African Women Arts & Film Festival: Submission for AWAFFEST 2020 starts on August 1st and ends November 1st (Tanzania)

African Women Arts & Film Festival: Submission for AWAFFEST 2020 starts on August 1st and ends November 1st (Tanzania)

Send submissions to: https://filmfreeway.com/awaffest

African Women Arts & Film Festival (AWAFFEST) is a platform to appreciate arts and stories of African women; to celebrate female film practitioners; and to empower aspiring artists. AWAFFEST is held in March to celebrate the International Women’s Month.

http://www.awaffest.org

Other Links:

https://www.facebook.com/awaffest/

Aché Coelo (Tchad/Chad) : « Il faut améliorer la condition de la femme dans le cinéma africain...» | "There must be an evolution in the status of women in African cinema" by/par Yaya Idrissou (Culturebene)

Aché Coelo (Tchad/Chad) : « Il faut améliorer la condition de la femme dans le cinéma africain...» | "There must be an evolution in the status of women in African cinema" - Culturebene

Source (& Image) : Entretien/Interview by/par Yaya Idrissou. 18-07-2019 - Culturebene.com. Translated from French by Beti Ellerson.

English [Français ci-après]

Wednesday, July 17 was dedicated to women at the Ecrans Noirs Festival, [Culturebene] met with the young Chadian filmmaker Aché Coelo, who was part of the panel, and is the director of N'djamena Festival.

Culturebene: You are an important player in the 7th art of Chad, can you tells u about the festival of N'Djamena?

Aché Coelo: It is festival of short films, which was launched last year. Born in a context of need and of the expectation in terms of both Chad and Africa where we see that more and more young people and women do not have the facility to be able to create and redistribute their projects.

To date how many film productions do you have?

I produce only short films through the auspices of the Chadian association of mixed culture of which I am president and that sponsors the short film festival. This year we created this innovative project whose aim is to begin a training structure and produce short films, so at the present there are only two.

For you, what role should women play in cinema?

The representation of the woman must be deconstructed, less she be confined to small roles; I would like to see a woman "superwoman". In terms of Africa, we must talk about the woman without tarnishing her image; we must put the woman at the forefront while preserving themes related to the so-called values of society.

What place does women occupy in Chadian cinema?

The Chadian filmmaker has not been able to grow fully. We have no funding, but there is a lot of work that has been done since the past five years. And there are more and more young women: the proof is that I am here, and there are other women like the director Carine K, who is one of the young people we produced. There is Maryam Wanou who is a young actress. More and more of these women are beginning to make themselves known, they are asserting themselves on the local level, which is a good start.

What are your thoughts about Ecrans Noirs?

This is the first time that I have participated in Ecrans Noirs, it's a very good experience, though it is not the first time that I have eaten good Ndolè in Cameroon.

***

La journée du mercredi 17 juillet était consacrée aux femmes au sein du village du festival Ecrans Noirs, faisant partie du panel nous avons rencontré Aché Coelo jeune réalisatrice tchadienne directrice du festival Ndjamena. Lire l'intégralité de l'entretien à http://www.culturebene.com/52854-ache-coelo-realisatrice-tchadienne-il-faut-ameliorer-la-condition-de-la-femme-dans-le-cinema-africain.html

Livre/Book: Pratiques et usages du film en Afriques francophones: Maroc, Tchad, Togo, Tunisie (Practices and uses of films in Francophone Africa: Morocco, Chad, Togo, Tunisia) - eds. Claude Forest, Patricia Caillé

Livre/Book: Pratiques et usages du film en Afriques francophones: Maroc, Tchad, Togo, Tunisie (Practices and uses of films in Francophone Africa: Morocco, Chad, Togo, Tunisia) - eds. Claude Forest, Patricia Caillé

Septentrion Presses Universitaires, 2019

ENGLISH BELOW

Pratiques et usages du film en Afriques francophones: Maroc, Tchad, Togo, Tunisie 

