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African Video Movies and Global Desires is the first full-length scholarly study of Ghana’s commercial video industry, an industry that has produced thousands of movies over the last twenty years and has grown into an influential source of cultural production. Produced and consumed under circumstances of dire shortage and scarcity, African video movies narrate the desires and anxieties created by Africa’s incorporation into the global cultural economy. Drawing on archival and ethnographic research conducted in Ghana over a ten-year period, as well as close readings of a number of individual movies, this book brings the insights of historical context as well as literary and film analysis to bear on a range of movies and the industry as a whole. Garritano makes a significant contribution to the examination of gender norms and the ideologies these movies produce. African Video Movies and Global Desires is a historically and theoretically informed cultural history of an African visual genre that will only continue to grow in size and influence.
That Africa is at a crossroads in an increasingly globalised world is indisputable. Equally unassailable is the fact that the humanities, as a broad field of intellection, research and learning in Africa, appears to have been pigeonholed in debates of relevance in the development aspirations of many African nations. Historical experiences and contemporary research outputs indicate, however, that the humanities, in its various shades, is critical to Africa’s capacity to respond effectively to such problems as security, corruption, political ineptitude, poverty, superstition, and HIV/AIDS, among many other mounting challenges which confront the people of Africa. The vibrancy and resilience of Africa’s cultures, against these and other odds of globalisation episodes in the course of our history, demand the focused attention of academia to exploit their relevance to contemporary issues. This collection provides a comprehensive overview of issues in the humanities at the turn of the 21st century, which create a veritable platform for the global redefinition and understanding of Africa’s rich cultures and traditions. Such areas covered include ruminations in metaphysics and psychology, pathos and ethos, cinematic and literary connections, and historical conceptualisations.
Eschewing the postcolonial hubris that suggests Africa could only define itself in relation to its colonizers, a problem plaguing many studies published in the West on African cinema, this entry in the Directory of World Cinema series instead looks at African film as representing Africa for its own sake, values, and artistic choices. With a film industry divided by linguistic heritage, African directors do not have the luxury of producing comedies, thrillers, horror films, or even love stories, except perhaps as DVDs that do not travel far outside their country of production. Instead, African directors tend to cover serious sociopolitical ground, even under the cover of comedy, in the hopes of finding funds outside Africa. Contributors to this volume draw on filmic representations of the continent to consider the economic role of women, rural exodus, economic migration, refugees and diasporas, culture, religion and magic as well as representations of children, music, languages and symbols. A survey of national cinemas in one volume, Directory of World Cinema: Africa is a necessary addition to the bookshelf of any cinephile and world traveller.
Essays and case studies exploring how filmmaking can play a role in promoting social and economic justice. Bringing theory and practice together, African Cinema and Human Rights argues that moving images have a significant role to play in advancing the causes of justice and fairness. The contributors to this volume identify three key ways in which film can achieve these goals: Documenting human rights abuses and thereby supporting the claims of victims and goals of truth and reconciliation within larger communities Legitimating, and consequently solidifying, an expanded scope for human rights Promoting the realization of social and economic right Including the voices of African scholars, scholar-filmmakers, African directors Jean-Marie Teno and Gaston Kaboré, and researchers whose work focuses on transnational cinema, this volume explores overall perspectives, and differences of perspective, pertaining to Africa, human rights, and human rights filmmaking alongside specific case studies of individual films and areas of human rights violations. With its interdisciplinary scope, attention to practitioners’ self-understandings, broad perspectives, and particular case studies, African Cinema and Human Rights is a foundational text that offers questions, reflections, and evidence that help us to consider film’s ideal role within the context of our ever-continuing struggle towards a more just global society.
World Cinema: A Critical Introduction is a comprehensive yet accessible guide to film industries across the globe. From the 1980s onwards, new technologies and increased globalization have radically altered the landscape in which films are distributed and exhibited. Films are made from the large-scale industries of India, Hollywood, and Asia, to the small productions in Bhutan and Morocco. They are seen in multiplexes, palatial art cinemas in Cannes, traveling theatres in rural India, and on millions of hand-held mobile screens. Authors Deshpande and Mazaj have developed a method of charting this new world cinema that makes room for divergent perspectives, traditions, and positions, while also revealing their interconnectedness and relationships of meaning. In doing so, they bring together a broad range of issues and examples—theoretical concepts, viewing and production practices, film festivals, large industries such as Nollywood and Bollywood, and smaller and emerging film cultures—into a systemic yet flexible map of world cinema. The multi-layered approach of this book aims to do justice to the depth, dynamism, and complexity of the phenomenon of world cinema. For students looking to films outside of their immediate context, this book offers a blueprint that will enable them to transform a casual encounter with a film into a systematic inquiry into world cinema.
