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Global Nollywood considers this first truly African cinema
beyond its Nigerian origins. In 15 lively essays, this volume
traces the engagement of the Nigerian video film industry with the
African continent and the rest of the world. Topics such as
Nollywood as a theoretical construct, the development of a new,
critical film language, and Nollywood s transformation outside of
Nigeria reveal the broader implications of this film form as it
travels and develops. Highlighting controversies surrounding
commodification, globalization, and the development of the film
industry on a wider scale, this volume gives sustained attention to
Nollywood as a uniquely African cultural production."
Global Nollywood considers this first truly African cinema
beyond its Nigerian origins. In 15 lively essays, this volume
traces the engagement of the Nigerian video film industry with the
African continent and the rest of the world. Topics such as
Nollywood as a theoretical construct, the development of a new,
critical film language, and Nollywood s transformation outside of
Nigeria reveal the broader implications of this film form as it
travels and develops. Highlighting controversies surrounding
commodification, globalization, and the development of the film
industry on a wider scale, this volume gives sustained attention to
Nollywood as a uniquely African cultural production."
Gaze Regimes is a bricolage of essays and interviews showcasing the
experiences of women working in film, either directly as
practitioners or in other areas as curators, festival programme
directors or fundraisers. It does not shy away from questioning the
relations of power in the practice of filmmaking and the power
invested in the gaze itself. Who is looking and who is being looked
at, who is telling women's stories in Africa and what governs the
mechanics of making those films on the continent? The interviews
with film practitioners such as Tsitsi Dangarembga, Taghreed
Elsanhouri, Jihan El-Tahri, Anita Khanna, Isabel Noronhe, Arya
Lalloo and Shannon Walsh demonstrate the contradictory points of
departure of women in film - from their understanding of feminisms
in relation to lived-experiences and the realpolitik of women
working as cultural practitioners. The disciplines of gender
studies, postcolonial theory, and film theory provide the framework
for the book's essays. Jyoti Mistry, Antje Schuhmann, Nobunye
Levin, Dorothee Wenner and Christina von Braun are some of the
contributors who provide valuable context, analysis and insight
into, among other things, the politics of representation, the role
of film festivals and the collective and individual experiences of
trauma and marginality which contribute to the layered and complex
filmic responses of Africa's film practitioners.
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