Édité par Claude Forest, Patricia Caillé

Quatre enquêtes de terrain menées auprès de 3 000 personnes dans deux pays d'Afrique du Nord (Maroc Tunisie) et deux du Sud du Sahara (Tchad, Togo), à partir d’un questionnaire commun avec des adaptations locales, posent un jalon dans une réflexion sur les rapports que ces publics entretiennent aujourd’hui avec les films en Afriques. L’analyse permet de rendre compte des oeuvres vues, par quels moyens dans différents contextes, et de questionner les usages, les sociabilités qu’ils suscitent, les cultures de films qui en découlent, etc. Il s’agit ainsi d’interroger le statut du film dans le jeu de l’offre et de la demande de productions audiovisuelles dans les pays concernés, la place de la production locale sur des marchés longtemps dominés par les productions audiovisuelles occidentales. Ce volume est un approfondissement des premiers résultats d’enquête publiés dans Regarder des films en Afriques https://africanwomenincinema.blogspot.com/2017/12/livrebook-regarder-des-films-en.html (Presses universitaires du Septentrion, 2017).

Introduction

Patricia Caillé

Première partie : au nord du Sahara

Chapitre premier : Pratiques des films au regard de l'offre et de la demande en Tunisie urbaine

Patricia Caillé, Lamia Guiga

Introduction

1. Première partie : L'offre de films en Tunisie

2. Deuxième partie : L'enquête – les pratiques des films

Conclusion

Chapitre deuxième : le Maroc

Mariam Aït Belhoucine, Claude Forest

Présentation générale

Cadre et méthodologie de l’enquête

1. Les résultats de l’enquête : les pratiques audiovisuelles domestiques

2. La sortie en salle de cinéma

Seconde partie : au sud du Sahara

Chapitre troisième : le Tchad

Patrick Ndiltah, Jean-Pierre Kila Roskem

Introduction

1. Les caractéristiques de la population et des sites étudiés

2. Les publics et leurs pratiques culturelles

3. Les vecteurs d’une pratique cinématographique

4. La culture du cinéma

Conclusion

Chapitre quatrième : le Togo

Claude Forest

Introduction

1. Cadre et méthodologie de l’enquête au Togo

2. La consommation des films à domicile

3. L’infrastructure de l’offre

4. Les pratiques cinématographiques

Conclusion

Annexes

Liste des sigles et abréviations

Bibliographie

Les auteurs

[English translation of book description in French]

Practices and uses of films in Francophone Africa: Morocco, Chad, Togo, Tunisia

Edited by Claude Forest, Patricia Caillé

Four field surveys of 3,000 people in two countries in North Africa (Morocco Tunisia) and two in the South of the Sahara (Chad, Togo), based on a common questionnaire with local adaptations, make a major step towards a reflection on the relationships that these audiences have today with films in Africa. The analysis provides the possibility to give an account of the films that are viewed, by what means in different contexts, and to survey how they are used, the social events which they generate, the film cultures which result from it, etc. Hence, the aim is to survey the status of the film as it relates to the interplay of supply and demand for audiovisual productions in the countries concerned, the place of local production on markets long dominated by Western audiovisual productions. This volume is a further development of the first survey results published in Regarder des films en Afriques | [Watching films in Africas https://africanwomenincinema.blogspot.com/2017/12/livrebook-regarder-des-films-en.html] (University Press, Septentrion, 2017).

Introduction

Patricia Caillé

Part One: North of the Sahara

Chapter One: Film practices relative to supply and demand in urban Tunisia

Patricia Caillé, Lamia Guiga

Introduction

1. Part One: The supply of films in Tunisia

2. Part Two: The inquiry - film practices

Conclusion

Second Chapter: Morocco

Mariam Aït Belhoucine, Claude Forest

General presentation

Framework and methodology of the survey

1. The results of the survey: domestic audiovisual practices

2. The theatrical release

Part Two: South of the Sahara

Third Chapter: Chad

Patrick Ndiltah, Jean-Pierre Kila Roskem

Introduction

1. Characteristics of the population and sites studied

2. Audiences and their cultural practices

3. The vectors of a cinematographic practice

4. Cinema culture

Conclusion

Chapter Four: Togo

Claude Forest

Introduction

1. Framework and methodology of the survey in Togo

2. The consumption of home movies

3. The supply infrastructure

4. Cinematographic practices

Conclusion

Attachments

List of acronyms and abbreviations

Bibliography

Authors

Festival Ecrans Noirs 2019 : La table ronde sur la place de la femme dans le cinéma et l'audiovisuel | Roundtable on the place of women in the cinema and audiovisual sector

