Farida Benlyazid and Moroccan Cinema by Florence Martin

Farida Benlyazid and Moroccan Cinema (2024)

by Florence Martin

Description
This book project unfolds and analyzes the work of Moroccan director, producer, and scriptwriter Farida Benlyazid, whose career extends from the beginning of cinema in independent Morocco to the present. This study of her work and career provides a unique perspective on an under-represented cinema, the gender politics of cinema in Morocco, and the contribution of Arab women directors to global cinema and to a gendered understanding of Muslim ethics and aesthetics in film.

A pioneer in Moroccan cinema, Farida Benlyazid has been successful at negotiating the sometimes abrupt turns of Morocco's rocky 20th century history: from Morocco under French occupation to the advent of Moroccan independence in 1956; the end of the international status of Tangier, her native city, in 1959; the "years of lead" under the reign of Hassan II; and finally Mohamed VI's current reign since 1999. As a result, she has a long view of Morocco's politics of self-representation as well as of the representation of Moroccan women on screen.

Amy Sall. The African Gaze: Photography, Cinema and Power

Amy Sall

The African Gaze: Photography, Cinema and Power

 

Description 

An accessible yet critical introduction to African photography and film from the mid-twentieth century to present day.

The African Gaze is a comprehensive exploration of postcolonial and contemporary photography and cinema from Africa. Drawing from archival imagery and documents, interviews with the photographers and filmmakers (in some cases family members/close associates if the artist is deceased), and contributions from writers, scholars, and curators, it maps a comprehensive introduction to African moving and still imagery.

This is a hugely important and timely publication—engagement with Black and African histories is stronger than ever before (and long overdue). The major names of African photography, such as Malick Sidibé, Sanlé Sory, and Seydou Keïta, have become highly collectible in the art market, while African cinema, pioneered by filmmakers such as Ousmane Sembène in 1960s Senegal, is now recognized for its creative innovation and storytelling.

For anyone drawn to African photography and film, this book will provide an exciting and accessible overview.

Featuring interviews with Samuel Fosso and Souleymane Cissé.

Cinemas africanos nas histórias e nas teorias do cinema – estéticas, desafios e novos cenários (African cinemas in the histories and theories of cinema – aesthetics, challenges and new scenarios)

Cinemas africanos nas histórias e nas teorias do cinema – estéticas, desafios e novos cenários

v. 1 n. 2 (1)

O segundo número da revista A Barca é dedicado às pesquisas sobre cinemas africanos no Brasil, no intuito de complexificar o modo como se ensina e se compreende as histórias e as teorias do cinema. Com este dossiê, espera-se contribuir para ampliar e alocar os filmes africanos nas discussões e análises teóricas, estilísticas e metodológicas do audiovisual.

Navegar ainda é preciso! Boa leitura!

https://periodicos.uff.br/abarca/issue/view/2938

Translation: African cinemas in the histories and theories of cinema – aesthetics, challenges and new scenarios. v. 1 n. 2 (1) The second issue of A Barca magazine is dedicated to research on African cinema in Brazil, with the aim of adding complexity to the way in which the histories and theories of cinema are taught and understood. With this dossier, we hope to contribute to expanding and including African films in theoretical, stylistic and methodological audiovisual debates and analyses. Navigating remains necessary! Enjoy!  

Francophone African Women Documentary Filmmakers - Beyond Representation - Edited by Suzanne Crosta, Sada Niang, Alexie Tcheuyap

Francophone African Women

Documentary Filmmakers

Beyond Representation

Edited by Suzanne Crosta, Sada Niang, Alexie Tcheuyap

DESCRIPTION

Francophone African Women Documentary Filmmakers is groundbreaking edited collection which explores the contributions of Francophone African women to the field of documentary filmmaking. Rich in its scope and critical vision it constitutes a timely contribution to cutting-edge scholarly debates on African cinemas.

