Viewing African Cinema in the Twenty-First

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 cineacute;ma et de la teacute;leacute;vision 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 Centuryis the first book to bring together a set of essays offering a unique comparison of these two main African cinema modes.

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.

Preface and Acknowledgments	p. vii
Introduction	p. 1
The "Problem" of Nollywood
What Is to Be Done?
Film Studies and Nigerian and Ghanaian Videos	p. 11
Nollywood and Its Critics	p. 26
Ghanaian Popular Video Movies between State Film Policies and Nollywood
Discourses and Tensions	p. 42
Islam, Hausa Culture, and Censorship in Northern Nigerian Video Film	p. 63
Nollywood Goes East
The Localization of Nigerian Video Films in Tanzania	p. 74
Imported Films and Their African Audiences
Commentary and Orality in African Film Reception	p. 95
Songs, Stories, Action!
Audience Preferences in Tanzania, 1950s-1980s	p. 108
Fespaco/Art Film in the Light of Nollywood
Art, Politics, and Commerce in Francophone African Cinema	p. 133
Outside the Machine?
Donor Values and the Case of Film in Tanzania	p. 160
Emitaï: Basic Stylistic Elements
Shot Length, Camera Movement, and Character Movement	p. 178
Curses, Nightmares, and Realities
Cautionary Pedagogy in FESPACO Films and Igbo Videos	p. 194
The Return of the Mercedes
From Ousmane Sembene to Kenneth Nnebue	p. 209
U.S. Distribution of African Film
California Newsreel's Library of African Cinema: A Case Study	p. 225
Selected Bibliography of African Cinema	p. 231
Contributors	p. 239
Index of Film Titles	p. 243
General Index	p. 245
Table of Contents provided by Ingram. All Rights Reserved.

What is included with this book?

The New copy of this book will include any supplemental materials advertised. Please check the title of the book to determine if it should include any access cards, study guides, lab manuals, CDs, etc.

The Used, Rental and eBook copies of this book are not guaranteed to include any supplemental materials. Typically, only the book itself is included. This is true even if the title states it includes any access cards, study guides, lab manuals, CDs, etc.

FREE SHIPPING

Amazon no longer offers textbook rentals. We do!

Viewing African Cinema in the Twenty-First Century

Summary

Author Biography

Table of Contents

Supplemental Materials