Festival Ecrans Noirs 2019 : La table ronde sur la place de la femme dans le cinéma et l'audiovisuel | Roundtable on the place of women in the cinema and audiovisual sector

https://www.ecransnoirs.org/

English [Français ci-après]

Roundtable in Yaoundé: Africa - Equality between women and men in the audiovisual sphere: how should the industry and stakeholders respond? Wednesday, 17 July 2019 

Round Table Themes

Gender equality is a condition for sustainable development. It enhances economic development and contributes to the Sustainable Development Goals: decent work  (SDG8), food security (SDG2) and good health (SDG3) in particular. The reasons for gender inequalities are multiple: legislative barriers, unequal access to education, and so on. Cultural and social barriers, gender stereotypes is also a root cause.

Audiovisual production - cinema, reporting, media / news, advertising - has a key role in breaking down these barriers. Moreover, it underscores how women role models in the media are catalysts for gender equality. From charges against Harvey Wenstein to studies highlighting the lack of representation of women, for example as TV journalists, an important awareness is emerging. What is the situation in Africa?

The roundtables examine the issues, roles and impact that the audiovisual sector and stakeholders within it can have in Africa. The speakers discuss the positive measures that can be taken to promote gender equality in the audiovisual professions, both as it relates to realistic images of women and to the access of women to these professions.

***

Tables rondes à Yaoundé : Afrique – Egalité femmes/hommes et audiovisuel : comment les entreprises et acteurs peuvent agir ? Mercredi 17 juillet 2019 

Thématique des tables rondes   

L’égalité femmes-hommes est une condition d’un développement durable. Elle accroît le développement économique et contribue aux objectifs de développement durable : travail décent (ODD8), sécurité alimentaire (ODD2) et santé (ODD3) en particulier. Les raisons des inégalités femmes-hommes sont multiples : barrières législatives, inégalités d’accès à l’éducation etc. Les barrières culturelles et sociales, les stéréotypes femmes-hommes sont eux-aussi une cause essentielle.

La production audiovisuelle – cinéma, reportages, médias/actualités, publicité – a un rôle essentiel pour faire tomber ces barrières. Plus encore, la mise en avant de rôles modèles féminins dans les médias joue un rôle de catalyseur de l’égalité femmes-hommes. Des accusations envers Harvey Wenstein aux études qui mettent en évidence le déficit de femmes par exemple en tant que journalistes à la télévision, une prise de conscience forte est en train de s’opérer. Quelle est la situation en Afrique ?

Les tables rondes se pencheront sur les enjeux, les rôles et l’impact que peuvent avoir les entreprises et acteurs de la production audiovisuelle en Afrique. Les intervenant.e.s discuteront des mesures positives qui peuvent être prises en faveur de l’égalité femmes-hommes dans les métiers de l’audiovisuel, que ce soit dans les images des femmes véhiculées comme dans l’accès des femmes à ces métiers.

Out of Africa International Film Festival (OOAIFF) 2019: Call for entries for the 5th Edition

Out of Africa International Film Festival (OOAIFF) 2019

Call for entries for the 5th Edition

PRESS RELEASE

The 20-22 November OOAIFF will return to the Safaricom House, Michael Joseph Centre Kenya.

Out of Africa International Film Festival (OOAIFF) is committed to discovering and developing African filmmakers as well as out of Africa Cineastes, to reach their greatest potential in the industry and to provide the global audience with original and creative films.

Through the networking platform filmmakers will be discovered, supported, and inspired to create world record films that appeal to a global audience in their originality and creativity.

