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Journal articles on the topic 'African film'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2025

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1

Dovey. "African Film Festivals in Africa: Curating “African Audiences” for “African Films”." Black Camera 12, no. 1 (2020): 13. http://dx.doi.org/10.2979/blackcamera.12.1.03.

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2

Tomaselli, Keyan G. "Africa, film theory and globalization: Reflections on the first ten years of the Journal of African Cinemas." Journal of African Cinemas 13, no. 1 (2021): 3–28. http://dx.doi.org/10.1386/jac_00041_1.

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Achievements marked by the tenth anniversary of the Journal of African Cinemas is the focus of this retrospective on the origins and development of the publication. The key question addressed is how to ensure that the inclusion of films and film theory by resident Africans can be made integral to the re-envisioning of the whole field. In answering this question, the overview examines the journal’s initial objectives and how they have been met. Editorial board members and guest editors were canvassed for their impressions, and a numerical analysis of author locations is plotted. The findings re

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Hershey, Megan, and Michael Artime. "Narratives of Africa in a Digital World: Kony 2012 and Student Perceptions of Conflict and Agency in Sub-Saharan Africa." PS: Political Science & Politics 47, no. 03 (2014): 636–41. http://dx.doi.org/10.1017/s1049096514000778.

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ABSTRACTKony 2012, a film released by the nonprofit Invisible Children in the spring of 2012, drew a flurry of Facebook “shares” and “likes.” However, critics expressed a concern that the film offered a distorted portrayal of Africans and African politics. In this article, we test these criticisms by asking what effects the film had on college students’ perceptions of Africa and Africans. To address this question, we draw on a survey and an experiment conducted at a small liberal arts college whereKony 2012enjoyed popularity. The results show that the film did affect students’ perceptions of A

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Convents, Guido. "Current issues in African Moving Images and their Preservation." African Research & Documentation 110 (2009): 5–16. http://dx.doi.org/10.1017/s0305862x00017672.

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Preservation policies for moving images made in Africa by Africans was, for a long time, not an issue for most librarians and archivists in Europe with an interest in Africa. They thought of ‘African moving images’ as moving images made on that continent (mostly by non Africans). But in recent years they have become aware that there is a (huge) amount of audiovisual production by Africans, and that makes a difference. For studying and understanding Africa, these are important sources. But it is not easy to find them, or to get to them and to know where and how they are preserved. This issue is

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Convents, Guido. "Current issues in African Moving Images and their Preservation." African Research & Documentation 110 (2009): 5–16. http://dx.doi.org/10.1017/s0305862x00017672.

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Preservation policies for moving images made in Africa by Africans was, for a long time, not an issue for most librarians and archivists in Europe with an interest in Africa. They thought of ‘African moving images’ as moving images made on that continent (mostly by non Africans). But in recent years they have become aware that there is a (huge) amount of audiovisual production by Africans, and that makes a difference. For studying and understanding Africa, these are important sources. But it is not easy to find them, or to get to them and to know where and how they are preserved. This issue is

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6

Kilian, Cassis. "Glimmering Utopias: 50 Years of African Film." Africa Spectrum 45, no. 3 (2010): 147–59. http://dx.doi.org/10.1177/000203971004500308.

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The history of African film began in the 1960s with the independence of the colonies. Despite all kinds of political and economic difficulties, numerous films have been made since then, featuring wide-ranging processes of consolidation, differentiation and transformation which were characteristic of post-colonial sub-Saharan Africa. However, these feature films should not merely be viewed as back references to specifically African problems. The glimmering fictions are imagination spaces. They preserve ideas about how the post-colonial circumstances should be approached. Seen from this perspect

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Jimeno Aranda, Ricardo. "African film studies: an introduction." Comunicación Revista Internacional de Comunicación Audiovisual Publicidad y Literatura 2, no. 21 (2023): 176–91. http://dx.doi.org/10.12795/comunicacion.2023.v21.i02.09.

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Arthur, Tori. "Nollywood Afrogeeks." International Journal of E-Politics 7, no. 3 (2016): 49–64. http://dx.doi.org/10.4018/ijep.2016070104.

