1997), Hyènes (1992), Le cri du coeur (Burkina Faso/France 1994), Pièces d'Identités (France/Congo/Belgium 1998), Une couleur café (France 1997), and Xala (Senegal 1975) based on an analysis of race, ethnicity, tradition, modernization, Westernization, and cultural hybridity theories; as a way of contextualizing African history in general, this paper also explores the significance of colonialism, postcolonialism, and forms of neo-colonialism. I argue that nineteenth century perceptions of “race” that arose during the Enlightenment era are mistaken. Instead, African identities presented in film should be re-conceived based on concepts of ethnicity and culture and not simplistic racial constructions—for example “white,” “black,” or “mulatto” to name a few—since such interpretations inevitably surrender to problematic analysis. However, I also contend that neither a typical conception of fixed identities nor cultures can be applied to the understanding of contemporary African identities expressed in African film. The conception of African identities can and ought to be reconsidered as a fluid, social construction based on changing historical phenomena. As an alternative, I suggest that tradition, modernization, and Westernization processes contribute to the overall fluidity of contemporary African identities, which can be elucidated by cultural hybridity theories. Therefore, I ultimately propose that the hybridization of African identities is specifically linked to forms of modernization and Westernization—the practice of Western medicine, beliefs in monogamy, and entrepreneurial aspirations—that have also been filtered through traditional African value systems such as polygamy, traditional healing, patriarchy, communitarianism, and traditional religions within various African communities depicted in African film. Thus, a fixed “African” category that we strive to define—against either Western or African points of reference—is actually neither a fully Westernized nor entirely African distinction but a hybridized identity of traditional, modernized, and Westernized elements.
APA, Harvard, Vancouver, ISO, and other styles
2

Ntsane, Ntsane Steve. "The dual world metaphor and the 'struggle' in selected South African and African films (1948 to 1996)." Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/53628.

Full text
Abstract:
Thesis (MA)--Stellenbosch University, 2003.
ENGLISH ABSTRACT: The terminology used in segregationist discourse that South Africa is a combination of 'first world' and 'third world' elements has been appropriated from an international discourse about problems of world-wide socio-economic development. The terms are used to describe the sophisticated metropolitan areas inhabited by highly developed whites and simple, backward, isolated, rural regions occupied by undeveloped or underdeveloped blacks. However, in South Africa this dual world metaphor, which has socio-political implications that have brought great misfortune to blacks, was institutionalised by apartheid, with the consequences that blacks have expressed their resistance in what became known as the 'struggle' against the dualist system. Selected South African and African films whose themes have a bearing on such a socio-economic system are explored in this thesis. A supplementary exploration of films dealing with the theme of the 'struggle', which has become a metaphor for the 'generations of resistance', has been undertaken by means ofa detailed analysis. The interpretation of 'development' in this thesis finds a link betweeen the dualist paradigm, the perpetuation of poverty and the migratory labour system. The peculiar relationship which the 'struggle' has had with the cultures of black people, in which there is a mutual influence between the 'struggle' and the nature of these cultures, is explored in the relevant films. However, this thesis offers no solutions, but exposes a VICIOUS system which IS threatening to gain world ascendency.
AFRIKAANSE OPSOMMING: Die terminologie gebruik in die segregasie-diskoers tot die effek dat Suid-Afrika 'n kombinasie van 'Eerste Wêreld' en 'Derde Wêreld' elemente is, is oorgeneem uit 'n internasionale diskoers wat handeloor wêreld-wye sosio-ekonomiese ontwikkeling. Dié terme word gebruik om die gesofistikeerde metropolitaanse areas bewoon deur hoogsontwikkelde blankes en eenvoudige, agterlike, geïsoleerde, landelike streke beset deur onder- of on-ontwikkelde swartes te beskryf. Maar in Suid-Afrika is hierdie dubbelwêreld metafoor - met die sosio-politiese implikasies daarvan wat tot groot ellende vir swartes aanleiding gegee het - deur Apartheid geïnstitusionaliseer, met die gevolg dat swartes hul weerstand uitgedruk het in wat bekend geword het as die 'struggle' teen dierdie dualistiese sisteem. 'n Keur van films uit Suid-Afrika en die res van Afrika, die tema's waarvan betrekking het op hierdie sosio-ekonomiese sisteem, word ondersoek in hierdie skripsie. 'n Bykomstige ondersoek na films wat handeloor die tematiek van die 'struggle', wat metafories geword het vir die 'generasie van weerstand', is by wyse van 'n meer gedetaileerde analise uitgevoer. Die interpretasie van 'ontwikkeling' in hierdie skripsie ontbloot 'n verband tussen die dualistiese sisteem, die voortsetting van armoede en die sisteem van trekardbeid. Die besonderse manier wat die 'struggle' met die kulture van swart mense verhou, waarin daar 'n wedersydse beïnvloeding tussen die 'struggle' en die aard van die kulture plaasvind, word ondersoek in die relevante films. Hierdie skripsie bied egter geen oplossings nie, maar ontmasker eerder 'n wrede sisteem wat dreig tot wêreld-oorheersing.
APA, Harvard, Vancouver, ISO, and other styles
3

