African Cinema: Manifesto and Practice for Cultural Decolonization - Vols 1-2-3 (Indiana University Press)

African Cinema: Manifesto and Practice for Cultural Decolonization - Vols 1, 2, 3
Indiana University Press
Edited by Michael T. Martin and Gaston Jean-Marie Kaboré
With Allison J. Brown, Cole Nelson and Joseph E. Roskos
Challenging established views and assumptions about traditions and practices of filmmaking in the African diaspora, this three-volume set offers readers a researched critique on black film.

Volume 1: Colonial Antecedents, Constituents, Theory, and Articulations

https://iupress.org/9780253066213/african-cinema-manifesto-and-practice-for-cultural-decolonization/

Volume One of this landmark series on African cinema draws together foundational scholarship on its history and evolution. Beginning with the ideological project of colonial film to legitimize the economic exploitation and cultural hegemony of the African continent during imperial rule to its counter-historical formation and theorization. It comprises essays by film scholars and filmmakers alike, among them Roy Armes, Med Hondo, Fèrid Boughedir, Haile Gerima, Oliver Barlet, Teshome Gabriel, and David Murphy, including three distinct dossiers: a timeline of key dates in the history of African cinema; a comprehensive chronicle and account of the contributions by African women in cinema; and a homage and overview of Ousmane Sembène, the "Father" of African cinema.

Contributions by Roy Armes, Femi Okiremuete Shaka, James Burns, Tom Rice, Odile Goerg, Med Hondo, Férid Boughedir, Haile Gerima, Sada Niang, Monique Mbeka Phoba, Olivier Barlet, Clyde R. Taylor, Férid Boughedir, Alexie Tcheuyap, Esiaba Irobi, Stephen A. Zacks, Teshome H. Gabriel, David Murphy, Jude Akudinobi, Maureen N. Eke, Paulin Soumanou Vieyra, Boukary Sawadogo, Claude Forest, Samba Gadjigo and Beti Ellerson

Volume 2: FESPACO—Formation, Evolution, Challenges
https://iupress.org/9780253066251/african-cinema-manifesto-and-practice-for-cultural-decolonization/

Volume Two of this landmark series on African cinema is devoted to the decolonizing mediation of the Pan African Film & Television Festival of Ouagadougou (FESPACO), the most important, inclusive, and consequential cinematic convocation of its kind in the world. Since its creation in 1969, FESPACO's mission is, in principle, remarkably unchanged: to unapologetically recover, chronicle, affirm, and reconstitute the representation of the African continent and its global diasporas of people, thereby enunciating in the cinematic, all manner of Pan-African identity, experience, and the futurity of the Black World.

This volume features historically significant and commissioned essays, commentaries, conversations, dossiers, and programmatic statements and manifestos that mark and elaborate the key moments in the evolution of FESPACO over the span of the past five decades.

Preface by Ardiouma Soma. Contributions by Gaston Jean-Marie Kaboré, Lindiwe Dovey, Manthia Diawara, Beti Ellerson, Sambolgo Bangre, Dorothee Wenner, Manthia Diawara, M. Africanus Aveh, Mahir Saul, Mbye Cham, Ousmane Sembene, Wole Soyinka, Aboubakar Sanogo, Teresa Hoefert de Turegano, Claire Andrade-Watkins, Olivier Barlet, Michael T. Martin, Rod Stoneman, Beti Ellerson, Férid Boughedir, Claire Diao, Michel Amarger, Mustapha Ouedgraogo, Colin Dupré, Sheila Petty, Imruh Bakari, June Givanni, Mahir Saul, Olivier Barlet, Rémi Abega, Rod Stoneman and Michael T. Martin

Volume 3: The Documentary Record—Declarations, Resolutions, Manifestos, Speeches
https://iupress.org/9780253066299/african-cinema-manifesto-and-practice-for-cultural-decolonization/

Volume Three of this landmark series on African cinema spans the past century and is devoted to the documentation of decoloniality in cultural policy in both Africa and the Black diaspora worldwide. A compendium of formal resolutions, declarations, manifestos, and programmatic statements, it chronologically maps the long history and trajectories of cultural policy in Africa and the Black Atlantic. Beginning with the 1920 declaration of the Rights of the Negro Peoples of the World, which anticipates cinema as we know it today, and the formal oppositional assertions—aspirational and practical. The first part of this work references formal statements that pertain directly to cultural policy and cinematic formations in Africa, while the next part addresses the Black diaspora. Each entry is chronologically ordered to account for when the statement was created, followed by where and in what context it was enunciated.

