By Roy Armes
African cinema is a colourful, varied, and comparatively new artwork shape, which keeps to attract the eye of an ever-expanding around the world viewers. African Filmmaking is the 1st complete examine in English linking filmmaking within the Maghreb with that during the 12 self reliant states of francophone West Africa. Roy Armes examines quite a lot of concerns universal to filmmakers in the course of the sector: the socio-political context, filmmaking in Africa ahead of the mid-1960s, the involvement of African and French governments, questions of nationwide and cultural identification, the difficulty of globalization, and, specially, the paintings of the filmmakers themselves during the last forty years, with specific emphasis on more youthful filmmakers. Armes deals a wealth of data and a distinct point of view at the heritage and way forward for African filmmaking.
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Extra resources for African Filmmaking North and South of the Sahara
5. Jean-Claude Seguin, Alexandre Promio ou les énigmes de la lumière (Paris: L’Harmattan, 1999), p. 250. 6. , p. 254. 7. Bataille and Veillot, Caméras sous le soleil, pp. 13–14. 8. Rémy Carrigues, ‘L’Homme du Niger’, in L’Almanach Ciné-Miroir, 1940. 9. David Henry Slavin, Colonial Cinema and Imperial France, 1919–1939 (Baltimore: The Johns Hopkins University Press, 2001), p. 17. 10. Dina Sherzer, Cinema, Colonialism, Postcolonialism: Perspectives from the French and Francophone Worlds (Austin: University of Texas Press, 1996), p.
Ibid. 18. Hull, Modern Africa, p. 192. 19. Oliver, The African Experience, p. 302. 20. Cited in John Reader, Africa: A Biography of the Continent (Harmondsworth: Penguin Books, 1998), p. 627. 21. Reader, Africa, p. 627. 22. Ibid. 16 THE AFRICAN EXPERIENCE 23. Hull, Modern Africa, p. 184. 24. Donal B. , 2003), pp. 142–3. 25. Albert Memmi, The Colonizer and the Colonized (London: Souvenir Press, 1974), p. 106. 26. , pp. 104–5. 27. , p. 107. 28. Walter Rodney, How Europe Underdeveloped Africa (London: Bogle-L’Ouverture, 1972), p.
The initial impulse behind this worldwide spread was purely commercial: the desire to exploit to the full the commercial potential of what its inventors, like the Lumière Brothers, feared might be just a passing novelty. But as film narrative developed in length and complexity, the export of film took on a new significance. As Ferid Boughedir has observed: ‘Cinema reached Africa with colonialism. The aim was both to increase the attractiveness of the 21 AFRICAN FILMMAKING Lumières’ local screenings and to provide films for subsequent worldwide distribution.