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Viewing Nigerian film, known as Nollywood, in online platforms provides African immigrants living in the United States with digital spaces to engage with the African continent through films with relatable Pan-African themes. Nollywood on social media sites (YouTube and subscription services IrokoTV, Amazon, and Netflix) marks the Nigerian film industry as a transnational participatory movement that enables immigrants to use the technology at their disposal to watch and comment on films, connect with their cultural values, and become a part of a global digital community of dispersed Africans an

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9

Tafor, Ateh. "Tafor Ateh." International Journal of Trend in Scientific Research and Development 4, no. 2 (2020): 1035–41. https://doi.org/10.5281/zenodo.3854955.

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Modern African film cultures are receiving a new form of acceptability and audiences beyond the borders of Africa. This is illustrated by the growth, development and spread of the Nigerian and Ghanian film industries. While African audiences perceive them as 'Pan African', the development of film culture in Cameroon follows a different trajectory, with audience critiques of non representativeness of Cameroonian films. It is in this context that a Burkinabe film, Julie et Romeo, by Boubacar Diallo, itself an African adaptation of Shakespeare's play, became one of the most well recei

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Petty, Sheila. "African Cinema and (Re)Education: Using Recent African Feature Films." Issue: A Journal of Opinion 20, no. 2 (1992): 26–30. http://dx.doi.org/10.1017/s0047160700501516.

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Over the past few years the Montreal World Film Festival has continued to increase its programming of films by African directors. The 1991 edition, which ran from August 22-September 2, was certainly no exception. I happened to turn on the television to the French station and caught Société Radio Canada’s “official” review of Laafi by Pierre Yameogo of Burkina Faso. The reviewers, Chantal Jolis and René Homier-Roy, dismissed Yameogo’s portrayal of a current African problem—braindrain—as weak in terms of artistic production. For example, they both agreed that Laafi had too many “monotonous mome

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Hunter, Emma. "African History on Screen and in the Classroom." African Research & Documentation 110 (2009): 29–36. http://dx.doi.org/10.1017/s0305862x00017696.

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In 1954, an African welfare association, the African Association of Tanganyika, decided to create a new organisation, TANU, to campaign for selfgovernment. Their reasons for taking this step were many, but among the long list of criticisms of the colonial government documented at that first conference was one which related to films. According to the colonial government's report on the conference, among the “social topics” discussed was “the portrayal of Africans as savages in popular films”, and “a campaign to persuade people not to perform dances or allow themselves to be photographed by Euro

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Mwakalinga, Mona N. "African Documentary Film: Jean Marie Teno and Hybridism in Afrique, je te Plumerai." Tanzania Zamani: A Journal of Historical Research and Writing 11, no. 1 (2019): 103–26. http://dx.doi.org/10.56279/tza20211115.

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Documentary film has been known for its capacity to interrogate issues of social, economic, cultural and political significance, but this interrogation has been at headlocks with African governments who use the documentary genre as showcasing and praising tool. This article examines the utilization of documentary films in Africa by African governments such as Tanzania, and by independent African filmmakers such as Jean Marie Teno. Jean Marie Teno’s film “Afrique, je te Plumerai” is examined and its role in the struggle for social, political, economic, and cultural emancipation of the Camerooni

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Wagner, Ludwig. "The wo/man in the mirror." Journal of African Cinemas 12, no. 1 (2020): 47–70. http://dx.doi.org/10.1386/jac_00027_1.

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This article focuses primarily on mirror scenes in Lionel Rogosin’s ground-breaking African film Come Back, Africa (1959). To examine how specular reflections may be influenced by a director’s identity, Rogosin’s film is compared to another African classic, Ousmane Sembène’s Black Girl (La Noire de…) (1966). Despite surprising intertextual similarities, their specular reflections signify two very different filmic gazes. Both films are structured as fictional narratives that exhibit a documentary/fictional synthesis and set in inhospitable racist societies. By exploring how these scenes inform

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Modisane, Litheko. "Experiments in cinematic biography: Ken Gampu’s early life in the cinema." Journal of African Cinemas 12, no. 2-3 (2020): 119–35. http://dx.doi.org/10.1386/jac_00032_1.