Karine Silla Perez: Métissages | Mixing - ARTE.TV

Karine Silla Perez: Métissages | Mixing - ARTE.TV

70 minute documentary available on arte.tv from 28-08-2023 to 27-02-2024

Métissages, un film de Karine Silla Perez

https://www.arte.tv/fr/videos/115986-000-A/metissages/

Le film explore la manière dont l'art et la beauté peuvent rassembler. La réalisatrice Karine Silla pose son regard singulier sur la jeunesse, le féminisme, ainsi que sur les questions d'identité et de transmission. Ainsi, le film fait dialoguer les arts : la danse avec l’École des Sables, la musique avec le rappeur Nix ou la chanteuse Elia, le cinéma avec les étudiants de Kourtrajmé ou les comédiennes Rokhaya Niang et Mama Sané, l’architecture avec Mamy Tall, la littérature avec les écrivaines Ken Bugul et Anne Berest.

Mixing (Métissages) A Film by Karine Silla Perez

https://www.arte.tv/en/videos/115986-000-A/mixing-metissages/

The film explores the ways that art and beauty may come together. The filmmaker Karine Silla fixes her singular gaze on the youth, on feminism, as well as questions around identity and transmission. Hence, the film brings the arts into dialogue: dance (with l’École des Sables) music (with the rapper Nix and the singer Elia) cinema (with the students of Kourtrajmé and actresses Rokhaya Niang and Mama Sané), architecture (with Mamy Tall) and literature (with writers Ken Bugul and Anne Berest. 

Chanel’s first fashion show in Dakar in 2023 was historic – not least because of the historically significant venue of the Palace of Justice, a colonial edifice from former "French West Africa". Karine Silla's film about this event focuses on questions of identity, transmission and exchange, and how art and beauty can bring people together.

Karine Silla Perez:

Je suis née à Dakar d’un père sénégalais et d’une mère bretonne, j’ai vécu aussi au Mali, au Burkina Faso, au Cameroun puis au Canada, à New York et, vers 24 ans, en France. Notre famille (j’ai une sœur et deux frères) voyageait au rythme de notre père, diplomate aux Nations unies. 

I was born in Dakar to a Senegalese father and Breton mother, I lived in Mali, Burkina Faso, Cameroon, then in Canada and New York and at 24 years old, to France. Our family, I have a sister and two brothers, traveled with the rhythm of our father, diplomat at the United Nations. 

Amina Barakat: Naissance de la Fédération panafricaine des festivals de cinéma et de l'audiovisuel | The Birth of the Pan-African Federation of Film and Audiovisual Festivals

Naissance de la Fédération panafricaine des festivals de cinéma et de l'audiovisuel

The Birth of the Pan-African Federation of Film and Audiovisual Festivals

par/by Amina Barakat

À Khouribga, 16 festivals du continent africain se donnent la main

At Khouribga, 16 festivals from the African continent join hands

Source: http://africine.org/reportage/naissance-de-la-federation-panafricaine-des-festivals-de-cinema-et-de-laudiovisuel/15758

Publié 06 juillet 2023

Une Fédération de Festivals africains

A Federation of African Film Festivals

La 23 édition du FICAK s'est tenue du 6 au 13 Mai 2023, à Khouribga, Maroc. Une initiative a été lancée, à la clôture.

The 23 edition of FICAK held from 6 to 13 May 2023 in Khouribga, Morocco. An initiative launched at the closing ceremony.

***

Elle unit des membres œuvrant au sein du continent: le FESPACO (Ouaga, Burkina Faso), les JCC (Tunis, Tunisie), Écrans Noirs (Yaoundé, Cameroun), LAFF (Louxor, Egypte), Festival International du Film des Lagunes - FESTILAG (Abidjan, Côte d'Ivoire), Bangui fait son cinéma (Bangui, Centrafrique), Festival International du Cinéma et de l'Audiovisuel du Burundi - FESTICAB (Bujumbura, Burundi), FICAK (Khouribga, Maroc), FIFIDHO (Niamey, Niger), Mashiriki Film Festival (Kigali, Rwanda) et RECICO (Bénin), parmi d'autres.