Featuring 10 chapters from prominent film scholars, it explores the distinctive documentary work and contributions of Francophone African women filmmakers since the 1960s. It focuses documentaries by North African and Sub-Saharan women filmmakers, including the pioneering work of Safi Faye in Kaddu Beykat, Rama Thiaw's The Revolution Will Not be Televised, Katy Lena Ndiaye's Le Cercle des noyes and En attendant les hommes, Dalila Ennadre's Fama: Heroism Without Glory and Leila Kitani's Nos lieux interdits.

Shunned from costly fictional- 35mm-filmmaking, Francophone African Women Documentary Filmmakers examines how these women engaged and experimented with documentary filmmaking in personal, evocative ways that countered the officially sanctioned, nationalist practice of show and teach/promote.

TABLE OF CONTENTS
Introduction, by Suzanne Crosta, Sada Niang, and Alexie Tcheuyap
1. Documenting the Unseemly: Moroccan Women's Documentaries in the 2000s, by Florence Martin
2. Outsiders on the Inside: Rokhaya Diallo's Les marches de la liberté as Activist Documentary, by Sheila Petty
3. Challenging Documentary Practice: A Return to Safi Faye's Kaddu Beykat, by Melissa Thackway
4. Revisiting the "Domestic Ethnography" Approach in Khady Sylla's Une Fenêtre ouverte, by El Hadji Moustapha Diop
5. Tales of Colonels: Auteurship and Authority in Mama Colonel (2017) and This is Congo (2017), by Alexie Tcheuyap and Felix Veilleux
6. Authorizing Reality in Leila Kilani's Our Forbidden Places (2008) and Kaouther Ben Hania's The Slasher of Tunis (2014), by Suzanne Gauch
7. Documenting Tyranny: The Politics of Memory in Leila Kilani and Osvalde Lewat, by Herve Tchumkam
8. Ecological Representations in African Women Documentaries, by Suzanne Crosta
9. Looping the Loop: Rama Thiaw's The Revolution Won't Be Televised (2016), by Sada Niang
10. Dancing with the Camera: Interview with Nadine Otsobogo, by Suzanne Crosta, Sada Niang, and Alexie Tcheuyap
Index

Indiana University Press: https://iupress.org/9780253066534/francophone-african-women-documentary-filmmakers/

Feminist Worldmaking and the Moving Image - Edited by Erika Balsom and Hila Peleg - MIT Press

Feminist Worldmaking and the Moving Image

Edited by Erika Balsom and Hila Peleg

512 pp.

ISBN: 9780262544528

Published: September 27, 2022

Publisher: The MIT Press

https://mitpress.mit.edu/9780262544528/

Intersectional, intergenerational, and international perspectives on nonfiction filmmaking by women, generously illustrated, with film stills and other images.

This book offers intersectional, intergenerational, and international perspectives on nonfiction film- and videomaking by and about women, examining practices that range from activist documentaries to avant-garde experiments. Concentrating primarily on the period between the 1970s and 1990s, the contributions revisit major figures, contexts, and debates across a polycentric, global geography. They explore how the moving image has been a crucial terrain of feminist struggle—a way of not only picturing the world but remaking it.
The contributors consider key decolonial filmmakers, including Trinh T. Minh-ha and Sarah Maldoror; explore collectively produced films with ties to women's liberation movements in different countries; and investigate the cinematic expressions of tensions and alliances between feminism and anti-imperialist struggles. They grapple with the need for a broader more inclusive definition of the term “feminism”; meditate on the figure of the grandmother; reflect on realist aesthetics; and ask what a feminist film historiography might look like.
The book, generously illustrated with film stills and other images, many in color, offers ten original texts, two conversations, and eight short essays composed in response to historical texts written by filmmakers. The historical texts, half of which are published in English for the first time, appear alongside the essays.