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Contemporary scholarship on South African film is yet to address the participation of Black actors in film production, exhibition and publicity. The actors’ interpretive roles in the films, their memories and experiences, and the contradictions of their participation in colonial films and beyond, form part of an unexplored and hidden archive in South African film scholarship. This article focuses on Ken Gampu’s early life in the cinema by reflecting on his participation in two films: a western The Hellions and the drama Dingaka. Gampu was a well-known South African actor and also the first Bla

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15

Roberts, Andrew D. "Africa on Film to 1940." History in Africa 14 (1987): 189–227. http://dx.doi.org/10.2307/3171838.

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In the course of bibliographical work on volume 7 of the Cambridge History of Africa, I realized that there was no guide to film as a historical source for this or any other period in African history. Lists had been made of films on Africa available for loan or hire in the U.S.A., but no one had tried to list at all comprehensively what had actually been made or what had survived. I therefore decided to compile such a guide myself, tracing the making of non–fiction film in Africa from early days up to 1940: this seemed a suitable cutoff date, since it was clear that from the Second World War t

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Danso, Augustine. "Reconstructing cinematic activities in the early twentieth century: Gold Coast (Ghana)." Journal of African Cinemas 13, no. 2 (2021): 147–55. http://dx.doi.org/10.1386/jac_00051_1.

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In the history of African cinema, there is a nexus between films and the colonial imperial project. That is, products of cinema and cinematic practices shaped the process of colonialism in the specific case of Africa. Predicated largely on archival documents, this study explores how cinema was regulated in the major towns and cities in the Gold Coast during the colonial era. Ghanaian cinema has a considerably long historical narrative, however, much of what is known about the history of cinema in Ghana, particularly, on film screening, censorship and exhibition practices, is rather little. Thu

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Kaplan, Kenneth. "The African medical intermediary figure in two narrative films depicting the colonial medical encounter." Journal of African Cinemas 15, no. 1 (2023): 57–68. http://dx.doi.org/10.1386/jac_00089_1.

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Scholarly work on medical-themed screen narratives has hitherto favoured film emanating from the Global North. By considering two feature films by filmmakers from Africa, this article seeks partially to redress this imbalance. Applying postcolonial theory from influential African scholars, the article redirects attention from the dramatized persona of Dr Albert Schweitzer, the protagonist in the selected films, to the narrative construction of the African medical intermediary. The comparative analysis considers this figure in a new light and attempts to understand its importance within the cin

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Dahman, Abdeghni. "Amok (1982): A Pan-African film with transnational aspirations." Journal of African Cinemas 16, no. 2 (2024): 147–68. https://doi.org/10.1386/jac_00115_1.

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This article attempts to foreground the Pan-African concerns in Souheil Ben-Barka’s Amok (1982). This film has been consistently ignored in African cinema scholarship even though it documents one of the most authoritarian political regimes in South Africa, i.e. the Apartheid political system. Although the film was made in the 1980s, a time best known for the establishment of national African cinemas, its primary concern is beyond the notion of nationhood, opening up therefore the possibility of reading and thinking about African films beyond national boundaries. Grounded in the Pan-Africanist

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MA, Na, and Xingzi WANG. "Digital Dissemination of African Films in China: A Case Study of the Bilibili Platform." Research On Frontiers 1, no. 2 (2024): 85–94. http://dx.doi.org/10.62978/2410mn8594.

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Cultural communication is of great significance to countries in shaping their national image and enhancing their national soft power. However, due to the influence of African politics and economy, African films always face the situation of insufficient production capacity in the film industry, internationalization experience, and film professionals. As a result, its culture has been discounted in the process of dissemination. In particular, African films have for many years relied only on video and other channels of dissemination, making it difficult to compete with the production and wide dis

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MA, Na, and Xingzi WANG. "Digital Dissemination of African Films in China: A Case Study of the Bilibili Platform." Research On Frontiers 1, no. 2 (2024): 84–93. http://dx.doi.org/10.62978/2410mn8493.