The Federation, brought together by members working within the continent, such as: le FESPACO (Ouaga, Burkina Faso), les JCC (Tunis, Tunisie), Écrans Noirs (Yaoundé, Cameroun), LAFF (Louxor, Egypte), Festival International du Film des Lagunes - FESTILAG (Abidjan, Côte d'Ivoire), Bangui fait son cinéma (Bangui, Centrafrique), Festival International du Cinéma et de l'Audiovisuel du Burundi - FESTICAB (Bujumbura, Burundi), FICAK (Khouribga, Maroc), FIFIDHO (Niamey, Niger), Mashiriki Film Festival (Kigali, Rwanda) et RECICO (Bénin), among others.

***

En tout, c'est une belle brochette de 16 festivals représentant 14 pays du continent africain. Cette union pourra les représenter dans les instances internationales. L'union a été annoncée - en présence des représentants des 16 festivals partenaires - par le directeur du festival de Khouribga, M. Iz-Eddine Gourirran.

In all, it was an impressive group of 16 festival representatives from 14 countries on the African continent, which will serve also internationally. The formation of the festival was announced in the presence of the 16 festival partners by the festival director, Mr. Iz-Eddine Gourirran.

Des buts et des ambitions

Goals and Objectives

Parmi les objectifs de cette fédération qu'il faut soutenir, le bon déroulement des activités, le respect de la diversité culturelle africaine, contribuer à la promotion du cinéma dans le monde, mettre en synergie les compétences, les connaissances et créer les moyens pour diffuser les réalisations de tous les créateurs des œuvres africains. Cette initiative qui a couronné les sept jours du festival de Khouribga a pour but de renforcer la coopération et l'échange entre les festivaliers qui croient au pouvoir du proverbe "l'union fait la force". Le nouveau "bébé" peut aussi contribuer à la création d'un fonds financier pour faciliter et aider au développement de l'industrie cinématographique en Afrique.

Among the goals of the Federation: the smooth development of activities, respect for the diversity of African cultures, contribute to the promotion of world cinema, to ensure a synergy among the competencies, expertise and knowledge of all, and create the means to disseminate the works of all creatives. This initiative has as objective to reinforce cooperation and exchange between the festival goers who believe in the proverb: "we find strength in unity". The newly-born alliance can also contribute to the creation of funding sources to facilitate and assist in the development of the cinematographic industry in Africa.

Stephina Zwane: Love, Sex & 30 Candles (South Africa) Netflix

Stephina Zwane: Love, Sex & 30 Candles (South Africa) Netflix

Synopsis

When they hit the age of 30, Dikeledi, Sade, Linda and Nolwazi deal with hardships, relationships and one little secret that might tear their friendship apart. Love, Sex and 30 Candles premieres 18 August, only on Netflix.

About Stephina Zwane

Stephina Zwane is a South African filmmaker who was born in Soweto and grew up in the middle of Johannesburg in the inner city.

She is a filmmaker determined to tell stories from her heart that either push boundaries, inform and educate or provide a different perspective on how Africa is perceived. As a storyteller, she is constantly trying to find new opportunities and new ways to honour the characters on script pages.

She has worked as a producer, writer and director for various TV channels in South Africa, including SABC (Spirit Sundae – Talk Show, Jika MaJika – Dance Variety Show) and Mzansi Magic (Sifun’Ukwazi – Talk Show). In terms of narrative, she has one of her films, baby Mamas on Netflix and with a few more headed there. When not working on her films, she enjoys freelancing as a director on other productions, which have contributed to her being a better storyteller and director.

Zwane is a well-rounded filmmaker, who enjoys being a performance director and has a great eye for creating beautiful shots to tell amazing stories. She’s a joy to work with and provides great support for both crew and cast on set.

Zwane is also the co-founder of Sorele Media, a film production company she started with film producer and actress, Salamina Mosese.

Source: https://stephinazwane.com/about-us/

Ouaga Tout Court (OTC) 2023 - Yasmine Delia Eboubie Ido - Mallaury Kabore - Mairama Komi

Ouaga Tout Court (OTC)

2023

Yasmine Delia Eboubie Ido - Mallaury Kabore - Mairama Komi

Short film production training think tank is a strategy that aims to strengthen the capacities of young Burkinabe creators to produce their first or second short films of competitive quality.

Incubateur de formation à la réalisation de court métrage est un dispositif qui ambitionne renforcer les capacités des jeunes créateurs burkinabè à la réalisation de leur premier ou deuxième film courts métrages de qualité compétitive. 

