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.

Winner of the 2017 German Crime Fiction Prize

Moses wants one thing: to get home, where his girlfriend and a cold beer are waiting for him. But his car breaks down on an empty street, not a single human being in sight. Moses slips into The Pines, a gated community, in hopes to find help from a university classmate who lives there. Over there, in the “white” world, everything seems calm, orderly, safe. But once inside, he feels like more of an outsider than ever. And he makes a terrible mistake.

Mistaken identities, racial profiling, and class politics form the backdrop of this intense thriller. The Wall tackles the issues of gun violence, racism, and exclusion in contemporary South Africa―problems that are equally relevant in the United States.

"Annas works like a film director, bombarding us with shot and counter-shot. The reader races to the explosion… an actual shootout. THE WALL is a fantastic, yet very funny, novel... Fast, hard and dangerous. A cheetah in book form." Die Welt (Germany)

"Fear and distrust of anyone who counts as 'the other.' [...]…jam-packed with action, thrills and suspense. A brilliant success!" Deutschlandradio Kultur (Germany)

"Ducking, hiding, running - these are what drive the novel's dynamics, its minute-by-minute choreography. Instincts dictate behaviors. In this case: prejudice, aversions, and racism." Süddeutsche Zeitung (Germany)

Before writing novels, Max Annas worked as a journalist. A renowned film critic, his first novel, The Farm, is currently under film production in South Africa.

Somewhere in South Africa, another farm comes under heavy attack. No shooters in sight. Only one thing is certain: The attackers are savagely resolute.

A diverse group of people barricade themselves inside the farmhouse: women, men, and children; bosses and workers; blacks and whites; a police officer; random visitors. Who is the target of the attack? What has motivated it? Politics? Revenge? Greed? Drugs? Weapons? Do the people outside know more than those indoors? Who are these snipers, trying to operate in the dark of night? Who will die, who will survive? Who is pulling the strings? Who will be the winners, who will be the losers?

And how long can eight hours actually be?

Eight hours, minute by minute. Constant changes in perspective, piercing precision; this is an explosive mixture of a psychological thriller, with a twist of Neo-Western and a deep political subtext.

Even by the time Senegalese filmmaker Ousmane Sembene (1923-2007) was forty, he had lived an exceptional life. He joined the French army during World War II and moved from Senegal to France in 1948. There he worked for automaker Citroen, as well as on the docks of Marseille. Exposed to Marxism, he participated in railroad strikes and trade union movements. His early novels and short story collections gained him literary recognition both in Senegal and throughout sub-Saharan Africa. In his fortieth year, Sembene directed the short film Borom Sarret, one of the first films directed by a black African and a movie that brought African cinema to the consciousness of the West. Sembene's subsequent films--including Black Girl, Mandabi, Xala, Ceddo, Faat Kine, and Moolaade--address contemporary African society and cultural issues with the filmmaker's characteristic wit and subtle satire. Known for urban themes and complex female protagonists, Sembene's movies, both in French and in his native language Wolof, are considered pioneering masterworks of African cinema. Ousmane Sembene: Interviews collects conversations from the mid-1960s to 2005, and spans the breadth of his filmmaking career while also touching on his literary work and his role as a public intellectual. Many of these interviews appear here in English for the first time and come from French, German, African diaspora, and Senegalese periodicals. Annett Busch is a writer based in Munich, Germany. Her work has appeared in Spex, CameraAustria, and Kolik. Max Annas of Cologne, Germany, is an author whose work has appeared in Filmdienst and Ecrans d'Afrique, as well as in several books.