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Cultural communication is of great significance to countries in shaping their national image and enhancing their national soft power. However, due to the influence of African politics and economy, African films always face the situation of insufficient production capacity in the film industry, internationalization experience, and film professionals. As a result, its culture has been discounted in the process of dissemination. In particular, African films have for many years relied only on video and other channels of dissemination, making it difficult to compete with the production and wide dis

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21

Yılmaz, Muzaffer Musab. "Ousmane Sembene's Camp De Thiaroye in the Context of Anticolonial African Literature." İnsan ve Toplum Bilimleri Araştırmaları Dergisi 13, no. 2 (2024): 630–43. http://dx.doi.org/10.15869/itobiad.1442420.

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Almost all of the countries on the African continent have been under the domination of European powers for a certain period of time throughout their history. As a result, many books have been written on the continent, adopting an anti-colonial rhetoric. Numerous authors have analyzed European colonialism and offered suggestions for getting rid of it. Senegalese Ousmane Sembene is an anti-colonial writer and director. In a way, his films can be considered as a version of anticolonial literature transferred to the movie screen. Sembene is an extremely important name for African cinema. He is the

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Stevenson Omoera, Osakue. "The Imasuen factor in the Benin language videofilm sector of Nollywood." Issue 1 1, no. 1 (2018): 7–21. http://dx.doi.org/10.31920/2516-2713/2018/v1n1a1.

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The phenomenal rise of Lancelot Oduwa Imasuen (LOI) as a filmmaker and director in Nollywood and indeed in Africa is worth probing and documenting for posterity of scholars and professionals, especially against the backdrop of his native Benin (Edo) language videofilm industry and tradition, which he has given his gestaltist support so effusively in terms of technical finesse, global exposure, great storylines, actor/talent development and business architecture, among others. Using the interview, direct observation and literary methods, this article engages LOI in a conversation aimed at unbur

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Sawadogo, Boukary. "Presence and exhibition of African film in Harlem." Journal of African Cinemas 12, no. 2-3 (2020): 163–75. http://dx.doi.org/10.1386/jac_00034_1.

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Throughout the twentieth-century American history, the circulation of African arts in the New York City runs parallel with African American activism. The African on-screen presence in Harlem needs to be examined in this broader context in order to better grasp the historical trajectory of its development in the neighbourhood and also the encounters and exchanges between Africans and African Americans. Today, the increased interest in African screen media productions result from the confluence of two phenomena: the current Black renaissance and the reconfigurations of African cinema under the i

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Jin, Haina. "When a beautiful daughter-in-law meets Africa: Translating Chinese films and television programmes for the African market." Journal of African Cinemas 12, no. 1 (2020): 17–30. http://dx.doi.org/10.1386/jac_00025_1.

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There has been a long-standing cooperative relationship between the Chinese film industry and African film industries since the 1950s. In recent years, more and more Chinese film and television studios have sought to sell their products abroad, which has meant investing in translation. In order to project the image of a modern China with a rich cultural heritage, the State Administration of Radio, Film and Television (SARFT) launched the ‘Sino-Africa Film and Television Cooperation Project’ to promote the translation and dissemination of Chinese films and television products in Africa. As a re

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Westerbeck, Ryan. "Police Brutality, Over-Policing, and Mass Incarceration in African American Film." Journal of Black Studies 51, no. 3 (2019): 213–27. http://dx.doi.org/10.1177/0021934719895579.

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This article seeks to examine the role of the police in African American film. Looking at the last three decades of filmmaking, five films stand out as important examples for this study: Do the Right Thing, Boyz n the Hood, Set it Off, Training Day, and Get Out. These films are both consistent in the message regarding the police and African American communities, and are separated by time to demonstrate the distinct differences in how that message has been shown. An examination of the real-world relationship between the two groups is also studied, to better understand the accuracy of the films.

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Talmacs, Nicole. "Africa and Africans in Wolf Warrior 2: Narratives of Trust, Patriotism and Rationalized Racism among Chinese University Students." Journal of Asian and African Studies 55, no. 8 (2020): 1230–45. http://dx.doi.org/10.1177/0021909620920323.