O'Reilly, Kevin Joseph. "Between hotel mama and petrol station manager: the represatations of women's realities in a selection of African films." Thesis, Nelson Mandela Metropolitan University, 2008. http://hdl.handle.net/10948/789.

Full text
Abstract:
The roles that women perform as depicted in African films are often dictated to by the type of society they find themselves in. At first glance traditional societies can be seen as oppressive because of the presence of certain cultural practices. Alternatively modern urban settings appear to offer women authority and empowerment through employment. However, with a closer examination one sees that the situation is not so simplistic. Such is the case when certain traditional practices that are deemed oppressive through a Western perspective, are still found in urban societies. Films on the subject of African women have to be cautious not place their characters in stereotypical roles. Therefore, it is not enough to merely portray African women as ‘oppressed’. African films that engage in a feminist critique need to present ‘realistic’ portrayals of African women. Such characters are layered and complex. The film Faat Kine (2000) depicts such a character in the authoritative protagonist Kine. The film La Vie est Belle (1987) examines the issue of polygamous marriages and patriarchy from the point of view of two African women living in France. Touki Bouki (1973) examines two young characters living in Senegal and questions the possibility of escape from ones circumstances. Traditional practices such as polygamous marriages are explored in Xala (1975), and Finzan (1989) explores cultural practices such as forced marriages and female circumcision. This treatise will consider women and work in both traditional society and urban settings. African feminism will also be investigated for the purpose of exploring common social perceptions of women in Africa.
APA, Harvard, Vancouver, ISO, and other styles
4

Peach, Ricardo. "Queer cinema as a fifth cinema in South Africa and Australia." University of Technology, Sydney. Faculty of Humanities and Social Sciences, 2005. http://hdl.handle.net/2100/425.