Film makers with works around all genres are welcome to submit for selection and screening at the venue during the festival.

There will be screenings of high-caliber selections of new-release features, documentaries and short films from all over Africa and outside of Africa.

https://filmfreeway.com/OutofAfricaInternationalFilmFestival

9 June 2019: Opening Date 

11 August 2019: Earlybird Deadline 

8 September 2019: Regular Deadline 

5 October 2019: Notification Date 

20-22 November: 2019 Event Date

Organizers

Mumbi Hinga

Festival Director

Rose Wachuka

Festival Director

Report: Africa Film Academy Workshop 2019 (Enugu, Nigeria)

Report: Africa Film Academy Workshop 2019

Source: AMAA Awards

Image: Africa Film Academy Award’s founder, Ms Peace Anyiam Osigwe

Africa Film Academy under the aegis of the AMAA Awards presented the Africa Film Academy Workshop held on Thursday 23rd of May at the Lift Hall, Enugu with an attendance of over five hundred participants. The workshop achieved its aim which is to create a paradigm shift in the African film industry.

With veterans like Patience Ozokwor (Mama G), the Aneke Twins,  Ofiafuluagwu Mbaka , Steve Ebo Afam Okereke alongside rising stars from the various sectors of the industry, the well-attended workshop focused on key industry specialist areas that professionals should focus on to boost professionalism and increase investment.

Different facilitators at the workshop offered subject-matter expert view to enhance creative output of the industry in general and professional credibility of practitioners from the ropes of movie-making, to the value chains of funding and distribution.

While speaking on thriving in the film business, and indeed any other business, Jim Jermanok, an award- winning writer, director, producer, author and speaker based in New York whose film “Em” won the Grand Jury Prize at the Seattle International Film Festival and the Criterion International Inspiration Award opined that to stop learning is to stop living, "for life is a class and we all are students." He further asserted that,  "to be successful is to call persistence to service. Don’t stop going when the going gets tough."

The representative of BVA Consultancy spoke on the issue of financial literacy and how to access funds from the Bank of Industry for films and other creative endeavours. While he stressed the need for financial prudence, he also put attendees through the process of obtaining loans from credible financial institutions while bearing their creativity in mind.

Martin Gbados, the producer of the award-winning film, ‘Solider Story’ was also present, he spoke to the students about distribution and contracts. While he emphasized the legality of a contract, he went into the heartaches that can be avoided when a contract is in place. He particularly applauded the adoption of digital distribution channels, which have been on the increase. 

The Enugu state commissioner for Culture and Tourism, Rita Mba, was in attendance as well as 200 participants sponsored by the Enugu State Government. The sponsorship was to the tune of N2million with additional funding from the Osigwe Anyiam Osigwe foundation. The speakers at the workshop promised to offer continued support to participants of the workshop and the organizers as well. The workshop also received the green light from some Honourables who promised to further the cause. With the participants staying  for about  nine hours, the Africa Film Academy Workshop was intriguing as well as engaging.

During the Gala night which held on Friday, 24 May 2019, the Africa Film Academy Award’s founder, Ms Peace Anyiam Osigwe, spoke about the need for the filmmakers from the South East and South South to improve the quality of their films that they should look at quality rather than quantity. She hoped that soon a film from here could go to Cannes, Berlin , or Toronto and win best Film at AMAA.

Patience Ozokwo one of the celebrants of the Gala commented on the role AMAA has played in her career, Enugu, Nigeria and Africa as whole. She added that AMAA gave her the opportunity to give back to an industry that is the life work of several people. She spoke about an experience with AMAA where she had an opportunity of flying more than 20 people outside of Nigeria to South Africa—an honour she didn’t take for granted. 

The Gala night had a lot of surprises with Africa Film Academy and Ethiopia Airline partnering to fly out Patience Ozokwor to Dallas, for an event.

Ethiopian Airlines gave gifts the  stars  Ken Erics Ugo, Rachael Okonkwo, the Aneke twins, Nnaemeka Charles Eze (Nani Boy).  Hon. Barr. Chima Obieze, Don. Sylvester Chinedu Nwaeke and Chief Kenneth Anike, received the  Africa Film Academy special recognition  for support to film industry. 