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This paper analyses responses from Chinese university students to China’s most successful blockbuster to date, Wolf Warrior 2. Responses revealed racialized language objectifying the black African Other and affirmation of existing scepticisms towards Sino-African relations. It is argued that these responses must be understood within the context of trust these students have in the mediated messages they encounter, the Chinese leadership, the hearsay of social networks, and film industry standards established by Hollywood, all of which precondition Chinese student understandings of ‘Africa’ and

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Mulcaire, T. "AFRICAN FILM FESTIVAL." Nka Journal of Contemporary African Art 2000, no. 11-12 (2000): 24–27. http://dx.doi.org/10.1215/10757163-11-12-1-24.

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Balogun, Olusola Kayode, and Adefolaji Eben Adeseke. "Advancing Indigenous African Values and Ethos for Film Directing and Production in Nollywood." International Journal of Current Research in the Humanities 26, no. 1 (2023): 87–97. http://dx.doi.org/10.4314/ijcrh.v26i1.6.

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For several decades, African film narratives and directorial approaches have been tailored towards the western modes of theoretical postulations and production patterns. This is due to the widely accepted conventional training modules and curricula which were and still are based on European ideas, values and styles, with little or no regard for the unique African theatrical and performative styles. This study, therefore, aims at investigating certain indigenous cultural and historical activities such as folktales, myths and legends that can provide raw materials for film and video drama in Afr

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Sawadogo, Boukary. "FESPACO and critical discourse on African cinema." Journal of African Cinemas 14, no. 1 (2022): 35–47. http://dx.doi.org/10.1386/jac_00060_1.

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The Pan-African Film and Television Festival of Ouagadougou (FESPACO) celebrated its golden jubilee at its 26th edition in 2019. This marks a time for reflection and assessment of the future of the festival. The 50th anniversary also represents a key juncture for scholars and practitioners to rethink curatorial practice in Africa to enable film festivals to function also as a medium of production and dissemination of critical discourse on African screen media. FESPACO has a longstanding tradition of continually producing archives of knowledge about African cinema. The study of the relationship

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Glenn, Ian. "The ethics of wildlife documentary making in Africa: Fréderic Rossif’s La Fête Sauvage and the school of lies." Journal of African Cinemas 15, no. 2 (2023): 181–97. http://dx.doi.org/10.1386/jac_00100_1.

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Critiques of faked sequences in wildlife documentary films have generally ignored films made in Africa. While recent revelations show how David Attenborough and others have misled audiences, the most shocking example is Frédéric Rossif’s film La Fête Sauvage (1976). Though the film remains notable for many reasons – dramatic aerial sequences, lyrical use of ultra-slow motion, technical innovations, the music of Vangelis – from the perspective of Southern African wildlife film history, the production has to be seen as ethically and scientifically dubious. The interviews with the crew in the Mak

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Weaver-Hightower, Rebecca. "Mobile Film Festival Africa and Postcolonial Activism." Humanities 12, no. 6 (2023): 140. http://dx.doi.org/10.3390/h12060140.

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This paper enters into a debate of how new and potentially more accessible technologies might affect freedom of expression for heretofore disenfranchised peoples and postcolonial social and political development. This essay examines short films produced on camera phones by amateur African filmmakers for one of the many existent mobile phone film festivals: Mobile Film Festival Africa held in 2021. Mobile Film Festival, an annual and international festival of short-length movies, was founded in 2005 based on the principle “1 Mobile, 1 Minute, 1 Film”. Because of the highly destructive mining in

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Thompson, Jarred. "A Pan-African Exploration of Queer Embodiment in African Film." Thinker 102, no. 1 (2025): 84–87. https://doi.org/10.36615/xbqj3343.

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Gibson Ncube’s monograph produces a Pan-African archive of films that grapple with the specificities of queer embodiment in several regions on the African continent. Queer Bodies in African Films does important intra-continental theorising about what it means to be queer in Africa, or African and queer, in both North and sub-Saharan African contexts, with a corpus that maps filmed queer bodiesin selected Maghrebian (chapter one), Egyptian (chapter two), East African (chapter three), and South African films (chapter four). Throughout, Ncube centres the filmed queer body as a site where “multipl

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Snell, Heather. "‘I Am Also Having Mother Once, and She Is Loving Me’: Reading Cary Joji Fukunaga’s Beasts of No Nation in a Post-Network Era." Adaptation 13, no. 2 (2019): 194–209. http://dx.doi.org/10.1093/adaptation/apz031.