African Film Studies is an accessible and engaging introduction to African cinemas, showcasing the diverse cinematic expressions across the continent. Bringing African cinemas out of the margins and into mainstream film studies, the book provides a succinct overview of the history, aesthetics, and theory of sub-Saharan African cinematic productions. Updated throughout, this new edition includes new chapters on Nollywood, Ethiopian cinema, Streaming, and the rise of televisual series, which serve to complement the book’s main themes: Overview of African cinema(s): Questions assumptions and defines the characteristics of African cinemas across linguistic, geographic, and filmic divides History of African cinemas: Spans the history of film in Africa from colonial import and ‘appropriation of the gaze’, the rise of Nollywood and local TV series to streaming, as well as building connections with the development of African American cinema Aesthetics: Introduces new research on previously under-explored aesthetic dimensions such as cinematography, animation, and film music Theoretical Approaches: Addresses a number of theoretical approaches and critical frameworks developed by scholars in the study of African cinemas Traditions and practices in African screen media: Features Ethiopian cinema, Nollywood, Local Televisual Series in Burkina Faso and South Africa, and the Streaming rush for Africa All chapters include case studies, suggestions for further reading, and screening lists to deepen the reader’s knowledge, with no prior knowledge of African cinemas required. Students, teachers, and general film enthusiasts would all benefit from this accessible and engaging book.
An authoritative guide to African cinema with contributions from a team of experts on the topic A Companion to African Cinema offers an overview of critical approaches to African cinema. With contributions from an international panel of experts, the Companion approaches the topic through the lens of cultural studies, contemporary transformations in the world order, the rise of globalization, film production, distribution, and exhibition. This volume represents a new approach to African cinema criticism that once stressed the sociological and sociopolitical aspects of a film. The text explores a wide range of broad topics including: cinematic economics, video movies, life in cinematic urban Africa, reframing human rights, as well as more targeted topics such as the linguistic domestication of Indian films in the Hausa language and the importance of female African filmmakers and their successes in overcoming limitations caused by gender inequality. The book also highlights a comparative perspective of African videoscapes of Southern Nigeria, Ethiopia, and Côte d’Ivoire and explores the rise of Nairobi-based Female Filmmakers. This important resource: Puts the focus on critical analyses that take into account manifestations of the political changes brought by neocolonialism and the waning of the cold war Explores Examines the urgent questions raised by commercial video about globalization Addresses issues such as funding, the acquisition of adequate production technologies and apparatuses, and the development of adequately trained actors Written for film students and scholars, A Companion to African Cinema offers a look at new critical approaches to African cinema.
Tracing the history of Africa's relationship to film festivals and exploring the festivals' impact on the various types of people who attend festivals (the festival experts, the ordinary festival audiences, and the filmmakers), Dovey reveals what turns something called a "festival" into a "festival experience" for these groups.
Films for the Colonies examines the British Government’s use of film across its vast Empire from the 1920s until widespread independence in the 1960s. Central to this work was the Colonial Film Unit, which produced, distributed, and, through its network of mobile cinemas, exhibited instructional and educational films throughout the British colonies. Using extensive archival research and rarely seen films, Films for the Colonies provides a new historical perspective on the last decades of the British Empire. It also offers a fresh exploration of British and global cinema, charting the emergence and endurance of new forms of cinema culture from Ghana to Jamaica, Malta to Malaysia. In highlighting the integral role of film in managing and maintaining a rapidly changing Empire, Tom Rice offers a compelling and far-reaching account of the media, propaganda, and the legacies of colonialism.
The culturally rooted comic traditions of koteba theater and joking kinship have shaped West African comedies through various forms of humor. Débrouillardise (hustle) has turned the urban scene into a comic scene, a site for individual realization. To highlight the ever-growing production and success of comedies and other popular genres, West African Screen Media: Comedy, TV Series, and Transnationalization explores the distribution and reception of selected productions by emphasizing the public’s strong resonance with local stories and a character-based comedy involving popular comedians. In contrast to art films or “auteur films” that tend to be confined to the festival circuit, comedies and popular genres reach a far wider audience through local distribution networks, satellite TV channels, pirated DVDs, and online distribution platforms. This book engages a discussion of contemporary African media productions as seen outside the usual frameworks of cinéma engagé, the art house, or auteur approaches. While examining production and distribution through the lenses of proximity, appropriation, and transnationalization, this volume invites readers to reconsider the way genre films, as well as other kinds of productions, have been previously evaluated and in doing so addresses the critical neglect of comedy and other popular genres in the scholarship on African cinema.