Cinema of Africa

African cinema is film production in Africa. It dates back to the

early 20th century, when film reels were the primary cinematic
technology in use. During the colonial era, African life was shown
only by the work of white, colonial, Western filmmakers, who
depicted blacks in a negative fashion, as exotic "others".[1] There is
no one single African cinema; there are differences between North
African and Sub-Saharan cinema, and between the cinemas of
different countries.[1]

The cinema of Egypt is one of the oldest in the world. Auguste and
Louis Lumière screened their films in Alexandria and Cairo in
1896[2][3] and the first short documentary was filmed by Egyptians
in 1907.[4] In 1935 the MISR film studio in Cairo began producing
mostly formulaic comedies and musicals, but also films like Kamal
Selim's The Will (1939). Egyptian cinema flourished in the 1940s,
1950s and 1960s, considered its golden age.[5] Youssef Chahine's Cinematic poster in Tunis for the Egyptian film
seminal Cairo Station (1958) foreshadowed Hitchcock's Psycho, and Saladin the Victorious (1963).
laid a foundation for Arab film.[6]

The Nigerian film industry is the largest in Africa in terms of value, number of annual films, revenue and popularity.[7][8] It is also
the second largest film producer in the world[9]. In 2016 Nigeria's film industry contributed 2.3% of its gross domestic product
(GDP).[9]

Contents
History
Colonial era
Post-independence and 1970s
1980s and 1990s
2000s and 2010s
Themes
Women directors
Directors by country
Films about African cinema
Film festivals
See also
References
Bibliography
External links

History
Colonial era
During the colonial era, Africa was represented exclusively by Western filmmakers. In the first decades of the twentieth century,
Western filmmakers made films that depicted black Africans as "exoticized", "submissive workers" or as "savage or cannibalistic".
For example, see Kings of the Cannibal Islands in 1909, Voodoo Vengeance (1913) and Congorilla (1932).[1] Colonial era films
portrayed Africa as exotic, without history or culture. Examples abound and include jungle epics based on the Tarzan character
created by Edgar Rice Burroughs and the adventure film The African Queen (1951), and various adaptations of H. Rider Haggard's
novel King Solomon's Mines(1885).[10] Much early ethnography "focused on highlighting the dif
ferences between indigenous people
and the white civilised man, thus reinforcing colonial propaganda".[11] Marc Allégret's first film,Voyage au Congo (1927)
respectfully portrayed the Masa people, in particular a young African entertaining his little brother with a baby crocodile on a string.
Yet the Africans were portrayed as human but not equals; a dialogue card for example referred to the movements of a traditional
dance as naive. His lover, writer André Gide, accompanied Allégret and wrote a book also titled Voyage au Congo. Allégret later
made Zouzou, starring Josephine Baker, the first major film starring a black woman. Baker had caused a sensation in the Paris arts
scene by dancing in theRevue Nègre clad only in a string of bananas.

In the French colonies Africans

were prohibited by the 1934 Laval
Decree from making films of their
own.[12][13] The ban stunted the
growth of film as a means of
African expression, political,
cultural, and artistic.[14] Congolese
Albert Mongita did make The
Cinema Lesson in 1951 and in 1953
Mamadou Touré made Mouramani
based on a folk story about a man
and his dog.[15] In 1955, Paulin
Soumanou Vieyra – originally from

Egyptian actor Omar Sharif Benin, but educated in Senegal –

along with his colleagues from Le
Group Africain du Cinema, shot a Soad Hosny, one of the most popular
short film in Paris, Afrique-sur-Seine (1955). Vieyra was trained in filmmaking at the actresses in the golden age of
Egyptian Cinema
Institut des hautes études cinématographiques (IDHEC) in Paris, and despite the ban
on filmmaking in Africa, was granted permission to make a film in France.[16]
Considered the first film directed by a black African, Afrique Sur Seine explores the difficulties of being an African in 1950s
France.[17]

Portuguese colonies came to independence with no film production facilities at all, since the colonial government there restricted
film-making to colonialist propaganda, emphasizing the inferiority of indigenous populations. Therefore little thought was given until
[18]
independence to developing authentic African voices.

In the mid-1930s, the Bantu Educational Kinema Experiment was conducted in an attempt to "educate the Bantu, mostly about
[19]
hygiene. Only three films from this project survive; they are kept at the British Film Institute.

