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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:
Written for film students and scholars, A Companion to African Cinema offers a look at new critical approaches to African cinema.
Kenneth W. Harrow is Distinguished Professor Emeritus of English at Michigan State University with specializations in African literature and cinema. He has taught in the Université de Yaounde, Cameroon and l'Université Cheikh Anta Diop in Dakar, Senegal.
Carmela Garritano is Associate Professor of Africana Studies and Film Studies at Texas A&M University. Her research has been supported by Fulbright IIE and the West African Research Association.
Notes on Contributors x
Introduction: Critical Approaches to Africa’s Cinema, From the Age of Liberation and Struggle to the Global, Popular, and Curatorial 1Kenneth W. Harrow and Carmela Garritano
Part I Time/Crisis/Uncertainty 21
1 Cinematic Economies of the Hypercontemporary in Haroun and Sissako 23Justin Izzo
2 Approaching the Uncertain Turn in African Video‐Movies: Subalternity, Superfluity, and (Non‐)Cinematic Time 44Jacques de Villiers
3 Life in Cinematic Urban Africa: Inertia, Suspension, Flow 69Karen Bouwer
Part II Trauma/Violence/Precarity in an Age of Global Neoliberalism 89
4 At the Intersection of Trauma, Precarity, and African Cinema: A Reflection on Mahamat‐Saleh Haroun’s Grigris 91MaryEllen Higgins
5 Reframing Human Rights: Hotel Rwanda (2004), A Screaming Man (2010), Global Conflict, and International Intervention 112Dayna Oscherwitz
6 “The Invisible Government of the Powerful”: Joseph Gaï Ramaka’s Cinema of Power 136Akin Adesokan
Part III Sound/Form/Dub 155
7 Transcultural Language Intimacies: The Linguistic Domestication of Indian Films in the Hausa Language 157Abdalla Uba Adamu
8 The (Aural) Life of Neo‐colonial Space 176Vlad Dima
9 “Outcast Orders” and the Imagining of a Queer African Cinema: A Fugitive, Afro‐Jazz Reading of Karmen Geï 194Lindsey Green‐Simms
Part IV Platforms/Informality/Archives 217
10 Streaming Quality, Streaming Cinema 219Moradewun Adejunmobi
11 Between the Informal Sector and Transnational Capitalism: Transformations of Nollywood 244Jonathan Haynes
12 Nollywood Chronicles: Migrant Archives, Media Archeology, and the Itineraries of Taste 269Noah Tsika
Part V National Industries/Media Cities/Transnational Flows 291
13 African Videoscapes: Southern Nigeria, Ethiopia, and Côte d’Ivoire in Comparative Perspective 293Alessandro Jedlowski
14 Nairobi‐based Female Filmmakers: Screen Media Production between the Local and the Transnational 315Robin Steedman
Part VI Genre/Poetics/Gender 33715 Darker Vision: Global Cinema and Twenty‐first‐Century Moroccan Film Noir 339Suzanne Gauch
16 From Ethnography to Essay: Realism, Reflexivity, and African Documentary Film 358Rachel Gabara
17 New Algerian Cinema: Portrayals of Women in Films Post‐Les années noires 379Valérie K. Orlando
18 “Qu’elle aille explorer le possible!”: Or African Cinema according to Jean‐Pierre Bekolo 402P. Julie Papaioannou
Part VII Movement/Fluidity and Aesthetics/Migration 421
19 Relational Histories in African Cinema 423Sheila Petty
20 Crossing Lines: Frontiers, Circulations, and Identity in Contemporary African and Diaspora Film 444Melissa Thackway
Part VIII The End of Film Criticism?: The New Beginning of Curation and Bricolage 465
21 Towards Alternative Histories and Herstories of African Filmmaking: From Bricolage to the “Curatorial Turn” in African Film Scholarship 467Lindiwe Dovey
Index 486
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