The purpose of the African Women in Cinema Blog is to provide a space to discuss diverse topics relating to African women in cinema--filmmakers, actors, producers, and all film professionals. The blog is a public forum of the Centre for the Study and Research of African Women in Cinema.

Le Blog sur les femmes africaines dans le cinéma est un espace pour l'échange d'informations concernant les réalisatrices, comédiennes, productrices, critiques et toutes professionnelles dans ce domaine. Ceci sert de forum public du Centre pour l'étude et la recherche des femmes africaines dans le cinémas.

ABOUT THE BLOGGER

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Director/Directrice, Centre for the Study and Research of African Women in Cinema | Centre pour l'étude et la recherche des femmes africaines dans le cinéma

22 January 2019

FirstShort 2019: Appel à films prolongé | Call for films extended

 First Short a prolongé le delai de reception de films au 02 février 2019

First Short has extended the deadline for reception of films to 02 February 2019

https://www.firstshort.org/index.php/actualites-first-short/50-appel-a-films-first-short-2019
 

[Français]
Le Président de l’Association CINEVISION a le plaisir d’annoncer la sixième édition du FIRST SHORT (Festival Panafricain de Films d’école de Yaoundé) qui se célèbrera dans la ville de Yaoundé du 10 au 13 Avril 2019. Le festival est dédié aux films d’école courts métrages (fiction, documentaire, animation) allant de 0 à 30 minutes génériques inclus.

Peuvent faire office de candidature, tout camerounais ou étranger qui fréquente ou qui a fréquenté dans une école, académie ou institut de formation aux métiers du cinéma et de l’audiovisuel. Aussi, il existe une catégorie réservée aux réalisateurs qui n’appartiennent à aucune école de cinéma et de l’audiovisuel.

Pour les candidatures, bien vouloir nous contacter aux adresses suivantes pour entrer en possession du règlement et de la fiche d’inscription du festival.

Email: info@first-short.org ou firstshortyaounde@gmail.com

[English]

The President of Association CINEVISION is pleased to announce the sixth edition of FIRST SHORT (Panafricain Festival of School Films of Yaoundé) which will be celebrated in the city of Yaoundé from 10-13 April 2019. The festival focus is on short films (fiction, documentary, animation) from film schools ranging from 0 to 30 minutes, including titles.

Cameroonian or foreigners who attend or have attended a school, academy or training institute in cinema and audiovisual profession may apply. Also, there is a category reserved for filmmakers who do not belong to any film and audiovisual school.

For application information, general rules and registration form of the festival contact First Short at the following email address: info@first-short.org or firstshortyaounde@gmail.com

APPEL À ARTICLES | CALL FOR ARTICLES: Les filières cinématographiques en Afrique et au Moyen-Orient au prisme du genre : Enjeux, questionnements et terrains | Gender and Film in Africa and the Middle East: Issues, questions and empirical research

Appel à articles |  Call for Articles

Les filières cinématographiques en Afrique et au Moyen-Orient au prisme du genre : Enjeux, questionnements et terrains

Gender and Film in Africa and the Middle East: Issues, questions and empirical research
 
HESCALE – Histoire, économie, sociologie des cinémas d’Afriques et du Levant



http://www.groupe-hescale.com/appel-a-articles/
À travers cet appel à contributions lancé dans le cadre des activités du réseau HESCALE, nous aimerions rassembler une communauté de chercheurs et chercheuses intéressé.e.s par le défrichage de questions liées à la place, à la présence et à la visibilité des femmes dans les filières cinématographiques en Afrique et au Moyen Orient.

Soumission des abstracts en français ou en anglais : 7 février 2019


(500 mots + courte bibliographie + mini-bio)
Retour des évaluations : 20 mars 2019
Premier rendu intermédiaire : 22 juin 2019
Rendu final de l’article : 15 septembre 2019
Sortie de la publication et colloque valorisation : 1er semestre 2020

http://www.groupe-hescale.com/call-for-articles/
This call for articles within the framework of the activities of the HESCALE network is aimed at constituting a community of researchers interested in opening new lines of research around the presence, the position and the visibility of women in the film sectors in Africa and the Middle East.