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Abstract This article examines Cary Joji Fukunaga’s film adaptation of Uzodinma Iweala’s Beasts of No Nation, with a special focus on the final scene, in which a counsellor is assigned to help the protagonist deal with the trauma of having been a child soldier. While the casting of a black African actor as the counsellor in Fukunaga’s film may appear to detract from the novel’s interrogation of the uneven power relations between Africa and America, an interpretation oscillating between novel and film reveals that there may be some benefits to erasing the white saviour figure from the scene. Th

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Temple, Walter S. "Transitions Within Queer North African Cinema." Screen Bodies 2, no. 2 (2017): 64–77. http://dx.doi.org/10.3167/screen.2017.020205.

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In recent years, North African queer cinema has become increasingly visible both within and beyond Arabo-Orientale spaces. A number of critical factors have contributed to a global awareness of queer identities in contemporary Maghrebi cinema, including the dissemination of films through social media outlets and during international film festivals. Such tout contemporain representations of queer sexuality characterize a robust wave of films in the Middle East and North Africa (MENA) region, inciting a new discourse on the condition of the marginalized traveler struggling to locate new forms of

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Pomp, Joseph. "Out of the limelight: The privileging of auteurs over actors at FESPACO." Journal of African Cinemas 14, no. 1 (2022): 49–63. http://dx.doi.org/10.1386/jac_00061_1.

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This article uses the changing fortunes of actors at the Pan-African Film and Television Festival of Ouagadougou (FESPACO) over the last 50 years as a point of departure to examine how their creative agency and professional opportunities have been delimited by the dominant film culture in West Africa. Taking into consideration the various efforts, such as awards and the organization of colloquia, made by the festival to recognize their work, it argues that the discontinuity of such promotion has kept them overshadowed by directors, for whom the festival was initially established. It examines t

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Pfaff, Françoise. "Five West African Filmmakers on their Films." Issue: A Journal of Opinion 20, no. 2 (1992): 31–37. http://dx.doi.org/10.1017/s0047160700501528.

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Prior to 1960, such countries as England and Belgium trained a number of Africans in the technical areas of “movie-making” through their colonial film units which produced health and educational documentaries as well as propagandist shorts praising the colonial order and/or disseminating the Christian faith. Nevertheless, little had been done to encourage native “movie-thinking.” The late Paulin Soumanou Vieyra (Benin/Senegal), one of the pioneers and early historians of African cinema, often pointed out how the French colonial authorities would refuse scholarships to aspiring African film stu

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Ingle, Zachary Thomas. "Alexie Tcheuyap (2011) Postnationalist African Cinemas." Film-Philosophy 16, no. 1 (2012): 313–16. http://dx.doi.org/10.3366/film.2012.0029.

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KOUAME, Koumi Christian. "Choix musicaux dans le film d’animation « Aya de Yopougon » : influence narrative et représentation culturelle ?" Revue d’Études Africaines 1, no. 4 (2025): 41–55. https://doi.org/10.61585/pud-rea-v1n418.

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The film is not just visual. It’s also auditory. Its auditory aspect encompasses three (03) components: Voice-Over and/or in (dialogue); sound effects; and music. Regarding music, it is established that its creation for thefilm is not done ex-nihilo. It participates in the film’s framework as it forms, along with the other auditory and visual components, an osmosis that anticipates an architectural design aimed at conveying a message. However, while there is abundant literature on the creative and decision-making processes guiding music choices in European and American cinema, this is not the

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Ibrahim, Muhammad Muhsin, and Aliyu Yakubu Yusuf. "Going Beyond Boundaries: There is a Way and the Use of English Medium in Hausa Film Industry." CINEJ Cinema Journal 7, no. 1 (2018): 205–24. http://dx.doi.org/10.5195/cinej.2018.206.