Full text
Abstract:
Australia had the world’s first gay film festival at the Sydney Filmmakers Co-op in June 1976, part of a larger commemoration of the Stonewall Riots in New York City of 1969. In 1994, South Africa became the first country in the world to prohibit discrimination in its constitution on the basis of sexual orientation, whilst allowing for positive discrimination to benefit persons disadvantaged by unfair discrimination. South Africa and Australia, both ex-British colonies, are used in this analysis to explore the way local Queer Cinematic Cultures have negotiated and continue to negotiate dominant social forces in post-colonial settings. It is rare to have analyses of Queer Cinematic Cultures and even rarer to have texts dealing with cultures outside those of Euro-America. This study offers a unique window into the formations of Queer Cinematic Cultures of two nations of the ‘South’. It reveals important new information on how sexual minorities from nations outside the Euro-American sphere have dealt with and continue to deal with longstanding Queer cinematic oppressions. A pro-active relationship between Queer representation in film and social-political action is considered by academics such as Dennis Altman to be essential for significant social and judicial change. The existence of Queer and other independent films in Sydney from the 1960s onward, impacted directly on sexuality, race and gender activism. In South Africa, the first major Queer film festival, The Out In Africa Gay and Lesbian Film Festival in 1994, was instrumental in developing and maintaining a post-Apartheid Queer public sphere which fostered further legal change. Given the significant histories of activism through Queer Cinematic Cultures in both Australia and South Africa, I propose in this thesis the existence of a new genus of cinema, which I term Fifth Cinema. Fifth Cinema includes Feminist Cinema, Queer Cinema and Immigrant/Multicultural Cinema and deals with the oppressions which cultures engage with within their own cultural boundaries. It can be informed by First Cinema (classical, Hollywood), Second Cinema (Art House or dual national cinemas), Third and Fourth Cinema (cinemas dealing with the decolonisation of Third World and Fourth World people), but it develops its unique characteristics by countering internal cultural colonisation. Fifth Cinema functions as a heterognosis, where multi-dimensional representations around sexuality, race and gender are used to assist in broader cultural liberation.
APA, Harvard, Vancouver, ISO, and other styles
5

Marco, Derilene. "Films about South Africa 1987-2014 : representations of 'The Rainbow'." Thesis, University of Warwick, 2016. http://wrap.warwick.ac.uk/81400/.

Full text
Abstract:
The thesis analyses representations of the ‘Rainbow Nation’ and dominant postapartheid themes in South African films between 1987 and 2014. The term South African films or cinema is used to encompass films that are co-produced between South Africa and other nations, as well as films that may find their South African articulation only in content and narrative composition. Drawing on Raymond Williams’ scholarship, the thesis sets out to explore whether a new structure of feeling can be identified in post-apartheid films. The thesis also engages trauma in the post-apartheid films about the ‘Rainbow Nation’. In being able to identify how new South African films show and grapple with post-apartheid identities as ‘acting out’, ‘working through’ and ‘making sense’ of the past, the thesis concludes that post-apartheid films are in some ways critical of the past and in other ways, hopeful for the future. However, the more the country settles into its new national identities, the more variations are present in filmic representations and the more possibilities exist for seeing the complexities of post-apartheid cinema. The thesis is divided into three sections and follows a thematic approach as well as a form of periodisation that has not been used in previous scholarship about South African cinema. Section One considers the moment before the end of apartheid in the films A Dry White Season (Euzhan Palcy, 1989), Cry Freedom (Richard Attenborough, 1987) and Mapantsula (Oliver Schmitz, 1988). Section Two is constituted of two chapters which focus on the representations of the end of apartheid, trauma, guilt and ‘acting out’ seen in the films Red Dust (Tom Hooper, 2004), In My Country (John Boorman, 2004), Forgiveness (Ian Gabriel, 2004), Zulu Love Letter (Ramadan Suleman, 2004), Disgrace (Steve Jacobs, 2008) and Skoonheid (Oliver Hermanus, 2011). Section Three explores the possibility of a new structure of feeling through analysis of the representations of youth identities and coming to terms with the past in Hijack Stories (Oliver Schmitz, 2001), Tsotsi (Gavin Hood, 2005) and Disgrace (Steve Jacobs, 2008). In the final chapter, the films Disgrace (Steve Jacobs, 2008), Fanie Fourie’s Lobola (Henk Pretorius, 2013) and Elelwani (Ntshavheni wa Luruli, 2012) are analysed to show how traditions and rituals are fashioned as important, unexpected vehicles, through which to navigate emergent post-apartheid South Africa and its identities.
APA, Harvard, Vancouver, ISO, and other styles
6

Pugsley, Bronwen E. "Challenging perspectives : documentary practices in films by women from Francophone Africa." Thesis, University of Nottingham, 2012. http://eprints.nottingham.ac.uk/12658/.