Submission of abstracts in English or in French: 7 February 2019


(500 words + short bibliography + 5-line biography)
Notification of authors: 20 March 2019
First draft: 22 June 2019
Final draft: 15 September 2019
Conference promoting the publication: 1st semester of 2020



17 January 2019

Nejib Ayed : "Le cinéma est un vrai mur contre le terrorisme" Entretien avec le Directeur des JCC, Tunis |"Cinema is a real barrier against terrorism". Interview with the Director of JCC, Tunis by/par PÉLAGIE NG'ONANA (Africine)

Nejib Ayed : "Le cinéma est un vrai mur contre le terrorisme". Entretien avec le Directeur des JCC, Tunis  | "Cinema is a real barrier against terrorism". Interview with the Director of JCC, Tunis by/par PÉLAGIE NG'ONANA (Africine)

Africine.org. 8 Jan 2019. Translation from French by Beti Ellerson. (An African Women in Cinema Blog/Africiné collaboration).

[English] Français ci-après

Interview with the Director of JCC, Tunis, by Pélagie Ng'onana in Tunis.
The director of the Carthage Film Festival presents a festival whose aim is to uphold its successes, while concentrating on strengthening the professional circuit of the cinemas in Africa and the Arab world. The JCC 2018 was held in Tunis (and various milieus), from 3 to 10 November 2018.

You have been at the head of the JCC for two years. What do you consider to be the main challenge(s) in the organization of this festival?

There are many challenges. The one in which we have succeeded since the creation of the festival is called the challenge of the public, which is probably the most difficult thing in most festivals. Our festival was created by its own public: the film enthusiasts of the ciné-clubs in 1966; while there was not even a Tunisian cinema, there were Tunisian film-goers. The creators of this festival, Tahar Cheriaa and others, were all the facilitators of film clubs. It was from that moment that this challenge was won, and to the present it has never been rejected. The second thing is to fulfil the wishes of the elders, which can be summarised in three or four points, which is what I called a return to fundamentals. It is essentially the fact that we are an African and Arab festival. Not an Arab festival with African zest. There must be a kind of balance between Africa and the Arab countries at the film level, at the level of the presence of film personalities. It is important for us. We are a festival of the South. We are a tri-continental festival. Strategically our strength is in Africa, of course. But it is also in Asia and Latin America. This is something that allows us to be different. The third thing is that we are an activist festival for cinema and the causes of our communities. We do not want to look like any other festival. We are in the heart of the 21st century but these are goals that were set in 1966. We are also a festival aimed at the international promotion of our films. That is, our films must have a podium in their own countries. Hence, facilitate the circulation of films between Arab and African countries, but also within other regions of the world. It has always been more or less done but never in a manner that has been really thought through. We have a professional platform that has been in existence for four years now. Starting this year we decided to make this platform much stronger, much more important. There is the technical workshop for completion and assistance with post-production. We have earned the challenge of the public; we must win the professional challenge.

There are five sections in this platform: Sabaka which means "network", Takmil, the International Conference, Carthage Talk and the Master Classes. We brought in stakeholders (distributors, operators, international sellers, producers ...) of a certain calibre and we chose them because they are interested in Arab and African cinema. I think this year there will be much more tangible results. We wish to become a hub where all those who want to deal with African and Arab professionals must come to Carthage. It takes time but I hope we will get there.

The selection of this edition, in fact, is a part of this activist cinema...

When we choose our films and our guests it is because they meet a certain editorial line. The film, of course, must be of obvious artistic and technical quality. It must be the transporter of ideas for the future. It is not just political militancy. It is a very broad concept. The term activist is very modern too; it is something that accompanies us in our present day concerns, with all that is happening, this effervescence. This return of a neo-colonialism, a kind of imperialism that is even changing colours and faces. Finally, it is always very important to be aware of it and that our festival reflects what these films reflect.

In the past, the Tanit envelope [the trophy of the festival of Carthage] went entirely to the director, now it is shared with the producer. What is the explanation for this?

It is more equitable. A film is not made with a director; there is a lot of upstream work that is done by a producer. It can be the same person, in which case he or she is entitled to everything. I am a producer, and I am against this idea that because a director signs, it is he or she who gets all the laurels. It would be a good thing that people understand that cinema is made in partnership. Once again, it is a return to fundamentals and for me it is much more fair that both the producer and the director benefit from the award. Especially since the work of producer today in African and Arab cinema has become crucial. Without producers it is a nightmare. When we have a concern for money we cut in the scenario, whereas when we have a producer, the director can say: “no I have to film that and it is up to the producer to find the money”. For me, it is important that this director-producer relationship is institutionalized and that there is a real separation. What we have done again since last year in relation to the festival's workshops is to invite the director and producer of the film. Because when we have to produce or co-produce a film, we need both people there to defend their project and look for partners. So, it is a whole philosophy behind it.