Co-published with the Haus der Kulteren der Welt (HKW), Berlin

Contributors
Helena Amiradżibi, Madeleine Bernstorff, Teresa Castro, Counter Encounters (Laura Huertas Millán, Onyeka Igwe, Rachael Rakes), Ayanna Dozier, Forough Farrokhzad, Safi Faye, Devika Girish, Elena Gorfinkel, Haneda Sumiko, Shai Heredia, Juliet Jacques, Sarah Keller, Nzingha Kendall, Julia Lesage, Beatrice Loayza, Janaína Oliveira, Lakshmi Padmanabhan, Yasmina Price, Elizabeth Ramírez-Soto, Pooja Rangan, Lis Rhodes, Sara Saljoughi, Rasha Salti, Isabel Seguí, Chick Strand, Monika Talarczyk, Trinh T. Minh-ha, Françoise Vergès, Claudia von Alemann, Mitsuyo Wada-Marciano, Shilyh Warren, Giovanna Zapperi

Livre/Book: À l’œuvre au cinéma! Professionnelles en Afrique et au Moyen Orient (At work in cinema! Women professionals in Africa and the Middle East)

À l’œuvre au cinéma! Professionnelles en Afrique et au Moyen Orient

(At work in cinema! Women professionals in Africa and the Middle East)
Patricia Caillé et Raluca Calin (dir.)

Eds L'Harmattan (Images plurielles: Scènes et écrans), 2022, 380 p.
http://www.groupe-hescale.com/category/publications/
 
English translation
Whether in Algeria, Tunisia, Ethiopia, Ghana, Cameroon, Senegal, Turkey, Lebanon, the United Arab Emirates, Qatar, etc., but also from France, film professionals have engaged with extraordinary energy, not only to make films, but also to contribute to the more global development of the sectors in which they work. This book focuses on singular paths, pioneering trajectories of women filmmakers or technicians, offers national inventories and reports on the contestation of the status quo by the new generations who thus create new opportunities, claim their place and insist on more inclusive practices.

Que ce soit en Algérie, en Tunisie, en Éthiopie, au Ghana, au Cameroun, au Sénégal, en Turquie, au Liban, aux Émirats arabes unis, au Qatar, etc., mais aussi depuis la France, des professionnelles du cinéma se sont engagées avec une énergie hors du commun, non seulement pour faire des films, mais aussi pour contribuer au développement plus global des secteurs dans lesquels elles œuvrent. Cet ouvrage s'attache à des parcours singuliers, des trajectoires pionnières de réalisatrices ou techniciennes, offre des états des lieux nationaux et rend compte de la contestation du statu quo par les nouvelles générations qui créent ainsi de nouvelles opportunités, s'arrogent des postes et imposent des pratiques plus inclusives.

Pour commander l'ouvrage:
https://www.editions-harmattan.fr/livre-a_l_oeuvre_au_cinema_professionnelles_en_afrique_et_au_moyen_orient_patricia_caille_raluca_calin-9782343253978-72508.html

Table des matières:

INTRODUCTION
Patricia Caillé

PARTIE I - PARCOURS SINGULIERS

Andrée Davanture, monteuse. Un œil à l’écoute !
Claude Forest

Marie-Josée Sanselme, plume francophone du cinéaste franco-israélien Amos Gitaï
Marie-Pierre Ulloa

Heiny Srour, un engagement aux marges du cinéma libanais
Patricia Caillé

Kahena Attia, une cinéaste qui transcende les limites du métier de monteuse
Ons Kamoun


PARTIE II - PARCOURS PIONNIERS

Third Cinema Inheritances and Contemporary Politico-Commercial Women’s Films and Filmmaking in Ghana
Dennis-Brook Prince Lotsu

The Female Gaze in South African Film: Katinka Heyns and Contemporary Women Filmmakers
Anna-Marie Jansen Van Vuuren

Nujoom Alghanem: Filming in the United Arab Emirates
Alejandra Val Cubero

PARTIE III – ÉTATS DES LIEUX

Courage, persévérance et solidarité : Les femmes cinéastes face aux obstacles d’une industrie à domination masculine en Turquie
Hülya Uğur Tanrıöver and Gülsenem Gün

Présence des femmes dans l’activité cinématographique au Cameroun
Lambert Ndzana

Réalisatrices ouest africaines francophones.  Portraits croisés Burkina Faso et Sénégal
Mame Rokhaya Ndoye

PARTIE IV – NOUVELLES GÉNÉRATIONS  DE LA CONTESTATION

(R)Évolutions tacites : Trajectoires cinématographiques éthiopiennes
Raluca Calin