Full text
Abstract:
This thesis is located at the intersection of three dynamic fields: African screen media, documentary studies, and women’s filmmaking. It analyses a corpus of fifteen films by Francophone sub-Saharan African women filmmakers, ranging from 1975 to 2009, within the framework of documentary theory. This study departs from the contextual approach to African women’s documentary, which has been predominant among scholarship and criticism thus far, in favour of a focus on the films as texts. The popular models developed for the study of documentary film by Western scholars are applied to African women’s documentaries in order to explore their innovative and stimulating practices; to determine the degree to which such models are fully adequate or, instead, are challenged, subverted, or exceeded by this new context of application; and to address the films’ wider implications regarding the documentary medium. Chapter One outlines the theoretical framework underpinning the thesis and engages with existing methodologies and conventions in documentary theory. Chapter Two considers women-centred committed documentary, analyses the ways in which these films uncover overlooked spaces and individuals, provide and promote new spaces for the enunciation of women’s subjectivity and ‘herstories’, and counter hegemonic stereotypical perceptions of African women. Chapter Three addresses recent works of autobiography, considers the filmmaking impulses and practices involved in filming the self, and points to the emergence of a filmmaking form situated on the boundary between ethnography and autobiography. Chapter Four explores the filmmakers’ ethnographic practices, considering their specificities in the light of pre-existing conventions within ethnographic filmmaking to emphasise the films’ formal and political reflexivity. The fifth and final chapter analyses a selection of works of docufiction, demonstrating their striking singularities and arguing for the significance of films that blur the boundaries between fiction and fact and thus push the borders of the real. The overall aim of the thesis is, therefore, to show the overlooked diversity of documentary voices and to demonstrate that the practice of documentary by women from Francophone sub-Saharan Africa is both formally innovative and reflexive, and politically challenging.
APA, Harvard, Vancouver, ISO, and other styles
7

Bisschoff, Lizelle. "Women in African cinema : an aesthetic and thematic analysis of filmmaking by women in Francophone West Africa and Lusophone and Anglophone Southern Africa." Thesis, University of Stirling, 2009. http://hdl.handle.net/1893/2337.

Full text
Abstract:
This study focuses on the role of women in African cinema – in terms of female directors working in the African film industries as well as the representation of women in African film. My research specifically focuses on francophone West African and lusophone and anglophone Southern African cinemas (in particular post-apartheid South African cinema). This research is necessary and significant because African women are underrepresented in theoretical work as well as in the practice of African cinema. The small corpus of existing theoretical and critical studies on the work of female African filmmakers clearly shows that African women succeed in producing films against tremendous odds. The emergence of female directors in Africa is an important but neglected trend which requires more dedicated research. The pioneering research of African-American film scholar Beti Ellerson is exemplary in this regard, as she has, since the early 2000s, initiated a new field of academic study entitled African Women Cinema Studies. My own research is situated within this emerging field and aims to make a contribution to it. The absence of women in public societal spheres is often regarded as an indicator of areas where societies need to change. In the same sense the socio-political and cultural advancements of women are indicators of how societies have progressed towards improved living conditions for all. Because the African woman can be viewed as doubly oppressed, firstly by Black patriarchal culture and secondly by Western colonising forces, it is essential that the liberation of African women includes an opportunity for women to verbalise and demonstrate their own vision of women’s roles for the future. The study analyses a large corpus of films through exploring notions of nationalism and post/neo-colonialism in African societies; issues related to the female body such as health, beauty and sexuality; female identity, emancipation and African feminism in the past and present; the significance of traditional cultural practices versus the consequences and effects of modernity; and the interplay between the individual and the community in urban as well as rural African societies. Female filmmakers in Africa are increasingly claiming the right to represent these issues in their own ways and to tell their own stories. The methods they choose to do this and the products of their labours are the focus of this study. Ultimately, the study attempts to formulate more complex models for the analysis of African women’s filmmaking practices, in tracing the plurality of a female aesthetics and the multiplicity of thematic approaches in African women’s filmmaking.
APA, Harvard, Vancouver, ISO, and other styles
8

Boshoff, Priscilla. "Diasporic consciousness and Bollywood : South African Indian youth and the meanings they make of Indian film." Thesis, Rhodes University, 2006. http://hdl.handle.net/10962/d1006249.

