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31 August 2023

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

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 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

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.

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