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Since its inception in 1990, Kannywood, the Northern Nigerian film industry, produced films only in Hausa, the dominant language of the region. The film, There is a Way (2016, dir. Falalu A. Dorayi) has recently debuted a new “genre” in the English language in the industry. However, the place of English or any non-African language in African arts (film, inclusive) is a topic of scholarly debate, especially within the discourse of postcolonial studies. Many pan-African writers and critics query the justification of that as the language is, they argue, foreign to African audience and is used onl

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Kozieł, Patrycja. "17th AfryKamera African Film Festival in Poland." Hemispheres.Studies on Cultures and Societies 37 (2022): 89–91. http://dx.doi.org/10.60018/hemi.csyx3365.

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The AfryKamera Film Festival ran from September 30 to October 9, 2022 in Warsaw and featured more than thirty films, including several competitive categories, such as feature films, musical documentary features, short films and animations. The programme is continuously available in numerous cities in Poland and on the biggest online platforms. As indicated in the festival’s official Manifest, AfryKamera is changing, developing and referring to the future, hence this year’s poster, which, like the entire event, was linked to Afrofuturism, a visual, literary, and philosophical concept and artist

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Kozieł, Patrycja. "18th AfryKamera African Film Festival in Poland." Hemispheres.Studies on Cultures and Societies 38 (2023): 91–95. http://dx.doi.org/10.60018/hemi.dbkw1400.

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The AfryKamera African Film Festival is an annual event that aims to promote and showcase the diversity, richness and creativity of African cinema. This paper highlights the various aspects and impacts of the festival on filmmakers, audiences and the wider cultural landscape. This year’s edition ran from 12th to 17th December in Warsaw, Poland. Throughout the duration of the six-day festival, attendees had the opportunity to view a diverse selection of over 50 films, including features, documentaries and short films.

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Lott, Martha. "The Relationship Between the “Invisibility” of African American Women in the American Civil Rights Movement of the 1950s and 1960s and Their Portrayal in Modern Film." Journal of Black Studies 48, no. 4 (2017): 331–54. http://dx.doi.org/10.1177/0021934717696758.

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This research argues that the representation of African American women in modern civil rights film is a result of the “invisibility” that they faced during the civil rights movement in America during the 1950s and 1960s. To make its argument, this article contends that the media’s scant but negative coverage of women activists along with male leaders, such as Malcolm X’s attitude toward African American women during the period of the movement, is the reason why ultimately African American women activists received lack of recognition for their involvement in the movement. This work also argues

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Ogundipe, Stephen Toyin, and Rachael Fisayo Ayoade. "Cheapest Way to Europe: Illegal Migration and Women Objectification in African Film." Àgídìgbo: ABUAD Journal of the Humanities 12, no. 1 (2024): 235–49. http://dx.doi.org/10.53982/agidigbo.2024.1201.17-j.

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This paper explores the dynamics of irregular migration and the objectification of women in Boris Lojkine’s film Hope, highlighting the increasing prominence of these themes in African films. Through an analysis grounded in Martha Nussbaum’s feminist perspectives on objectification, the article examines how the film director portrays the female body as a commodity. The paper posits that sexual objectification is a gendered phenomenon and that the objectified body is almost always the female body. The findings reveal a gendered survival strategy employed by migrants facing insurmountable challe

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Ajiwe, Uchechukwu Chimezie, and Stella Uchenna Nwofor. "Supernatural Iconographies in Nollywood: A Study of Selected Nollywood Film." International Journal of Innovative Science and Research Technology 7, no. 10 (2022): 1861–68. https://doi.org/10.5281/zenodo.7332533.

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This paper looks at Supernatural iconographies as represented in Nollywood film narratives and how it replicates cultural realities of Nigerians, especially Igbo cultural ideologies and Africans at Large. Thus, the application ofvisual effects is craftily utilized in creating believable Illusions. This paper therefore, x-rays the composition of magical images, supernatural characters and effects which are the creator’s imaginations as conceived from their culture and social experiences to an audience who resonate with the images and meanings it produces. In so doing, this paper used Andy

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Coates, Oliver. "New Perspectives on West Africa and World War Two." Journal of African Military History 4, no. 1-2 (2020): 5–39. http://dx.doi.org/10.1163/24680966-00401007.