The screenings in the prison environment, it is also an initiative that reflects the JCC ...

We have been doing this for four years now, sincerely I think it is one of the most beautiful ideas of JCC. We do not do this alone but with two partners: the World Organization Against Torture and the Directorate of Prison Units. What is important is that there are structured screenings. It is not fair to only show a film in a prison and stop there, so it is organised with the idea of continuity. For example, there are some prisons in which a movie theatre has been built for us. There is now a film club there. In October this year, we screened a film in the country's largest prison. The prison administration constructed a huge tent for some 700 seats, about 500 prisoners saw the film and were able to have a discussion with the crew and the filmmaker. We also showed the film in the rooms of all the prisoners. For me it is a great experience and it is leading to cinematographic activities. Now there is even film production on the inside…But it's a responsibility. People who have to leave prison at some time, I do not want them to be marked by the fact of having been there. But they are galvanised. They make films, do theatre, music, they produce, they create ciné-clubs.

What is the response to the presence of JCC in other cities beyond Tunis?

In these regions also it is the same rationale. In the past, we did a kind of caravan, going to about fifteen cities, doing screenings only and then returning. Now we want to create festival bases in the cities where we go. The first of our conditions is that ultimately there is a festival that must take place, the second is that it must have technical conditions and the most innovative reception and that there is not film festival that already exists in the city. The third condition is that the regional, local authorities and the civil society are interested in the idea of ​​creating the festival and taking charge of the operation. It seems to be working, since last year we did it in four cities, and we have three festivals that are in the process of doing so. This year also we have chosen four cities…

Especially that the local public engages appropriately with cinema ...

A few years ago the public had a certain concern about the cinema houses. In fact they only came to the JCC and certain organized events. Today, with the interest essentially given to Tunisian cinema, theatres have relative success. In terms of audience, a Tunisian film beats out an American blockbuster. Our audience is a very open public. They accept what audiences in neighbouring countries do not. For example, films about sexual minorities. Elsewhere, neither the authorities nor the audience allows it. Here some of these films even win awards. This means that when we talk about value we are militant. And it is not a militancy that disrupts, but a militancy that constructs. We defend the fact that everyone has the right to speak; hence, there is tolerance. People listen to each other; watch each other's films, so they can discuss them. That is our mission as well.

Tunisian production is also reviving ...

Last year, there were 37 feature films and 41 Tunisian short films presented at JCC. This year there are 17 feature films and 51 short films. Progressively, there is a genuine production coming into existence. What is interesting is that the production is not necessarily funded by the state, about 50% of the films; and among which are films of very high quality.

An attack happened three days before the opening of the JCC. Do you think it was the festival that was targeted?

In all modesty, I know that the JCC were the target. This is the second time that it took place in Tunis and in both cases it was the JCC. In 2015, there was an attack in the midst of the JCC, and this year three days before the JCC there was an attack. Knowing the importance of this festival on the national and international level, they tried to create a sense of panic. What happened is exactly the opposite. None of our invited guests cancelled. In any case we operate within a simple logic. We are against terrorism. Cinema and culture in general is a real barrier against terrorism. The rationale for security is necessary, but it is this type of festival that allows one to say no to this kind of practice.

[Français]
Le directeur des Journées cinématographiques de Carthage présente un festival qui veut bien préserver ses acquis, tout en se souciant de rendre plus fort le circuit professionnel des cinémas d'Afrique et du monde arabe. Les JCC 2018 se sont tenues à Tunis (et divers lieux), du 3 au 10 Novembre 2018. POUR LIRE L’INTEGRALITE  : http://www.africine.org/index.php?menu=art&no=14551



09 January 2019

2019 - Appel à film | Call for films - Festival International des Films de Femmes de Cotonou | Cotonou International Women's Film Festival (Benin)

2019 - Appel à film | Call for films - Festival International des Films de Femmes de Cotonou | Cotonou International Women's Film Festival (Benin)

Ecran Benin: https://www.ecranbenin.net?p=4234

L'appel à film pour la première édition du Festival International des Films de Femmes de Cotonou est lance | Call for films is launched for the first edition of the Cotonou International Women's Film Festival.

[French]
English below

L'association ECRANBENIN a l'honneur de porter à la connaissance des femmes professionnelles du cinéma que les inscriptions pour la sélection des films de la 1ere  édition, prévue pour se tenir du 13 au 17 septembre 2019, sont ouvertes.