Contesting the Status Quo: The Rise of Women Filmmakers in Ghana
Dennis-Brook Prince Lotsu

Les femmes dans le cinéma algérien contemporain
Salima Tenfiche

Femmes réalisatrices en Tunisie : Une tradition révolutionnaire ?
Emna Mrabet

Réalisatrices qataries, vitrine d’un cinéma en devenir ?
Stéphanie Pourquier-Jacquin

BIBLIOGRAPHIE
NOTICES BIO-BIBLIOGRAPHIQUES
 

Andrée Davanture: La Passion du Montage | A Passion for Film Editing by/de Claude Forest

Andrée Davanture:

La Passion du Montage | A Passion for Film Editing

by/de Claude Forest
Edition l'Harmattan
452 pages

Description

L'ouvrage retrace le parcours de cette grande monteuse du cinéma, qui commença classiquement dans le cinéma populaire en 1952 en travaillant avec les réalisateurs français de renom de l'époque (Henri Verneuil, Robert Hossein…), devint cheffe monteuse à la télévision en 1965 où elle côtoiera les pionniers de ORTF, avant de consacrer à partir de 1974 essentiellement aux cinéastes africains francophones. Elle les aidera individuellement dans le respect de leur imaginaire, et collectivement en visant la constitution d’un patrimoine. En animant ATRIA, structure collective atypique de soutien au montage et à la production cinématographiques, de 1980 à 1999, elle permettra la révélation de plusieurs dizaines de réalisateurs, notamment d'Afrique francophone. Elle continuera ensuite de monter des films jusqu’à sa disparition en 2014, inachevant le dernier film de Souleymane Cissé. Une cinquantaine de témoignages de monteurs, réalisateurs et professionnels contribuent à faire revivre cette monteuse à la générosité exceptionnelle.

The book, Andrée Davanture: La Passion du Montage, traces the career of this great film editor, who began classically in popular cinema in 1952 working with renowned French directors of the time (Henri Verneuil, Robert Hossein …). She became chief editor for television in 1965 where she rubbed elbows with the pioneers of the  Office de Radiodiffusion-Télévision Française (ORTF). After 1974 she devoted her time principally to Francophone African filmmakers, assisting them individually at the same time respecting their creative imaginary, and, collectively, with the aim of building a heritage. From 1980 to 1999 she played a leading role at ATRIA, an atypical collective structure supporting film editing and production, which enabled the discovery of several dozen directors, particularly from Francophone Africa. She continued editing films until her death in 2014, leaving the latest film of Souleymane Cissé unfinished.

The testimonials of some fifty editors, directors and professionals revive the work of this exceptionally generous editor.

ALSO SEE ON THE AFRICAN WOMEN IN CINEMA BLOG:

Homage to Andrée Davanture (1933-2014), grande dame and passionate supporter of African cinema:  https://africanwomenincinema.blogspot.com/2014/07/homage-to-andree-davanture-1933-2014.html

Livre/Book. Regards sur les migrations: Mobilités africaines entre écrit et écran

Regards sur les migrations:

Mobilités africaines entre écrit et écran
Sous la direction de Véronique Corinus et Daniela Ricci

Le cinéma, depuis de nombreuses décennies, cherche à saisir les divers aspects du phénomène migratoire, soucieux de traduire la tension des départs, la dureté des itinéraires, le désenchantement des arrivées mais aussi la richesse des rencontres multiculturelles. Le présent ouvrage entend interroger la manière dont les cinéastes issus des communautés africaines et diasporiques parviennent à en rendre compte, confrontés aux conditions de production, création et réception qui leur sont propres, dans un monde globalisé simultanément à l’origine d’inclusions et exclusions humaines et techniques.