Full text
Abstract:
A particular youth identity in the South African Indian diaspora is being forged in a nexus o flocal and global forces . The globalisation of Bollywood and its popularity as a global media and the international commodification of the Indian exotic have occurred at the same time as the valorisation of 'difference' in the local political landscape. Indian youth, as young members of the South African Indian diaspora, are inheritors both of a conservative - yet adaptable - home culture and the marginalised identities of apartheid. However, the tensions between their desire to be recognised as both 'modern' South Africans and as ' traditional ' Indians create a space in which they are able to (re)create for themselves an identity that can encompass both their home cultures and the desires of a Westernised modernity through the tropes of Bollywood. Bollywood speaks to its diasporic audiences through representations of an idealised 'traditional yet modern' India. Although India is not a place of return for this young generation, Bollywood representations of successful diasporic Indian culture and participation in the globalised Bollywood industry through concerts and international award ceremonies has provided an opportunity for young Indians in South Africa to re-examine their local Indian identities and feel invited to re-identify with the global diasporas of India.
APA, Harvard, Vancouver, ISO, and other styles
9

Tjalle, Rosalie Olivia Vanessa. "The presentation of African government leaders or Sovereigns' in selected African and mainstream films." Thesis, Nelson Mandela Metropolitan University, 2015. http://hdl.handle.net/10948/12392.

Full text
Abstract:
African Cinema is an entity as diverse as the various countries, languages and cultures on this continent. The entertainment value of Cinema has been more popular than the study of its ideological significance, but nevertheless in a contemporary Africa where politics affect the social, cultural and economical survival of its citizens, Cinema can be used as a valuable asset and a powerful means of communication that can conscientize and educate African audiences. Thomas Hobbes’s leadership model and political theory of sovereignty, though a XVIIth century framework, can theoretically contribute in the analysis of the representation of African leadership styles in Cinema. This article analyzes four fiction films representing four different political leaders in, respectively, South Africa, Uganda, Cameroon and Nigeria. A film content analysis will explore the different representation of leadership styles, the personality of each leader, the power struggles in each society and how this may suggest value judgments about African leadership to the films’ various target audiences.
APA, Harvard, Vancouver, ISO, and other styles
10

Shaka, Femi Okiremuete. "Colonial and post-colonial African cinema : a theoretical and critical analysis of discursive practices." Thesis, University of Warwick, 1994. http://wrap.warwick.ac.uk/55446/.

Full text
Abstract:
This study attempts to provide a theoretical framework for the criticism of colonial and post-colonial African cinema. Emphasis is placed on the extent to which the nature of colonial cinematic policies and practices have influenced post-colonial African cinema, especially with regards to forms of subjectivities constructed through cinematic representation. The study begins by examining some of the methodological problems in the criticism of African cinema. It relates the concept of African cinema to debates dealing with Third Cinema theories, cine-structuralism and psychoanalytic critical theories, and argues that any of these theories can be applied to the criticism of African cinema so long as it is moderated to suit the specific nature of the African condition. It also defines the nature of African cinema by relating it to the notions of national cinema, the question of African personality and identity, emergent genres and film styles, and proposes a general cinematic reading hypothesis, anchored on the concept of subjectivity, for the criticism of African cinema. With respect to the colonial period, the main argument which I pursue is that two divergent cinematic practices existed side by side in Africa. First, there was a governmental and non-governmental agencies sponsored, non-commercial cinema, which treats the medium as a vehicle for popular instruction. Throughout this study, I refer to this cinematic practice as colonial African instructional cinema, and argue that it represents Africans as knowing and knowledgeable people, able and willing to acquire modem methods of social planning and development for the benefit of their communities. Second, there was the commercial cinematic practice which chose, and still chooses, to recycle popular images of people of African descent in the European imagination, as projected through literature, history, anthropological and scientific discourses, etc., in the representation of Africans. I refer to this cinematic practice throughout this study as colonialist African cinema. The main argument which I pursue with respect to this practice is that the images of Africans projected in it have a genealogical history stretching as far back in time as the classical era. In the modem period, the contact between Europe and Africa, and the subsequent slave trade, colonialism and their popular literatures, and the nineteenth century racial theories, are some of the factors which have reinforced the canonical authority of these images. I argue that this cinematic practice represents Africans by employing various metaphors which draw associations between Africans and animals, to suggest African savagery and barbarity, and that by drawing on such associations, they devalue African humanity, legitimise the colonial enterprise and all its attendant cruelties, and absolve Europeans of any moral responsiblities over actions supposedly carried out in the name of spreading civilisation. Though post-colonial African historical texts located in the colonial period respond to the whole colonial enterprise, my argument is that they are inspired, first and foremost, by the desire to refute the images of Africans identifiable with the discursive tradition of colonialist African CInema.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Africa – In motion pictures"

