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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 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.
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 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.
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 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.
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 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.
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
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.
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
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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