SOMMAIRE

PRÉFACE
Migration des hommes, des techniques et des imaginaires Véronique CORINUS et Daniela RICCI

PREMIÈRE PARTIE

ENTRE PRODUCTION ET CRÉATION : SAISIR L’AFRIQUE EN MOUVEMENT

Migrations et traversées dans les cinémas d’Afrique
Melissa THACKWAY

Habiter le monde : cinémas d’Afrique en traversées
Olivier BARLET

Pour une industrie du cinéma pérenne sur le continent africain
Claude FOREST

L’art du montage et l’écriture documentaire pour dire sa vision du monde (entretien conduit par Daniela Ricci et Thierno Ibrahima Dia)

Angèle DIABANG

Pim Pim Tché - Toast de vie ! Le parcours d’un combattant (entretien conduit par Daniela Ricci)
Jean ODOUTAN

DEUXIÈME PARTIE

 

ENTRE TEXTE ET TOILE : ÉCRIRE L’ITINÉRANCE

Va-et-vient créatif. De l’écriture littéraire à l’écriture filmique
et inversement : l’exemple d’Isabelle Boni-Claverie et de Fabienne Kanor
Odile CAZENAVE

Entre images, textes et corps (entretien conduit par Véronique Corinus et Thierno Ibrahima Dia) Fabienne KANOR

Échos et écueils de l’expérience migratoire (entretien conduit par Thierno Ibrahima Dia)

Ananda DEVI

Une écriture subjective pour bousculer les clichés raciaux de la société (entretien conduit par Daniela Ricci)

Isabelle BONI-CLAVERIE
 

Du soukounian à Vanille : l’adaptation d’une légende créole en un film d’animation jeune public (entretien conduit par Véronique Corinus)

Guillaume LORIN et Antoine LANCIAUX

FILMOGRAPHIE PRÉSENTATION DES CONTRIBUTEURS

Éditions l’Harmattan www.editions-harmattan.fr

Livre/Book. Diffusion des cinémas d'Afrique et du Levant

Presence Francophone Numéro 95

Diffusion des cinémas d'Afrique et du Levant

BOOK: Etats et cinema en Afriques francophones: Pourquoi un désert cinématographique ? (The State and cinema in francophone Africa: Why is there a cinema desert?)

Etats et cinema en Afriques francophones: Pourquoi un désert cinématographique ? (The State and cinema in francophone Africa: Why is there a cinema desert?) - French language book

Coordonné par | Coordinated by CLAUDE FOREST
University professor of cinema studies | Professeur des Universités en études cinématographiques
Paris: Editions Harmattan - Images plurielles
Date de publication: 22 septembre 2020

Editions Harmattan

In 2020, out of the twenty or so countries related to this study, more than half have at most one cinema theater in operation, and very few are able to regularly produce and distribute, not even one film per year. The production, distribution, exhibition of films, as well as technical industries, have existed only in a minority of these countries. In an attempt to understand this phenomenon, eighteen authors of fifteen different nationalities retrace its history and progress since 1960, laying out benchmarks on this little-addressed issue as it relates to the role of francophone African states vis-à-vis their national film industry. (Description translated from French)

***

En 2020, sur la vingtaine de pays concer- nés, plus de la moitié ne possèdent au plus qu’une seule salle de cinéma en activité, et rares sont ceux qui arrivent à produire et distribuer régulièrement ne serait-ce qu’un film par an. Production, distribution, exploitation des films, mais aussi industries techniques n’ont jamais existé que dans une minorité de ces pays. Pour tenter de comprendre le phénomène, dix-huit au- teurs de quinze nationalités différentes en retracent l’histoire et les cheminements depuis 1960, posant des jalons sur cette question peu traitée du rôle des États afri- cains francophones vis-à-vis de leur filière cinématographique nationale. 

SOMMAIRE | SUMMARY

Chapitre liminaire :
Quel(s) État(s) en Afriques francophones ?
Claude Forest

Ière PARTIE : LES ÉTATS FRANCOPHONES SOUS INFLUENCE SOVIÉTIQUE
Chapitre I : D’Est au Sud, les États font leur cinéma
Gabrielle Chomentowski
Chapitre II : La Guinée
Odile Goerg
Chapitre III : La Tunisie
Noura Nefzi
Chapitre IV : L’Algérie
Nesrine Sadoun
Chapitre V : Le Bénin
Arcade Assogba
Chapitre VI : La République du Congo
Joseph Armando Soba

