In recent decades historians and film scholars have intensified their study of colonial cinema in Africa. Yet the vastness of the continent, the number of European powers involved and irregular record keeping has made uncovering the connections between imagery, imperialism and indigenous peoples difficult. This volume takes up the challenge, tracing production and exhibition patterns to show how motion pictures were introduced on the continent during the "Scramble for Africa" and the subsequent era of consolidation. The author describes how early actualities, expeditionary footage, ethnographic documentaries and missionary films were made in the African interior and examines the rise of mass black spectatorship. While Africans in the first two decades of the 20th century were sidelined as cinema consumers because of colonial restrictions, social and political changes in the subsequent interwar period--wrought by large-scale mining in southern Africa--led to a rethinking of colonial film policy by missionaries, mining concerns and colonial officials. By World War II, cinema had come to black Africa.
Spanning a wide geographical spread of cinemas ranging from Latin America, North and Sub-Saharan Africa, the Caribbean and Asia, this book addresses the following questions: how can we rethink the concept of "Third Cinema" for today?
This collection of essays deals directly and compellingly with contemporary issues in African cinema.
Tropical Dream Palaces seeks to trace this history in a West African context: of broadening horizons on the one hand, and of censorship and control on the other.
This volume represents a new approach to African cinema criticism that once stressed the sociological and sociopolitical aspects of a film.
Positioned at the intersection of film, postcolonial and cultural studies, this book fills a significant gap in the literature on African cinemas and on film genre.
The book traces the growth of African cinema through the efforts of pioneer filmmakers such as Paulin Soumanou Vieyra, Oumarou Ganda, Jean-René Débrix, Jean Rouch, and Ousmane Sembène, the Pan-African Filmmakers' Organization (FEPACI), ...
Central to this work was the Colonial Film Unit, which produced, distributed, and, through its network of mobile cinemas, exhibited instructional and educational films throughout the British colonies.
The book's pan-Africanist vision heralds important new strategies for appraising a cinema that increasingly attracts the attention of film students and Africanists.
“The Consequences of Uniformity: The Struggle for the Boy Scout Uniform in Colonial Kenya.” Journal of social history (2006): 361–83. Pearson, George. “The Making of Films for Illiterates in Africa.” In The Film in Colonial Development.
This volume considers the meaning and power of images in African history and culture.