La sélection comporte deux sections principales :

(1) La section compétition officielle des films courts-métrages qui est réservée aux films de réalisatrices africaines

NB : Aucun film de plus de deux (02) ans d'âge au 31 Mai 2019 ne sera sélectionné.

(2) La section hors compétition qui est ouverte aux films des cinéastes femmes du monde :

- films abordant les problèmes auxquels les femmes sont confrontées;
- films mettant en exergue le savoir-faire ou le parcours d'une femme afin d'inspirer les autres femmes.

Toute inscription à la sélection implique l'acceptation des conditions et du règlement de la 1ere édition du FIFF Cotonou: https://www.ecranbenin.net/

Les dossiers d'inscription sont recevables à l'adresse électronique  au fiffcotonou@ecranbenin.net au plus tard le 31 Mai 2019

[English]

The ECRANBENIN association has the honor to announce to women film professionals that inscriptions for the selection of films for the 1st edition, to be held from 13-17 September 2019, are open.

The selection has two main sections:

(1) The official competition section of short films, which is reserved for films by African women directors.

NOTE: Only films dating less than 2 years on 31 May 2019 will be selected.

(2) The out-of-competition section, which is open to films by women filmmakers of the world, consists of:

- films addressing the problems facing women;
- films showcasing the knowledge or the career of a woman as role model to inspire other women.

Any registration for the selection implies the acceptance of the conditions and regulations of the first edition of the Cotonou FIFF, go to: https://www.ecranbenin.net/

Registration forms must be received by e-mail at fiffcotonou@ecranbenin.net no later than 31 May 2019

07 January 2019

African Women in Cinema Dossier by Beti Ellerson: a regular feature of Black Camera, An International Film Journal

African Women in Cinema Dossier by Beti Ellerson: a regular feature of Black Camera, An International Film Journal
  • African Women of the Screen as Cultural Producers: An Overview by Country  (Fall 2018)
  • On-screen Narratives, Off-screen Lives: African Women Inscribing the Self (Spring 2018)
  • Traveling Gazes: Glocal Imaginaries in the Transcontinental, Transnational, Exilic, Migration, and Diasporic Cinematic Experiences of African Women (Spring 2017)
  • African Women and the Documentary: Storytelling, Visualizing History, from the Personal to the Political (Fall, 2016)
  • Teaching African Women in Cinema, Part Two (Spring 2016)
  • Teaching African Women in Cinema, Part One (Fall 2015) 

African Women of the Screen as Cultural Producers: An Overview by Country  (Fall 2018) https://africanwomenincinema.blogspot.com/2018/11/black-camera-african-women-of-screen-as.html


African women as cultural producers in the realm of the moving image, screen culture, audiovisual media—what are their experiences? These women who work actively in the behind-the-scenes roles; in front of the screen as journalist, critic, cultural reader; in the corridors as organizer, activist, advocate, promoter in the vast cinematic enterprise, many wearing multiple hats as filmmaker, actor, presenter, producer, scholar. Whether working on the local, regional, continental, international, or transnational level, their role is vital, their work essential. This survey by country provides an indication of the span of activities of these cultural workers: most striving for the cause, or out of a sense of duty, or of purpose—some in perilous situations, so that African images are seen and stories told—produced, disseminated, distributed, exhibited, discussed, critiqued, documented, archived, preserved.

On-screen Narratives, Off-screen Lives: African Women Inscribing the Self (Spring 2018) https://africanwomenincinema.blogspot.com/2018/05/black-camera-on-screen-narratives-off.html

The journeys of on-screen characters, while most do not reflect the off-screen trajectories of the real-life women, some do provide glimpses that parallel the paths that these women have voyaged in their own lives, perhaps influenced by their characters, or more brutally, because of them. Their travels, imaginary and real, had some relationship to their roles as actor and/or the choices they later made as a result of their encounter with/within the world of cinema. It is their on-screen legacy, especially in the case of iconic films, that has been the most enduring; as these women, far removed from their fame in these early films, live quiet off-screen lives a long way from the experiences of their cinematic characters.

Moreover, the filmmakers, who navigate frontiers, negotiate relocations and displacements to extra-African environments, inscribe an autobiographical journeying, problematizing these itinerant identities in their films. Likewise, traveling, sojourning and relocating across the globe involve shifting or ultimately expanding the identity of their cinema. Hence, an exploration of on-screen representations offer a larger picture of their experiences in front of and behind the camera.