IIe PARTIE : ÉTATS AFRICAINS, CINÉMA ET ÉCONOMIES DE MARCHÉ
Chapitre VII : Le rôle de l’État français dans le cinéma en Afriques francophones
Claude Forest
Chapitre VIII : Le Maroc
Boubker Hihi
Chapitre IX : Le Burkina Faso
Evariste Dakouré
Chapitre X : Le Sénégal
Delphe Kifouani
Chapitre XI : La Côte d’Ivoire
Othniel Go
Chapitre XII : Le Cameroun
Calvin Boris Yadia

IIIe PARTIE : LES ÉTATS VELLÉITAIRES
Chapitre XIII : Le Niger
Youssoufa Halidou Harouna et Candide Achille Ayayi Kouawo
Chapitre XIV : Le Tchad
Patrick Ndiltah
Chapitre XV : La Centrafrique
Raluca Calin
Chapitre XVI : Le Togo
Komi Ati
Chapitre XVII : La République démocratique du Congo
Daddy Dibinga Kalamba

Dates clef des États pour le cinéma
Les auteurs

Festivals de cinéma en Afriques francophones (Film festivals in francophone Africa) Harmattan, 2020

Festivals de cinéma en Afriques francophones (Film festivals in francophone Africa) Harmattan, 2020

Festivals de cinéma en Afriques francophones  

Ouvrage coordonné par Claude Forest.

Harmattan, février 2020

Film Festivals in Francophone Africa. 

French language book: English translation of summary 

Text & Image Source : https://www.editions-harmattan.fr/index.asp?navig=catalogue&obj=livre&no=65187

Les festivals de cinéma constituent un phénomène en forte croissance, tant dans le monde entier que sur le continent africain, ici spécifiquement dans les pays francophones.

En s’appuyant sur de nombreux cas concrets, la variété des situations et contraintes transparaît nettement. Puisqu’il n’existe pas de norme internationale pour les encadrer ou les protéger, n’importe qui peut utiliser cette appellation de festival comme il l’entend. Et pourtant certains pays, comme l’Algérie, en réservent strictement l’intitulé à ceux initiés par l’État, tandis qu’au contraire, son voisin immédiat, le Maroc, les facilite et en soutient financièrement l’implantation à travers tout le pays, des plus grandes villes aux villages reculés.

A contrario, dans la quasi-totalité de l’Afrique sud saharienne francophone, des pays sans cinématographie constituée, sans industrie et qui souvent n’abritent plus de salle de cinéma, sans aucun soutien de leurs États, les festivals sont initiés par des cinéphiles ou des professionnels soucieux de, simplement, pouvoir montrer leurs œuvres. Les enjeux sont nettement moins symboliques que dans les festivals prestigieux du nord et beaucoup plus pragmatiques : ils sont souvent vitaux pour les films et leurs auteurs pour lesquels il s’agit d’abord de se montrer et exister, avant de tenter d’émerger si ce n’est de vivre de leur métier.

Mais dans ces pays qu’est-ce qu’un festival de cinéma ? Ne doit-on pas s’interroger sur ce qu’est aujourd’hui le cinéma dans une région du monde qui ne possède pas, ou plus, de salles de cinéma, pas plus que d’industrie de l’audiovisuel, ni de législation l’encadrant voire le définissant ?

Coordonné par Claude Forest, Professeur des Universités en études cinématographiques, cet ouvrage rassemble des contributions traitant des festivals de différents pays, étudiés par Olivier Barlet, Mariam Ait Belhoucine, Farah Clémentine Dramani-Issifou, Claude Forest, Youssoufa Halidou Harouna et Candide Achille Ayayi Kouawo, Clément Ndzana, Lambert Ndzana, Noura Nefzi, Taku Victor Jong, Salima Tenfiche, Calvin Boris Yadia.

Film festivals in Francophone Africa

Publication coordinated by Claude Forest

Film festivals are a rapidly growing phenomenon, both worldwide and on the African continent—in the case of this study, specifically in Francophone countries.

Drawing on a number of actual cases, the wide range of situations and constraints is clearly visible. Since there is no international standard to frame or safeguard the festival structure, everyone may use the nomenclature of festival in whatever manner that suits them. And yet some countries, such as Algeria, strictly reserve the designation to those initiated by the State, while on the contrary, its adjacent neighbour, Morocco, facilitates and financially supports these structures throughout the country, from the largest cities to the most remote villages.