Inducted in to the Africa Film Academy  Gold Patrons Club were: Hon Amos Oshi who is building a film village in Enugu and has been supporting  film makers in Nigeria and Chief Alexander Chukwudimma Nwokeabia. HRH  Igwe Edwin Edeoga was also inducted into  the Africa Film Academy  platinum  Patrons Club. 

The Speaker Enugu House of Representatives, Edward Ubosi, was inducted into the Platinum Patrons Club.  The club is a membership to individuals who support the advancement of the work of the Africa Film Academy programmes in Africa cinema, especially training and canvassing the inclusion of African cinema for all.

Jim Jermanok spoke on the workshop, hailing the organizers. He affirmed that the Nigerian film industry has a lot of untapped potentials and that with the knowledge gained from the workshop, participants will be charged up to be better filmmakers. 

He took time out to appreciate the hospitality of the organizers and indeed the good people of Enugu. He confessed that the nation is indeed one that is blessed with good people. He also admitted that he had the best of mouth watering meals.

Finally, the Speaker Enugu State House of Representatives, Edward Ubosi, accented to look into the plea and request of the from South East  Filmmakers  on Building a film village in Enugu, which will not only put Enugu on the creative map but also create a value chain of opportunities in the creative and entertainment industry.

Black Camera: Safi Faye's Mossane: A Song to Women, to Beauty, to Africa by Beti Ellerson (Spring 2019)

Safi Faye's Mossane:

A Song to Women, to Beauty, to Africa

Beti Ellerson 

Black Camera: An International Film Journal

African Women in Cinema Dossier

Vol. 10, No. 2 (Spring 2019), pp. 250-265

Abstract

Mossane (dir. Safi Faye), completed in 1990 and released in 1996, is a timeless piece. That is the nature of legends, of myths, of allegories. Destiny has been inscribed, fate already determined. Having created a narrative imbued in Serer mythology, structured around the fate of a fourteen-year-old girl, who because of her stunning beauty, is returned to the Pangool spirits through the waters of the Mamangueth, Safi Faye’s cinematic endeavor was to decide in what way to tell the story and how to visualize it. This article frames the film Mossane within the context of Faye’s corpus of works, especially as it relates to prevailing themes that foreground women’s experiences within the rural sector and countryside, socio-economic matters, education, issues at the intersection of tradition and modernity, rituals and ceremonies and the importance of oral tradition as a foundation for visual storytelling. Set in Faye's Serer homeland, Mossane compares to her early Serer-focused films that draw its cast/participants from the village. While it is her only film in which the scenario and narrative are entirely fictionalized, the themes of class, the quotidian experiences of the rural-dwellers, oral tradition, struggles based on land and nature, the storyteller, are recurrent topics in Faye’s oeuvres. In addition, the article speaks to the manner in which Mossane addresses the right of women to have power over their own bodies and desires and the choice to marry who they choose, by framing the analysis of women's rights in the context of the broader discourse on the peasantry, education, custom and modernity. 

LINK: https://www.jstor.org/stable/10.2979/blackcamera.10.2.18

BLACK CAMERA ARTICLES BY BETI ELLERSON:

Black Camera: African Women of the Screen as Cultural Producers: An Overview by Country by Beti Ellerson (Fall 2018)

Black Camera: On-screen Narratives, Off-screen Lives: African Women Inscribing the Self by Beti Ellerson (Spring 2018)

Black Camera, Spring 2017 - Beti Ellerson - Traveling Gazes: Glocal Imaginaries in the Transcontinental, Transnational, Exilic, Migration, and Diasporic Cinematic Experiences of African Women

African Women and the Documentary: Storytelling, Visualizing History, from the Personal to the Political

Teaching African Women in Cinema, Part Two by Beti Ellerson, Black Camera, Vol. 7, No. 2 (Spring 2016)

Teaching African Women in Cinema, Part One by Beti Ellerson (Fall 2015)