Black And White Bioscope recovers a neglected chapter in the histories of world cinema and Africa. It tells the story of movie production in Africa that long predated francophone African films and Nollywood that are the focus of most histories of this industry.

At the same time as Hollywood was starting, a film industry in Southern Africa was surging ahead in integrating production, distribution, and exhibition. African Film Productions Limited made silent movies using technical and acting talent from Britain, the United States, and Australia, as well as from Africa. These included not only the original “long trek movie” and the prototype for the movies Zulu and Zulu Dawn but also the first King Solomon's Mines and the original Blue Lagoon, featuring African actors such as Goba, Tom Zulu, and Msoga Mwana, who starred as the black revolutionary in Prester John.

In this lavishly illustrated book, fifty movies are reconstructed with graphic photographs and plot synopses—plus quotations from reviews—so that readers can rediscover this long-lost treasure trove of silent cinema.

During the 1920s and '30s, Franz Taibosh - whose stage name was Clicko - performed in front of millions as one of the stars of the Ringling Brothers and Barnum & Bailey Circus. Prior to his fame in the United States, Taibosh toured the world as the 'Wild Dancing Bushman', showing off his frenzied dance moves in freak shows, sideshows, and music halls from Australia to Cuba. When he died in 1940, the "New York Times" called him 'the only African bushman ever exhibited in this country'. In "Clicko", Neil Parsons unearths the untold story of Taibosh's journey from boyhood on a small farm in South Africa to top billing as one of the travelling World's Fair Freaks. Through Taibosh's tale, Parsons brings to life the bizarre golden age of entertainment as well as the role that the dubious new science of race played in it. Beginning with Taibosh's early life, Clicko untangles the real story of his ancestry from the web of myths spun around him on his rise to international stardom. Parsons then chronicles the unhappy middle period of Taibosh's career, when he suffered under the heel of a vicious manager. Left to freeze and nearly starve in an unheated apartment, Taibosh was rescued by Frank Cook, Barnum & Bailey's lawyer. The Cooks adopted Taibosh as a member of their family of circus managers and performers, and his happy - if far from average - years with them make up the final chapter of this remarkable story. Equal parts entertaining and disturbing, "Clicko" vividly evokes a forgotten era when vaudeville drew massive crowds and circus freaks were featured in Billboard and Variety. Parsons introduces us to colorful characters such as George Auger the giant and the original Zip the Pinhead, but above all, he gives us an unforgettable portrait of Franz Taibosh, rescued at last from the racists and the romantics and revealed here as an ordinary man with an extraordinary life.

"Using a rich diversity of approaches, these essays give voice to hitherto unheard stories and provide historical and theoretical frameworks in which to understand them. Reading the volume creates an exciting feeling of discovery."-Margaret Homans, Yale University Black Victorians/Black Victoriana is a welcome attempt to correct the historical record. Although scholarship has given us a clear view of nineteenth-century imperialism, colonialism, and later immigration from the colonies, there has for far too long been a gap in our understanding of the lives of blacks in Victorian England. Without that understanding, it remains impossible to assess adequately the state of the black population in Britain today. Using a transatlantic lens, the contributors to this book restore black Victorians to the British national picture. They look not just at the ways blacks were represented in popular culture but also at their lives as they experienced them-as workers, travelers, lecturers, performers, and professionals. Dozens of period photographs bring these stories alive and literally give a face to the individual stories the book tells. The essays taken as a whole also highlight prevailing Victorian attitudes toward race by focusing on the ways in which empire building spawned a "subculture of blackness" consisting of caricature, exhibition, representation, and scientific racism absorbed by society at large. This misrepresentation made it difficult to be both black and British while at the same time it helped to construct British identity as a whole. Covering many topics that detail the life of blacks during this period, Black Victorians/Black Victoriana will be a landmark contribution to the emergent field of black history in England. Gretchen Holbrook Gerzina is a professor of English at Vassar College. Her book Black London (Rutgers University Press) was named a New York Times Notable Book of the Year. She is also the author of Carrington, whose life story was made into a film starring Emma Thompson.