On the other hand, in almost all of francophone sub-Saharan Africa, countries without established cinemas, without industries, and which often no longer house movie theatres nor have any support from their State—festivals are initiated by film enthusiasts, or professionals who simply want to be able to show their work. The issues at stake are much less symbolic than in the prestigious festivals of the north and, hence are much more pragmatic: they are often essential for the films and their creators, it comes down to being able to show their work and survive, to be able to earn a living.

But in these countries what is a film festival? Should not the question be, what is cinema today in a region of the world that does not have, or no longer has, cinema halls, nor an audio-visual industry or legislation to structure or define it?

Coordinated by Claude Forest, Professor of Universities in Cinematographic Studies. This book brings together contributions regarding festivals from different countries, research by Olivier Barlet, Mariam Ait Belhoucine, Farah Clémentine Dramani-Issifou, Claude Forest, Youssoufa Halidou Harouna and Candide Achille Ayayi Kouawo , Clément Ndzana, Lambert Ndzana, Noura Nefzi, Taku Victor Jong, Salima Tenfiche, Calvin Boris Yadia.

SEE RELATED ARTICLE:

Black Camera: African Women on the Film Festival Landscape: Organizing, Showcasing, Promoting, Networking by Beti Ellerson with Falila Gbadamassi (Fall 2019)

Être actrice noire en France: (dé)jouer les imaginaires par/by LUCIE ANDRÉ [To Be a Black Actress in France: (un)playing imaginaries]

Être actrice noire en France: (dé)jouer les imaginaires

 Lucie André (Harmattan) décembre, 2019

To Be a Black Actress in France: (un)playing imaginaries, French language book: English translation of summary

Text & Image Source : https://www.editions-harmattan.fr/index.asp?navig=catalogue&obj=livre&no=64611

Dans l'univers résolument blanc du cinéma français, comment se rendre visible en tant que femme noire et actrice ?

L’histoire a dessiné le visage du pays : une mosaïque culturelle plurielle constituée pour 4 a 5 % de sa population d’Afro-descendants. Quelle place leur est donnée à l'écran ?

L'étude des personnages féminins noirs dans le cinéma français contemporain en donne un aperçu : les rôles périphériques, stéréotypés et marginalisés se bousculent. Les actrices noires, elles, résistent. Conscientes des projections postcoloniales dont leurs personnages font l’objet, elles restent toujours animées par leur vocation and leur désir de jouer.

Cet ouvrage enquête sur l'histoire des représentations au travers d'une étude exhaustive des rôles interprétés par ces femmes et d'une analyse détaillée du parcours de trois actrices contemporaines. Il aborde la complexité d'exercice de ces actrices tiraillées entre le besoin de travailler et l'idée de contribuer malgré elles à faire perdurer ces représentations stéréotypées.

Un ouvrage novateur.

***

In the resolutely white universe of French cinema, how does a woman, black and actress, make herself visible?

History has drawn the face of the country: a plural, cultural mosaic of a population made up of 4 to 5% of Afro-descendants. What place is given to them on the screen?

The study of black female characters in contemporary French cinema presents an overview: peripheral, stereotypical and marginalized roles jostle about. Black actresses resist. Conscious of the postcolonial representations of which their characters are the subject, they continue to be enthusiastic about their vocation and their desire to act.

This book investigates the history of representations through an exhaustive study of the roles interpreted by these women and a detailed analysis of the journey of three contemporary actresses. It addresses the intricacies of the professional practice of these actresses torn between the need to work and the idea of ​​contributing in spite of themselves to the perpetuation of these stereotypical representations.

Lucie André

Après une formation technique aux métiers de l'image, Lucie André entreprend des études en recherches cinématographiques à l'université Paris III. À l'issue de ses études, elle se forme au métier de réalisatrice documentaire à l'INA. Elle travaille aujourd'hui dans une société de prestation audiovisuelle.

