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Critical Approaches to African Cinema Discourse

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Nwachukwu Frank Ukadike
Lexington Books
eBook Typ:
Adobe Digital Editions
eBook Format:
2 - DRM Adobe

Introduction: Proliferating African Film DiscoursesN. Frank Ukadike

Part One: Critical Perspectives

Chapter 1: Approaches to African Cinema Study: Defining Other Boundaries
Martin Mhando

Chapter 2: Theorizing African Cinema: Contemporary African Cinematic Discourse and its Discontents
Esiaba Irobi

Chapter 3: Tradition/Modernity and the Discourse of African Cinema
Jude Akudinobi
Part Two: History/Discourse and Intervention

Chapter 4: Queering African Film Aesthetics: A Survey from 1950s to 2003
Martin P. Botha

Chapter 5: African Cinemas and the Role of the State: The Cultural Imperialism Model
Roy Armes

Chapter 6: Transformation and South African Cinema in the 1990s
Keyan G. Tomaselli and Arnold Shepperson

Chapter 7: False Dawns Over the Kalahari? Botswana Cinema in Historical Perspective
Neil Parsons

Part Three: Pluralisms, Expressions, Traits: Reading the Text

Chapter 8: Chahine's Cinematic Alexandria: Egyptian History and Cultural Identity
Suzanne H. MacRae

Chapter 9: Critical Dialogues: Transcultural Modernities and Modes of Narrating Africa in Documentary Films
N. Frank Ukadike

Chapter 10: Relational Constructs: Discourses of Gender in
Taafe Fanga
Sheila Petty

Chapter 11: Reconsidering the Sembenian Project: Toward an Aesthetics of Change
Aboubakar S. Sanogo

Part Four: "Reel" Africanization

Chapter 12: Video Booms and the Manifestations of "First" Cinema in Anglophone Africa
N. Frank Ukadike

Chapter 13: We Can't Wait for Oliver Stone: Interview with Eddie Ugbomah
N. Frank Ukadike

Critical Approaches to African Cinema Discourse utilizes an interdisciplinary approach to lay bare the diversity and essence of African cinema discourse. It is an anthology of historical reflections, critical essays, and interviews by film critics, historians, theorists, and filmmakers that signifies a dialogue and engagement apropos the ideology and cultural politics of film production in Africa.The contributors are extremely concerned, not only with the history of African cinema, but with its future and its potential. This book, then, is not limited to the expansion of the discourse on African cinema, but tries to approach the definition of the critical canon within the exigencies and manifestations of art and African sociopolitical practices. The authors view these practices as an investment in a cultural imperative stemming from the quest to delineate how critical methodologies are derived from and shape contemporary historical and cultural practices. Hence, the contributions are less about the usual constrictive method of analysis and more about illustrating manifestations of an interrogative critical methodology that is certainly an offspring of an indigenous African critical cum cinematic culture and paradigms.