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Abstract Focusing on Anglophone West Africa, particularly Nigeria and the Gold Coast (Ghana), this article analyses the historiography of World War Two, examining recruitment, civil defence, intelligence gathering, combat, demobilisation, and the predicament of ex-servicemen. It argues that we must avoid an overly homogeneous notion of African participation in the war, and that we should instead attempt to distinguish between combatants and non-combatants, as well as differentiating in terms of geography and education, all variables that made a significant difference to wartime labour conditio

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Newell, Stephanie. "The Last Laugh: African Audience Responses to Colonial Health Propaganda Films." Cambridge Journal of Postcolonial Literary Inquiry 4, no. 3 (2017): 347–61. http://dx.doi.org/10.1017/pli.2017.27.

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AbstractFocusing on the complexity of local spectators’ responses to the simple ideological formulae of colonial health and hygiene films, this article asks about the ways in which the presence of local aesthetic tastes and values represented a vital third space of mediation alongside film content and filmmakers’ “authorial” objectives in the much-studied media archives on public health and hygiene in colonial Africa. The article argues that a host of cognitive failures is encapsulated in colonial officials’ reports on the laughter of African audiences between the late 1920s and early 1950s. I

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Michaelis, K. "A critical analysis of Pier Paolo Pasolini’s African Oresteia." Literator 17, no. 2 (1996): 79–90. http://dx.doi.org/10.4102/lit.v17i2.604.

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Pasolini's Appunti per un’Orestiade africana (1970) is a metaphorical film, inspired by the Greek legend of Orestes, in which Pasolini views postcolonial African history through the lens of mythology. His portrait of the birth of “modern” Africa is an attempt to narrate the passage from past to present and to salvage "prehistory" through his dream of the unification of the rational, democratic state and the irrational, primal slate of being. It is, however, a dream punctuated by contradictions and paradoxes, a dream which Pasolini will later abandon. Yet it is significant in the overall develo

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Fisher, Alexander. "Music, Magic, and the Mythic: The Dynamics of Visual and Aural Discourse in Souleymane Cissé’s Yeelen." CINEJ Cinema Journal 2, no. 1 (2012): 3–18. http://dx.doi.org/10.5195/cinej.2012.49.

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The 1980s saw a wave of African films that aimed to represent, on both local and international screens, a sophisticated pre-colonial Africa, representing ancient myths and traditions while simultaneously debunking notions of the continent as primitive. Toward this aim the films inscribed the conventions of oral performance within their visual styles, denying spectator identification with the protagonists and emphasising the presence of the narrator. However, some critics argued that these films exoticised Africa, while their use of oral performance’s distancing effect echoed the ‘scientific’ d

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Sanogo, Aboubakar. "Cine-Agora Africana: Meditating on the Fiftieth Anniversary of FESPACO." Film Quarterly 73, no. 2 (2019): 31–40. http://dx.doi.org/10.1525/fq.2019.73.2.31.

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To mark the 50th anniversary of the Pan African Film Festival of Ouagadougou (FESPACO), Aboubakar Sanogo presents a sweeping survey of the festival's history, influence, and future directions. He notes the festival's function as a home for African filmmakers and cinema, as a space for cultural encounters, as a library and archive of debates on African cinema, and as a barometer of health or lack thereof of the various national film industries on the continent. After reviewing this year's selection of films, which reflect ever-present concerns over memory, the geopolitical, and the effects of p

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Gopaul, Michael. "Subverting Representation: African Americans in Horror Film." Film Matters 13, no. 3 (2022): 61–71. http://dx.doi.org/10.1386/fm_00249_1.

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This article explores the slowly changing representation of African Americans in horror films. Scream 2 (1997), I Am Legend (2007), and Get Out (2017) are used as case studies to illustrate what little progression has taken place through the decades in relationship to African Americans on-screen in horror cinema. Topics such as stereotypical tropes, narrative conventions, themes of dehumanization, and racial oppression are investigated across each film to highlight representational similarities and differences through time.

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