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.

Black American Cinema demonstrates the wealth of Black contribution to American film and the complex course that contribution has taken.

Black American Cinema demonstrates the wealth of Black contribution to American film and the complex course that contribution has taken.

Thirty years after leaving his native Mali, Manthia Diawara has a home in New York City, and more than a few acclaimed publications to his name. Still, he cannot shake the memories of his birth country-or of his first place of self-imposed exile: the heady streets of 1960s Paris. In this bittersweet memoir, Diawara recounts a year spent looking at how the assimilation process shapes the lives and dreams of immigrants everywhere. From the nightclubs of Bamako, to the cafes of Boulevard Montparnasse, to the black neighborhoods of 1970s Washington, D.C., this important and original book shatters many cherished notions about experiencing race in the world today. At turns humorous and harrowing, beautifully written and shrewdly argued, it offers an unsentimental view of African traditions at the same time that it confronts America's most deeply ingrained prejudices.

Black British Cultural Studies has attracted significant attention recently in the American academy both as a model for cultural studies generally and as a corrective to reigning constructions of Blackness within African-American studies. This anthology offers the first book-length selection of writings by key figures in this field.
From Stuart Hall's classic study of racially structured societies to an interview by Manthia Diawara with Sonia Boyce, a leading figure in the Black British arts movement, the papers included here have transformed cultural studies through their sustained focus on the issue of race. Much of the book centers on Black British arts, especially film, ranging from a historical overview of Black British cinema to a weighing of the costly burden on Black artists of representing their communities. Other essays consider such topics as race and representation and colonial and postcolonial discourse.
This anthology will be an invaluable and timely resource for everyone interested in cultural studies. It also has much to offer students of anthropology, sociology, media and film studies, and literary criticism.

"Manthia Diawara is quite simply the best critic (in any language) currently writing on African cinema." Robert Stam

"Diawara has produced a useful history, a cogent analysis, and, in his arguments on how African cinema should develop, an undoubtedly controversial book." Studies in Popular Culture

"This is a good, solid and reliable history of filmmaking on the African continent, beginning with colonial production and moving on to independent filmmaking... an important and welcome reference source." Classic Images

"Diawara's work is comprehensive, based on rigorous research and sound analyses... it aptly illustrates the intricate correlations between politics, economics and culture." Black Film Review

"In a relatively new field of historical film theory, African Cinema: Politics and Culture will become indispensable." The Year s Work in Critical and Cultural Theory, Vol. 1-3, 1996

Drawing on political science, economics, history, and cultural studies, Diawara provides an insider s account of the development and current status of African cinema. He discusses such issues as film production and distribution, and film aesthetics from the colonial period to the present."

From Spike Lee's encouragement of independent, community fundraising to Joycelyn Elders's warning about the failings of our "sick-care" system to Stanley Crouch's disputation on "heroic" versus "anarchic" individuality, Black Genius is an exceptional, unique colloquy. Conceived by acclaimed novelist Walter Mosley and sponsored by the New York University Africana Studies Program and the Institute of African American Affairs, this book originated as a series of community conversations where "visionaries with solutions" shared powerful views on personal and communal struggles, triumphs, and aspirations. The list of contributors suggests the range of perspectives and talents brought to bear on such issues as economics, political power, work, authority, and culture. Black Genius is a point of departure for vigorous discussion of our current realities and goals for the future-and a portrait of "genius" that leads the way to enriching American life in the twenty-first century.

Black British Cultural Studies has attracted significant attention recently in the American academy both as a model for cultural studies generally and as a corrective to reigning constructions of Blackness within African-American studies. This anthology offers the first book-length selection of writings by key figures in this field.
From Stuart Hall's classic study of racially structured societies to an interview by Manthia Diawara with Sonia Boyce, a leading figure in the Black British arts movement, the papers included here have transformed cultural studies through their sustained focus on the issue of race. Much of the book centers on Black British arts, especially film, ranging from a historical overview of Black British cinema to a weighing of the costly burden on Black artists of representing their communities. Other essays consider such topics as race and representation and colonial and postcolonial discourse.
This anthology will be an invaluable and timely resource for everyone interested in cultural studies. It also has much to offer students of anthropology, sociology, media and film studies, and literary criticism.

"There I was, standing alone, unable to cry as I said goodbye to Sidime Laye, my best friend, and to the revolution that had opened the door of modernity for me--the revolution that had invented me." This book gives us the story of a quest for a childhood friend, for the past and present, and above all for an Africa that is struggling to find its future. In 1996 Manthia Diawara, a distinguished professor of film and literature in New York City, returns to Guinea, thirty-two years after he and his family were expelled from the newly liberated country. He is beginning work on a documentary about Sekou Toure, the dictator who was Guinea's first post-independence leader. Despite the years that have gone by, Diawara expects to be welcomed as an insider, and is shocked to discover that he is not. The Africa that Diawara finds is not the one on the verge of barbarism, as described in the Western press. Yet neither is it the Africa of his childhood, when the excitement of independence made everything seem possible for young Africans. His search for Sidime Laye leads Diawara to profound meditations on Africa's culture. He suggests solutions that might overcome the stultifying legacy of colonialism and age-old social practices, yet that will mobilize indigenous strengths and energies. In the face of Africa's dilemmas, Diawara accords an important role to the culture of the diaspora as well as to traditional music and literature--to James Brown, Miles Davis, and Salif Keita, to Richard Wright, Spike Lee, and the ancient epics of the griots. And Diawara's journey enlightens us in the most disarming way with humor, conversations, and well-told tales.