Viewing African Cinema in the Twenty-First Century: Art Films and the Nollywood Video Revolution

Overview

African cinema in the 1960s originated mainly from Francophone countries. It resembled the art cinema of contemporary Europe and relied on support from the French film industry and the French state. Beginning in1969 the biennial Festival panafricain du cinéma et de la télévision de Ouagadougou (FESPACO), held in Burkina Faso, became the major showcase for these films. But since the early 1990s, a new phenomenon has come to dominate the African cinema world: mass-marketed films shot on less expensive video ...

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Overview

African cinema in the 1960s originated mainly from Francophone countries. It resembled the art cinema of contemporary Europe and relied on support from the French film industry and the French state. Beginning in1969 the biennial Festival panafricain du cinéma et de la télévision de Ouagadougou (FESPACO), held in Burkina Faso, became the major showcase for these films. But since the early 1990s, a new phenomenon has come to dominate the African cinema world: mass-marketed films shot on less expensive video cameras. These “Nollywood” films, so named because many originate in southern Nigeria, are a thriving industry dominating the world of African cinema.

Viewing African Cinema in the Twenty-first Century is the first book to bring together a set of essays offering a unique comparison of these two main African cinema modes.

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Product Details

  • ISBN-13: 9780821419304
  • Publisher: Ohio University Press
  • Publication date: 11/15/2010
  • Edition description: 1
  • Pages: 248
  • Product dimensions: 6.20 (w) x 9.30 (h) x 1.00 (d)

Meet the Author

Mahir Saul is a professor of anthropology at the University of Illinois, Urbana-Champaign. He is coauthor of African Challenge to Empire: Culture and History in the Volta-Bani Anticolonial War and author of many articles on West African anthropology and social and economic history. Ralph A. Austen is a professor emeritus of African history at the University of Chicago. He is the author of African Economic History and Trans-Saharan Africa in World History; coauthor of Middlemen of the Cameroon Rivers: The Duala and Their Hinterland, ca. 1600–ca. 1960; and editor of In Search of Sunjata: The Mande Epic as History, Literature and Performance.

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Table of Contents

Preface and Acknowledgments vii

Introduction Ralph A. Austen Mahir Saul 1

Part 1 The "Problem" of Nollywood

1 What Is to Be Done": Film Studies and Nigerian and Ghanaian Videos Jonathan Haynes 11

2 Nollywood and Its Critics Onookome Okome 26

3 Ghanaian Popular Video Movies between State Film Policies and Nollywood: Discourses and Tensions Birgit Meyer 42

4 Islam, Hausa Culture, and Censorship in Northern Nigerian Video Film Abdalla Uba Adamu 63

5 Nollywood Goes East: The Localization of Nigerian Video Films in Tanzania Matthias Krings 74

Part II Imported Films and their African Audiences

6 Commentary and Orality in African Film Reception Vincent Bouchard 95

7 Songs, Stories, Action!: Audience Preferences in Tanzania, 1950s-1980s Laura Fair 108

Part III FESPACO/Art Film in the Light of Nollywood

8 Art, Politics, and Commerce in Francophone African Cinema Mahir saul 133

9 Outside the Machine": Donor Values and the Case of Film in Tanzania Jane Bryce 160

10 Emitaï: Basic Stylistic Elements: Shot Length, Camera Movement, and Character Movement Peter Rist 178

11 Curses, Nightmares, and Realities: Cautionary Pedagogy in FESPACO Films and Igbo Videos Stefan Sereda 194

12 The Return of the Mercedes: From Ousmane Sembene to Kenneth Nnebue Lindsey Green-Simms 209

13 U.S. Distribution of African Film: California Newsreel's Library of African Cinema: A Case Study Cornelius Moore 225

Selected Bibliography of African Cinema 231

Contributors 239

Index of Film Titles 243

General Index 245

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