1

1933-, Davis Peter, ed. Come back, Africa. Johannesburg, South Africa: STE Publishers, 2004.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Black African cinema. Berkeley: University of California Press, 1994.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Framing Africa: Portrayals of a continent in contemporary mainstream cinema. New York: Berghahn, 2013.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Curating Africa in the age of film festivals. New York, NY: Palgrave Macmillan, 2015.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Film in the Middle East and North Africa: Creative dissidence. Austin: University of Texas Press, 2010.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Françoise, Pfaff, ed. Focus on African films. Bloomington: Indiana University Press, 2004.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Gönül, Dönmez-Colin, ed. The cinema of North Africa and the Middle East. London: Wallflower Press, 2007.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Isabel, Balseiro, and Masilela Ntongela, eds. To change reels: Film and culture in South Africa. Detroit: Wayne State University Press, 2003.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Elena, Alberto. Los cines periféricos: Africa, Oriente Medio, India. Barcelona: Paidós, 1999.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Cine/Asia Africa e Oceania. Roma: Lithos, 2012.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Africa – In motion pictures"

1

kydd, Elspeth. "Motion Pictures." In The Critical Practice of Film, 17–37. London: Macmillan Education UK, 2011. http://dx.doi.org/10.1007/978-0-230-34527-0_2.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Kamada, Seiichi. "Motion Pictures." In Springer Monographs in Mathematics, 39–73. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-4091-7_3.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Kamada, Seiichi. "Motion pictures." In Mathematical Surveys and Monographs, 63–70. Providence, Rhode Island: American Mathematical Society, 2002. http://dx.doi.org/10.1090/surv/095/09.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Czitrom, Daniel. "Early Motion Pictures." In Communication in History, 175–83. Seventh edition. | New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315189840-26.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Walters, James. "Perpetual motion pictures." In The Routledge Companion to World Cinema, 382–92. New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315688251-32.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Prinz, Jesse. "Affect and Motion Pictures." In The Palgrave Handbook of the Philosophy of Film and Motion Pictures, 893–921. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19601-1_38.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Walls, W. David. "Motion Pictures, Economics of." In The New Palgrave Dictionary of Economics, 1–7. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/978-1-349-95121-5_1942-1.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Walls, W. David. "Motion Pictures, Economics of." In The New Palgrave Dictionary of Economics, 9164–70. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-349-95189-5_1942.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Costanzo, William V. "Film Comedy in Africa." In When the World Laughs, 211–42. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190924997.003.0011.