Yasmine Delia Eboubie Ido - Project Fiction “Yeleni”

 

Mairama Komi - Project Fiction "Nabo"

Mallaury Kaboré - Project Fiction "Alter Ego"

   

Milisuthando Bongela: "Milisuthando" - a poetic coming-of-age personal essay documentary (South Africa)

Milisuthando Bongela

Milisuthando

a poetic coming-of-age personal essay documentary

https://film.milisuthando.com/

Set in past and present South Africa, "Milisuthando" is a poetic coming-of-age personal essay documentary on love and what it means to become human in the context of race, explored through the memories of Milisuthando – who grew up during apartheid but didn't know it was happening until it was over.

8 years in the making, Milisuthando is a portrait of me and South Africa growing up together in the aftermath of apartheid. Driven by my narrative voice and a compelling cast of my family, friends, foes and some historical figures, the story braids together the three different worlds of my childhood — The now defunct Republic of Transkei, East London in the 1990s new South Africa and my adult life in Johannesburg. Spanning 30 years in a non-linear manner, the film is a  meditation on difficult questions about power, fear, intimacy and love as it relates to race. Through a roving feminine lens, we find ourselves in happened-upon environments that take the viewer into the interiors of the new South Africa and its relationship with its past.

Sundance Institute: Meet the Artist 2023: Milisuthando Bongela

Milisuthando Bongela: Inside Apartheid's Wish (The Institute of Black Imagination)

Perspectives from Italy: Sabrina Onana - Crossing the color line - Crossing the color line healing from the past

Perspectives from Italy
Sabrina Onana
Crossing the color line

Crossing the color line healing from the past 

Musa Madre Festival

sabato 29 luglio 2023

21:30 23:05

Borgo Antico Rebeccu Rebeccu, Sardegna, 07012 Italy

https://www.musamadrefestival.it/calendario/documentariocrossingthecolorline

“In Italy I am considered black or South American. “In France I am considered “metisse” or a person from the “banlieue” depending on how I am dressed, though I am Italian so it has nothing to do with it. In the United States, I am considered a light skin black woman. In the Antilles I am told that I am “Sabine”. What is interesting when one belongs to several worlds, and several types of representations, everyone projects their “imaginaire” on you in fact. And it is up to you to know where you belong, that you have your place in all of these places. I have learned to live my two cultures, Italian and Cameroonian, and finally, how should I call it, French culture, also somewhere, since I learned how to live the French language, even if it is not my mother tongue.

Sabrina Onana, born in Paris to an Italian mother and Cameroonian father, she grew up in Italy in an entirely white environment and settled in France as a young adult, where she studied political science and sociology. It is there as well that she explored her black identity. It is through this sociological lens that she came to cinema. Influenced by W.E.B. Du Bois’s declaration in the ground-breaking The Souls of Black Folks in 1903, “the problem of the twentieth century is the problem of the color line,” she titles her documentary to demonstrate its enduring presence.

The 2-part documentary, explores the experiences of young Afro-Italians who were born or grew up in Italy. Probing myriad questions of belonging, African-ness, Italianity, citizenship, representation, racism, the roots of their immigration history. Part 2, frames Italian history especially in the context of early Italian immigration juxtaposed to present discourse on immigration in Italy. In addition, Part 2 highlights African and Diasporan contributions to world history and culture.

Synopsis

This documentary project aims to correct the distorted vision that contemporary Italy has of its own Afro-descendant children and hopes to establish a healthier and more constructive space of dialogue regarding 'identity' issues in the country and abroad, especially in this particular socio-political and historical period of time.

What does it mean to grow up in Italy, today, as an afro-descendant child of immigrants? From North to South, Crossing the color line tells their stories, experiences, and points of view. The documentary was thought as a 'safe space' where Italian afro-descendants could freely express themselves and rebuild together a first-person narrative: a new Italian youth, with a rich identity, complex and sometimes hesitant, talks about roots, self-acceptance, nationality and dual belonging. Beyond the color line, those testimonies challenge the existing idea of 'italianity' and ask to rethink the sense of belonging to a national identity, redefining the traditional geographical and political boundaries, as contemporary Italy now has another face, which also looks like them.

Crossing the Color Line - Part 1

 

 Crossing the Color Line - healing from the past - Part 2