Traveling Gazes: Glocal Imaginaries in the Transcontinental, Transnational, Exilic, Migration, and Diasporic Cinematic Experiences of African Women (Spring 2017) https://africanwomenincinema.blogspot.com/2017/05/black-camera-spring-2017-beti-ellerson.html

The exilic and diasporic filmmaking experiences of African women of the screen have been evident from the start of African cinematic practices. Women have traveled and relocated outside of their homeland to study, edit, shoot, work, live, and network. Informed by Hamid Naficy's formulation of “accented cinema,” this article traces these peripatetic migrations framed within selected topics that are representative of the histories, trends, and tendencies throughout the evolution of African women in cinema: Oscillating between hostland and homeland, defining home(s) is a frequent practice. In the interstices of hostland and homeland, navigating in third space is a recurrent theme, as well as the mediation of exilic identities. The common phenomenon of intra-continental migration also leads to diasporic discovery. As a growing cohort of African women are born, raised, or settle in the United States, they are also negotiating within the dominant African American paradigm. Germany, a lesser-known site for Afro-women's cinematic journeying, is emerging as an important space for study, work, and exploration. Several questions are posed for reflection and research.

African Women and the Documentary: Storytelling, Visualizing History, from the Personal to the Political (Fall, 2016) https://africanwomenincinema.blogspot.com/2016/10/african-women-and-documentary.html

The practice of storytelling, of relating actuality, the real, of recounting history, the personal, the social, the political, are all features of the screen culture in which African women have evolved in myriad ways as stakeholders in the cultural production of their society and the world. Telling stories through documentary in particular has been a dominant mode of expression among African women, perhaps out of a genuine interest in addressing the pressing issues in their societies and relating stories that would otherwise not be told. Their filmmaking practice is indicative of the diversity of themes they address, using eclectic approaches: autobiographical, experimental, hybrid, consciousness-raising, socio-political, as well as within trans-local and transnational spaces—some going beyond the cultural references of the filmmakers. This article brings together current trends and tendencies incorporating African women who span the globe, utilizing diverse languages, reflecting a plurality of experiences, histories, cultures, and geographies.

Teaching African Women in Cinema, Part Two (Spring 2016) https://africanwomenincinema.blogspot.com/2016/06/teaching-african-women-in-cinema-part.html

The second part of this essay offers a primer on African women in cinema studies, which is based on actual courses, seminars, and lectures and draws directly from articles posted on the African Women in Cinema Blog since its inception in 2009.

Teaching African Women in Cinema, Part One (Fall 2015) https://africanwomenincinema.blogspot.com/2016/02/teaching-african-women-in-cinema-part.html

Women in front of the screen, as cultural readers, scholars, critics and theorists of African women in cinema studies also have a vital function in the study and analysis of cultural production as it relates to women's role in creating, shaping and determining the course of their cinematic history, the intellectual and cultural capital that it produces, and the intangible cultural heritage to which it contributes.

Women in cinema as a study and research focus has an extremely broad range of discourse and practice. Women on, in front of, behind the screen--as storytellers, makers, producers, scriptwriters, actresses, role models, consciousness raisers, practitioners, technicians, organizers, fund-raisers, social media community managers, bloggers, agents of change, activists, advocates, audience builders, cultural producers, cultural readers, film critics, scholars, and researchers--all contribute to the idea of "African Women in Cinema" as a conceptual framework.

01 January 2019

2019 Polyglot


Bonne année

Ezi Afọ Ọhụrụ

Feliz año

Frohes neues Jahr

Gore Idzva Inofara

Happy New Year

Mwaka Mpya Mpya

Ọdun Titun Ọdun

Sabuwar Shekara

Unyaka Omusha Ojabulisayo

Unyaka oNwabileyo

etc…

14 December 2018

Cairo International Women’s Film Festival: Rough Cut Workshop for Arab Women Filmmakers (2019) Deadline 7 January 2019

Cairo International Women’s Film Festival Rough Cut Workshop for
Arab Women Filmmakers (2019)

APPLY NOW
Deadline 7 January 2019

The Rough-Cut Workshop is an audiovisual consultation offered to women filmmakers who are in the phase of working on the first rough-cut of their cinematographic work and need support regarding the content and the development of their film on an artistic and editing level.

Six Arab women filmmakers working on the rough-cut of their films, will be selected. The workshop will allow them to engage in discussions of each other’s audiovisual works and to debate its different elements. They will also be discussing their works with an international jury made up of film critics, directors and editors.

The festival will cover the travel and accommodation expenses of the selected filmmakers.

Apply Now

For more information