Full text
Abstract:
The rich oral traditions of storytelling in Black Africa have evolved into cinematic forms, adapting social satire and political humor to the realities of modern life. After a brief history of the region and its early encounters with the medium of motion pictures, this chapter introduces concepts like négritude, the griot storyteller, pan-Africanism, and Afropolitanism to explain how African beliefs and sub-Saharan cinema differ from others in the world and how African filmmakers like Ousmane Sembène and Djibril Diop Mambéty, Jean-Pierre Bekolo and Adama Drabo, Henri Duparc and Benoît Lamy, Flores Gomes and Fanta Régina Nacro have fashioned a cinema that reflects the way Africans see themselves and their place in the world.
APA, Harvard, Vancouver, ISO, and other styles
10

Ornstein, Stanley I. "Motion Pictures." In Industry Studies, 263–88. Routledge, 2019. http://dx.doi.org/10.4324/9781315290737-13.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Africa – In motion pictures"

1

Lagendijk, R. L., and M. I. Sezan. "Motion compensated frame rate conversion of motion pictures." In [Proceedings] ICASSP-92: 1992 IEEE International Conference on Acoustics, Speech, and Signal Processing. IEEE, 1992. http://dx.doi.org/10.1109/icassp.1992.226178.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Karaki, Koichi, Hiroko Sasaki, and Masaharu Mitsunaga. "Holographic motion pictures by hole burning." In International Conferences on Optical Fabrication and Testing and Applications of Optical Holography, edited by Toshio Honda. SPIE, 1995. http://dx.doi.org/10.1117/12.215315.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Alexander, P. "Development of integral holographic motion pictures." In Display Holography: Fifth International Symposium, edited by Tung H. Jeong. SPIE, 1995. http://dx.doi.org/10.1117/12.201899.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Chuang, Yung-Yu, Dan B. Goldman, Ke Colin Zheng, Brian Curless, David H. Salesin, and Richard Szeliski. "Animating pictures with stochastic motion textures." In ACM SIGGRAPH 2005 Papers. New York, New York, USA: ACM Press, 2005. http://dx.doi.org/10.1145/1186822.1073273.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Holynski, Aleksander, Brian Curless, Steven M. Seitz, and Richard Szeliski. "Animating Pictures with Eulerian Motion Fields." In 2021 IEEE/CVF Conference on Computer Vision and Pattern Recognition (CVPR). IEEE, 2021. http://dx.doi.org/10.1109/cvpr46437.2021.00575.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Baecker, Ronald, Alan J. Rosenthal, Naomi Friedlander, Eric Smith, and Andrew Cohen. "A multimedia system for authoring motion pictures." In the fourth ACM international conference. New York, New York, USA: ACM Press, 1996. http://dx.doi.org/10.1145/244130.244142.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Mayhew, Christopher A. "True Three-Dimensional Animation In Motion Pictures." In OE LASE'87 and EO Imaging Symp (January 1987, Los Angeles), edited by David F. McAllister and Woodrow E. Robbins. SPIE, 1987. http://dx.doi.org/10.1117/12.940133.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Abdulsamet, Hasiloglu, and Tosun Olcay. "Identification system from motion pictures: LBPH application." In 2017 International Conference on Computer Science and Engineering (UBMK). IEEE, 2017. http://dx.doi.org/10.1109/ubmk.2017.8093546.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Awatsuji, Yasuhiro, Aya Komatsu, Masatomo Yamagiwa, and Toshihiro Kubota. "Motion pictures of propagating ultrashort laser pulses." In 26th International Congress on High-Speed Photography and Photonics, edited by Dennis L. Paisley, Stuart Kleinfelder, Donald R. Snyder, and Brian J. Thompson. SPIE, 2005. http://dx.doi.org/10.1117/12.567035.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

MAEDA, Toshiyuki, Masumi YAJIMA, and Akiyoshi WAKATANI. "Frequency-based Skill Analysis for Motion Pictures." In 2018 12th France-Japan and 10th Europe-Asia Congress on Mechatronics. IEEE, 2018. http://dx.doi.org/10.1109/mecatronics.2018.8495892.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Reports on the topic "Africa – In motion pictures"

1

Koschmann, Anthony, and Yi Qian. Latent Estimation of Piracy Quality and its Effect on Revenues and Distribution: The Case of Motion Pictures. Cambridge, MA: National Bureau of Economic Research, August 2020. http://dx.doi.org/10.3386/w27649.

Full text
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Africa – In motion pictures' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography