African Filmmaking: North and South of the Sahara

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Overview

African cinema is a vibrant, diverse, and relatively new art form, which continues to draw the attention of an ever-expanding worldwide audience. African Filmmaking is the first comprehensive study in English linking filmmaking in the Maghreb with that in the 12 independent states of francophone West Africa. Roy Armes examines a wide range of issues common to filmmakers throughout the region: the socio-political context, filmmaking in Africa before the mid-1960s, the involvement of African and French governments, questions of national and cultural identity, the issue of globalization, and, especially, the work of the filmmakers themselves over the past 40 years, with particular emphasis on younger filmmakers. Armes offers a wealth of information and a unique perspective on the history and future of African filmmaking.

Indiana University Press

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Editorial Reviews

Choice

"... This conscientious, scholarly work exists because attention must be paid, not because the world is about to experience a surge of films from Africa.... Highly recommended. Upper—division undergraduates through faculty." —Choice

Choice

"... This conscientious, scholarly work exists because attention must be paid, not because the world is about to experience a surge of films from Africa.... Highly recommended. Upper—division undergraduates through faculty." —Choice

Sight & Sound

"... Armes' book covers a broad range of film—making, from the experimental work of Jean Pierre Bekolo (Cameroon) to the fiction of Nabil Ayouch (Morocco), and is essential reading for anyone with an interest in African film." —Sight & Sound

Communication Booknotes Quarterly

"... the book addresses the sociopolitical context, filmmaking in Africa prior to the mid—1960s, the involvement of African and French governments, and matters of national/cultural identity and globalization." —Communication Booknotes Quarterly

Research In African Literatures
"The strength of Armes's book is its concise and fairly coherent presentation of most of the major issues that must be considered when studying African cinema." —DAYNA OSCHERWITZ, SOUTHERN METHODIST UNIVERSITY, RESEARCH IN AFRICAN LITERATURES, 39.2 Summer 2008

— DAYNA OSCHERWITZ, SOUTHERN METHODIST UNIVERSITY

Feb. 2008 Net

"African Filmmaking is very much a film studies narrative... For classes that cover this terrain, it is supremely useful for students.[1] Not only does Armes canvass enormous territory, succinctly and in elegant prose, but he has also made a judicious selection of directors and films. Most important, he takes an approach that brings together North Africa and Francophone West and Central Africa to draw out insights that might otherwise be blurred.... —H—AfrArts" —Net, Feb. 2008

From the Publisher
"African Filmmaking is very much a film studies narrative... For classes that cover this terrain, it is supremely useful for students. Not only does Armes canvass enormous territory, succinctly and in elegant prose, but he has also made a judicious selection of directors and films. Most important, he takes an approach that brings together North Africa and Francophone West and Central Africa to draw out insights that might otherwise be blurred..." —AfrArts

Indiana University Press

"... This conscientious, scholarly work exists because attention must be paid, not because the world is about to experience a surge of films from Africa.... Highly recommended. Upper—division undergraduates through faculty." —Choice

"African Filmmaking is very much a film studies narrative... For classes that cover this terrain, it is supremely useful for students.[1] Not only does Armes canvass enormous territory, succinctly and in elegant prose, but he has also made a judicious selection of directors and films. Most important, he takes an approach that brings together North Africa and Francophone West and Central Africa to draw out insights that might otherwise be blurred.... —H—AfrArts" —Net, Feb. 2008

"The strength of Armes's book is its concise and fairly coherent presentation of most of the major issues that must be considered when studying African cinema." —DAYNA OSCHERWITZ, SOUTHERN METHODIST UNIVERSITY, RESEARCH IN AFRICAN LITERATURES, 39.2 Summer 2008

"... the book addresses the sociopolitical context, filmmaking in Africa prior to the mid—1960s, the involvement of African and French governments, and matters of national/cultural identity and globalization." —Communication Booknotes Quarterly

"... Armes' book covers a broad range of film—making, from the experimental work of Jean Pierre Bekolo (Cameroon) to the fiction of Nabil Ayouch (Morocco), and is essential reading for anyone with an interest in African film." —Sight & Sound

RESEARCH IN AFRICAN LITERATURES - DAYNA OSCHERWITZ

"The strength of Armes's book is its concise and fairly coherent presentation of most of the major issues that must be considered when studying African cinema." —DAYNA OSCHERWITZ, SOUTHERN METHODIST UNIVERSITY, RESEARCH IN AFRICAN LITERATURES, 39.2 Summer 2008

Choice
This conscientious, scholarly work exists because attention must be paid, not because the world is about to experience a surge of films from Africa. Summing Up: Highly recommended. Upper-division undergraduates through faculty.
H-AfrArts
. . . [S]upremely useful for students . . . draw[s] out insights that might otherwise be blurred . . .
—Mahir Saul, Dept. of Anthropology, University of Illinois, Urbana-Champaign
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Product Details

  • ISBN-13: 9780253218988
  • Publisher: Indiana University Press
  • Publication date: 9/1/2006
  • Edition description: New Edition
  • Pages: 224
  • Product dimensions: 6.12 (w) x 9.25 (h) x 0.57 (d)

Meet the Author

Roy Armes is Emeritus Professor of Film at Middlesex University and author of numerous books on cinema, including Postcolonial Images: Studies in North African Film (IUP, 2005), Arab and African Film Making (with Lizbeth Malkmus), and Dictionary of North African Film Makers.

Indiana University Press

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Table of Contents

Acknowledgements
List of Acronyms
Introduction
1. The African Experience
Part I. Context
2. Beginnings
3. African Initiatives
4. The French Connection
Part II. Confronting Reality
5. Liberation and Postcolonial Society
6. Individual Struggle
Part III. New Identities
7. Experimental Narratives
8. Exemplary Tales
Part IV. The New Millennium
9. The Post-Independence Generation
10. Mahamat Saleh Haroun (Chad)
11. Dani Kouyaté (Burkina Faso)
12. Raja Amari (Tunisia)
13. Faouzi Bensaidi (Morocco)
14. Abderrahmane Sissako (Mauritania)
Bibliography

Indiana University Press

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