African Cinema: Manifesto and Practice for Cultural Decolonization: Volume 1: Colonial Antecedents, Constituents, Theory, and Articulations

Challenging established views and assumptions about traditions and practices of filmmaking in the African diaspora, this three-volume set offers readers a researched critique on black film. Volume 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. Cover Title Page Copyright Dedication Contents Acknowledgments On Decoloniality: African and Diasporic Cinema Part I: Colonial Formations Colonial Cinema The Colonialist Regime of Representation, 1945–1960 Politics of Cultural Conversion in Colonialist African Cinema The African Bioscope: Movie-House Culture in British Colonial Africa From the Inside: The Colonial Film Unit and the Beginning of the End The Independence Generation: Film Culture and the Anti-Colonial Struggle in the 1950s Part II: Constituting African Cinema What is Cinema for Us? A Cinema Fighting for Its Liberation Where Are the African Women Filmmakers? The FEPACI and Its Artistic Legacies New Avenues for FEPACI: Interview with Seipati Bulane-Hopa The Six Decades of African Film Africa, The Last Cinema The Pan-African Cinema Movement: Achievements, Misadventures, and Failures (1969–2020 Part III: Theorizing African Cinema African Cinema(s): Defnitions, Identity, and theoretical Considerations Theorizing African Cinema: Contemporary African Cinematic Discourse and Its Discontents The theoretical Construction of African Cinema Towards a Critical theory of third World Films Africans Filming Africa: Questioning theories of an Authentic African Cinema Tradition/Modernity and the Discourse of African Cinema Towards a theory of Orality in African Cinema Film and the Problem of Languages in Africa In Defense of African Film Studies Part IV: Articulations of African Cinema Dossier 1: Key Dates in the History of African Cinema Dossier 2: Ousmane Sembène Sembène’s Legacy to FESPACO Vigil for a Centennial Cinema as Evening School Statement at Ouagadougou (1979) Art for Man’s Sake: A Tribute to Ousmane Sembène On “Mediated Solidarity”: Reading Ousmane Sembène in Sembène! Ousmane Sembène: An Annotated Gallery Dossier 3: African Women in Cinema Index

Challenging established views and assumptions abouttraditions and practices of filmmaking in the African diaspora,this three-volume set offers readers a researched critique on blackfilm.

Volume One of this landmark series on African cinema drawstogether foundational scholarship on its history and evolution.Beginning with the ideological project of colonial film tolegitimize the economic exploitation and cultural hegemony of theAfrican continent during imperial rule to its counter-historicalformation and theorization. It comprises essays by film scholarsand filmmakers alike, among them Roy Armes, Med Hondo, FèridBoughedir, Haile Gerima, Oliver Barlet, Teshome Gabriel, and DavidMurphy, including three distinct dossiers: a timeline of key datesin the history of African cinema; a comprehensive chronicle andaccount of the contributions by African women in cinema; and ahomage and overview of Ousmane Sembène, the "Father" of Africancinema.