***

After technical training in diverse professions of the visual image, Lucie André undertook studies in cinematographic research at the University of Paris III. She had the opportunity to continue her research in Canada at the University of British Columbia (UBC) where she obtained a Master's in 2016. At the end of her studies, she trained as a documentary filmmaker at the INA. Presently, she works in an audiovisual service company.

Women in African Cinema: Beyond the Body Politic by Lizelle Bisschoff, Stefanie Van de Peer

Women in African Cinema: Beyond the Body Politic by Lizelle Bisschoff, Stefanie Van de Peer

Routledge 2019

Description

Women in African Cinema: Beyond the Body Politic showcases the very prolific but often marginalised presence of women in African cinema, both on the screen and behind the camera.

This book provides the first in-depth and sustained examination of women in African cinema. Films by women from different geographical regions are discussed in case studies that are framed by feminist theoretical and historical themes, and seen through an anti-colonial, philosophical, political and socio-cultural cinematic lens. A historical and theoretical introduction provides the context for thematic chapters exploring topics ranging from female identities, female friendships, women in revolutionary cinema, motherhood and daughterhood, women’s bodies, sexuality, and spirituality. Each chapter serves up a theoretical-historical discussion of the chosen theme, followed by two in-depth case studies that provide contextual and transnational readings of the films as well as outlining production, distribution and exhibition contexts. This book contributes to the feminist anti-racist revision of the canon by placing African women filmmakers squarely at the centre of African film culture.

Demonstrating the depth and diversity of the feminine or female aesthetic in African cinema, this book will be of great interest to students and scholars of African cinema, media studies and African studies.

Contents

1. Women in African Cinema: Histories and Theories

2. The Multiplicity of Female Identities: Embracing Plurality

3. Female Friendships in Film: Affinities, Affiliations and Activism

4. Women in Revolution and Revolutionary Cinema

5. Daughters and Their Mothers: Between Conflict and Acceptance

6. African Women's Bodies: Journeys into Womanhood

7. (Re)defining Female Sexuality through Film

8. Spiritual Pathways to Emancipation

“Over the years, Stef and I had talked about writing a book and in 2017 she contacted me and said, “Let’s do this book.” So, it came out of more than a decade-long interest in women in African cinema so we combined our areas of specialities and started writing a book. It was an interesting experience to co-author a book. It had to have this collaboration.”

“It is also necessary to talk about my own identity. We’ve had a lot of concerns about being two White women writing about African cinema. I’m white South African and Stef is Belgian. Stef has her own history with how Belgium has denied its intervention in the Congo. It was one of the most brutal and severe occupations of an African country and Stef used to say to me that she never learned about these things growing up in Belgium. So for both of us it came out of our own backgrounds of wanting to address that, while also being aware of the legitimacy to write about something that you’re not a part of. We talk about our positionality in the introduction of the book because we felt that it’s very important to acknowledge that we are privileged.”

Interview with Lizelle Bisschoff by Mimi Anagli, Agnès Films, May 2020

ALSO SEE:

Podcasts: Women in African Cinema Podcast Series

https://www.africa-in-motion.org.uk/podcasts/women-in-african-cinema/

This podcast series is based on the book Women in African Cinema: Beyond the Body Politics, by Lizelle Bisschoff and Stefanie Van de Peer (Routledge, 2019). 

    

1: Women in African Cinema: An Introduction - 11 May 2020 

2a: Women in North African Cinema - 12 May 2020

2b: Women in Francophone West African Cinema - 13 May 2020

3: Personal Stories, Public Histories: Women's Filmmaking in the DRC and South Africa - 26 May 2020

Lizelle Bisschoff is a researcher and curator of African film and founder of the Africa in Motion (AiM) Film Festival, an annual African film festival taking place in Scotland. She is currently Lecturer in Film and Television Studies at the University of Glasgow.

Stefanie Van de Peer is researcher and programmer of African and Arab cinema. Her award-winning collection Animation in the Middle East came out in 2017. She programmes for film festivals worldwide and works for Africa in Motion. She is Research Fellow at the University of Exeter and Lecturer in Film and Media at Queen Margaret University in Edinburgh.

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