Download Free African Film And Literature Book in PDF and EPUB Free Download. You can read online African Film And Literature and write the review.

Analyzing a range of South African and West African films inspired by African and non-African literature, Lindiwe Dovey identifies a specific trend in contemporary African filmmaking-one in which filmmakers are using the embodied audiovisual medium of film to offer a critique of physical and psychological violence. Against a detailed history of the medium's savage introduction and exploitation by colonial powers in two very different African contexts, Dovey examines the complex ways in which African filmmakers are preserving, mediating, and critiquing their own cultures while seeking a united vision of the future. More than merely representing socio-cultural realities in Africa, these films engage with issues of colonialism and postcolonialism, "updating" both the history and the literature they adapt to address contemporary audiences in Africa and elsewhere. Through this deliberate and radical re-historicization of texts and realities, Dovey argues that African filmmakers have developed a method of filmmaking that is altogether distinct from European and American forms of adaptation.
Analyzing a range of South African and West African films inspired by African and non-African literature, Lindiwe Dovey identifies a specific trend in contemporary African filmmaking-one in which filmmakers are using the embodied audiovisual medium of film to offer a critique of physical and psychological violence. Against a detailed history of the medium's savage introduction and exploitation by colonial powers in two very different African contexts, Dovey examines the complex ways in which African filmmakers are preserving, mediating, and critiquing their own cultures while seeking a united vision of the future. More than merely representing socio-cultural realities in Africa, these films engage with issues of colonialism and postcolonialism, "updating" both the history and the literature they adapt to address contemporary audiences in Africa and elsewhere. Through this deliberate and radical re-historicization of texts and realities, Dovey argues that African filmmakers have developed a method of filmmaking that is altogether distinct from European and American forms of adaptation.
Manthia Diawara provides an insider's account of the history and current status of African cinema. African Cinema: Politics and Culture is the first extended study in English of Sub-Saharan cinema. Employing an interdisciplinary approach which draws on history, political science, economics, and cultural studies, Diawara discusses such issues as film production and distribution, and film aesthetics from the colonial period to the present. The book traces the growth of African cinema through the efforts of pioneer filmmakers such as Paulin Soumanou Vieyra, Oumarou Ganda, Jean-René Débrix, Jean Rouch, and Ousmane Sembène, the Pan-African Filmmakers' Organization (FEPACI), and the Ougadougou Pan-African Film Festival (FESPACO). Diwara focuses on the production and distribution histories of key films such as Ousmane Sembène's Black Girl and Mandabi (1968) and Souleymane Cissé's Fine (1982). He also examines the role of missionary films in Africa, Débrix's ideas concerning 'magic, ' the links between Yoruba theater and Nigerian cinema, and the parallels between Hindu mythologicals in India and the Yoruba-theater - inflected films in Nigeria. Diawara also looks at film and nationalism, film and popular culture, and the importance of FESPACO. African Cinema: Politics and Culture makes a major contribution to the expanding discussion of Eurocentrism, the canon, and multi-culturalism.
Fills a gap in the international literature by offering new insights into the heterogeneous ways in which African men are performing, negotiating and experiencing masculinity. Through their analysis of the depictions in film and literature of masculinities in colonial, independent and post-independent Africa, the contributors open some key African texts to a more obviously politicized set of meanings. Collectively, the essays provide space for rethinking current theory on gender and masculinity: - how only some of the most popular theories in masculinity studies in the West hold true in African contexts; - howWestern masculinities react with indigenous masculinities on the continent; - how masculinity and femininity in Africa seem to reside more on a continuum of cultural practices than on absolutely opposite planes; - andhow generation often functions as a more potent metaphor than gender. Lahoucine Ouzgane is Associate Professor of English & Film Studies, University of Alberta, Canada.
This edited work explores how literature and film interact with political, economic and social life in Africa.
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.
This book investigates how representations of Black Africans have been negotiated over time in Arabic literature and film. The book offers direct readings of a representative selection of primary texts, shedding light on the divergent ways these authors understood race across different genres, including pre-Islamic classical poetry, polemical essays, travel narratives, novels, and films. Starting with the first recognized Black-Arab poet Antara Ibn Shaddad (580 C.E.) and extending right up to the present day, the works examined illuminate the changes in consciousness that attended Black Africans as they negotiated their position in Arab society. In a twist to Edward Said’s Orientalism, the book argues that scholars in the Middle East and North Africa generated a hierarchical representational discourse themselves, one equally predicated on the Self-Other binary. However, it also demonstrates that Arab racial discourse is not a linear rhetoric but changes according to history, political circumstances, and ideologies such as tribal politics, the Shu’ubiyya movement, nationalism, and imperialism. Blacks and Arabs have had tangled relationships that are based not only on race but also on kinship and solidarity due to trade and other types of connections. Challenging fundamental assumptions of Black Diaspora studies and postcolonial studies, this book will be of interest to scholars of the African diaspora, Arabic literature, Middle East studies, and critical race studies.
Bibliografie : p. 193-218 Survey of some projects by female African filmmakers from different countries ; the problematic encounter between Western feminism and African feminist filmmaking practice; the representation of women in African film.
A "geadl" or hagiography, originally written by Gealawdewos thirty years after the subject's death, in 1672-1673. Translated from multiple manuscripts and versions.
African Film: Looking Back and Looking Forward acknowledges all those filmmakers and film scholars who, through their productions and theorization, have made a difference to the filmic universe in Africa. Their substantial contribution reflects our world and has the potential to change our lives. The book adopts an interdisciplinary character, traversing, as it does, the diverse subjects of politics, economics and history, among others. It interrogates Africa’s filmic past, analyses current productions, projects into the future of the film in Africa, and deals with the nature of the filmmaking profession. This book contributes to the growing literature on the African film and will provide the opportunity for filmmakers, academics and students to learn about the history, theories, problems, and various approaches to production, marketing, gender issues, race and legal issues, and a host of other subjects that impinge upon the African film.