Illustrated with black and white photographs. These diaries are a candid record of eight years of triumph and frustration in the reform and development of an African colony. They also reflect wider events: the struggle between British imperialism and Afrikaner nationalism inSouth Africa, the impact of the depression and the shadow of the coming war. North America: Lilian Barber Press; Botswana: Botswana Society

In the age of the African Renaissance, southern Africa has needed to reinterpret the past in fresh and more appropriate ways. The last 500 years represent a strikingly unexplored and misrepresented period which remains disfigured by colonial/apartheid assumptions, most notably in the way that African societies are depicted as fixed, passive, isolated, un-enterprising and unenlightened. This period is one the most formative in relation to southern Africa's past while remaining, in many ways, the least known. Key cultural contours of the sub-continent took shape, while in a jagged and uneven fashion some of the features of modern identities emerged. Enormous internal economic innovation and political experimentation was taking place at the same time as expanding European mercantile forces started to press upon southern African shores and its hinterlands. This suggests that interaction, flux and mixing were a strong feature of the period, rather than the homogeneity and fixity proposed in standard historical and archaeological writings. Five Hundred Years Rediscovered represents the first step, taken by a group of archaeologists and historians, to collectively reframe, revitalise and re-examine the last 500 years. By integrating research and developing trans-frontier research networks, the group hopes to challenge thinking about the region's expanding internal and colonial frontiers, and to broaden current perceptions about southern Africa's colonial past.

Black and White Bioscope recovers a neglected chapter in the histories of world cinema and Africa. It tells the story of movie production in Africa that long predated francophone African films and Nollywood that are the focus of most histories of this industry. At the same time as Hollywood was starting, a film industry in Southern Africa was surging ahead in integrating production, distribution and exhibition. African Film Productions Limited made silent movies using technical and acting talent from Britain, the United States and Australia, as well as from Africa. These included not only the original 'long trek movie' and the prototype for the movies Zulu and Zulu Dawn but also the first King Solomon's Mines and the original Blue Lagoon, featuring African actors such as Goba, Tom Zulu and Msoga Mwana, who starred as the black revolutionary in Prester John. In this lavishly illustrated book, fifty movies are reconstructed with graphic photographs and plot synopses - plus quotations from reviews - so that readers can rediscover this long-lost treasure trove of silent cinema.

From early human civilisation to today, this book illuminates the history of southern Africa. Interweaving social, cultural and political history, archaeology, anthropology and environmentalism, Neil Parsons and Alois Mlambo provide an engaging account of the region's varied past. Placing African voices and agency at centre stage rather than approaching the subject through a colonial lens, A History of Southern Africa provides an engrossing narrative of the region. This textbook is ideal for both undergraduate and postgraduate students of History and African Studies, and will provide an essential grounding for those taking courses in the history of southern Africa. Its lively and accessible approach will appeal to anyone with an interest in global history.

During the 1920s and '30s, Franz Taibosh--whose stage name was Clicko--performed in front of millions as one of the stars of the Ringling Brothers and Barnum & Bailey Circus. Prior to his fame in the United States, Taibosh toured the world as the "Wild Dancing Bushman," showing off his frenzied dance moves in freak shows, sideshows, and music halls from Australia to Cuba. When he died in 1940, the "New York Times" called him "the only African bushman ever exhibited in this country." In "Clicko," Neil Parsons unearths the untold story of Taibosh's journey from boyhood on a small farm in South Africa to top billing as one of the travelling World's Fair Freaks.
Through Taibosh's tale, Parsons brings to life the bizarre golden age of entertainment as well as the role that the dubious new science of race played in it. Beginning with Taibosh's early life, "Clicko" untangles the real story of his ancestry from the web of myths spun around him on his rise to international stardom. Parsons then chronicles the unhappy middle period of Taibosh's career, when he suffered under the heel of a vicious manager. Left to freeze and nearly starve in an unheated apartment, Taibosh was rescued by Frank Cook, Barnum & Bailey's lawyer. The Cooks adopted Taibosh as a member of their family of circus managers and performers, and his happy--if far from average--years with them make up the final chapter of this remarkable story.
Equal parts entertaining and disturbing, "Clicko" vividly evokes a forgotten era when vaudeville drew massive crowds and circus freaks were featured in "Billboard "and" Variety." Parsons introduces us to colorful characters such as George Auger the giant and the original Zip the Pinhead, but above all, he gives us an unforgettable portrait of Franz Taibosh, rescued at last from the racists and the romantics and revealed here as an ordinary man with an extraordinary life.

Critical Approaches to African Cinema Discourse utilizes an interdisciplinary approach to lay bare the diversity and essence of African cinema discourse. It is an anthology of historical reflections, critical essays, and interviews by film critics, historians, theorists, and filmmakers that signifies a dialogue and engagement apropos the ideology and cultural politics of film production in Africa. The contributors are extremely concerned, not only with the history of African cinema, but with its future and its potential. This book, then, is not limited to the expansion of the discourse on African cinema, but tries to approach the definition of the critical canon within the exigencies and manifestations of art and African sociopolitical practices. The authors view these practices as an investment in a cultural imperative stemming from the quest to delineate how critical methodologies are derived from and shape contemporary historical and cultural practices. Hence, the contributions are less about the usual constrictive method of analysis and more about illustrating manifestations of an interrogative critical methodology that is certainly an offspring of an indigenous African critical cum cinematic culture and paradigms.