Before the colonies' independence, few anti-colonial films were produced. Examples included Statues Also Die (Les statues meurent
aussi) by Chris Marker and Alain Resnais, about European theft of African art. The second part of this film was for 10 years banned
in France.[20] ) Afrique 50 by René Vautier, showed anti-colonial riots inCôte d'Ivoire and in Upper Volta (now Burkina Faso).[21]

Also doing film work in Africa at this time was French ethnographic filmmaker Jean Rouch, controversial with both French and
African audiences. Film documentaries such as Jaguar (1955), Les maitres fous (1955), Moi, un noir (1958) and La pyramide
humaine (1959). Rouch's documentaries were not explicitly anti-colonial, but did challenge perceptions of colonial Africa and give a
new voice to Africans.[22] Although Rouch was accused by Ousmane Sembene and others[23] of seeing Africans "as if they are
insects," Rouch was an important figure in the developing field of African film and was the first person to work with Africans, of
whom many had important careers in African cinema Oumarou
( Ganda, Safi Faye and Moustapha Alassane, and others).[24]

Because most films made prior to independence were egregiously racist in nature, African filmmakers of the independence era – such
as Ousmane Sembene and Oumarou Ganda, among others – saw filmmaking as an important political tool for rectifying the
erroneous image of Africans put forward by W [25]
estern filmmakers and for reclaiming the image of Africa for Africans.

Post-independence and 1970s

The first African film to win international recognition was Sembène Ousmane's La
Noire de... also known as Black Girl. It showed the despair of an African woman
who has to work as a maid in France. It won the Prix Jean Vigo in 1966.[26] Initially
a writer, Sembène had turned to cinema to reach a wider audience. He is still
considered the "father of African cinema".[27] Sembène's native Senegal continued
to be the most important place of African film production for more than a decade.

With the creation of the African film festival FESPACO in Burkina Faso in 1969,
African film created its own forum. FESPACO now takes place every two years in
alternation with the Carthago film festival in Tunisia.

The Pan African Federation of Filmmakers (Fédération Panafricaine des Cinéastes,

or FEPACI)[28] was formed in 1969 to promote African film industries in terms of
production, distribution and exhibition. From its inception, FEPACI was seen as a
critical partner organization to the Organisation of African Unity (OAU), now the
African Union. FEPACI looks at the role of film in the politico-economic and The Ghana Broadcasting Puppet
cultural development of African states and the continent as a whole. Show developed by Beattie Casely-
Hayford (1968).
Med Hondo's Soleil O, shot in 1969, was immediately recognized. No less politically
engaged than Sembène, he chose a more controversial filmic language to show what
it means to be a stranger in France with the "wrong" skin colour
.

1980s and 1990s

Souleymane Cissé's Yeelen (Mali, 1987) was the first film made by a Black African to compete at Cannes.[29] Cheick Oumar
Sissoko's Guimba (Mali, 1995) was also well received in the west. Some critics criticized the filmmakers for adapting to the exotic
tastes of western audiences.

Many films of the 1990s, including Quartier Mozart by Jean-Pierre Bekolo (Cameroon, 1992), are situated in the globalized African
metropolis.

Nigerian cinema experienced a large growth in the 1990s with the increasing availability of home video cameras in Nigeria, and soon
[30]
put Nollywood in the nexus for West African English-language films. Nollywood produced 1844 movies in 2013 alone.

The last movie theatre in Kinshasa shut down in 2004. Many of the former cinemas were converted to churches.[31] In 2009 the UN
refugee agency screened Breaking the Silence in South Kivu and Katanga Province. The film deals with rape in the Congolese civil
wars.[32]

However a 200-seat cinema, MTS Movies House, opened in 2016 in Brazzaville.[33] In April 2018, construction began on a new
cinema in Brazzaville.[34]

A first African Film Summit took place in South Africa in 2006. It was followed by FEPACI 9th Congress.
The African Movie Academy Awards were launched in 2004, marking the growth of local film industries like that of Nigeria as well
as the development and spread of the film industry culture in sub-Saharan Africa.

2000s and 2010s

Contemporary African cinema deals with a wide variety of themes relating to modern issues and universal problems.

Migration and relations between African and European countries is a common theme among many African films. Abderrahmane
Sissako's film Waiting for Happiness portrays a Mauritanian city struggling against foreign influences through the journey of a
migrant coming home from Europe. [35] Migration is also an important theme in Mahamat Saleh Haroun's film Une Saison en
France, which shows the journey of a family from the Central African Republic seeking asylum in France. [36] Haroun is part of the
[37]
Chadian diaspora in France, and uses the film to explore aspects of this diasporan experience.

Afrofuturism is a growing genre, encompassing Africans both on the continent and in the diaspora who tell science or speculative
fiction stories involving Africa and African people. Neill Blomkamp's District 9 is a well-known example, portraying an alien
invasion of South Africa. [38] Wanuri Kahiu's short film Pumzi portrays the futuristic fictional Maitu community in Africa 35 years
after World War III. [39]

Directors including Haroun and Kahiu have expressed concerns about the lack of cinema infrastructure and appreciation in various
African countries.[40] However, organizations such as the Changamoto arts fund are providing more resources and opportunities to
African filmmakers.[41]

Themes
African cinema, like cinema in other world regions, covers a wide variety of topics.
In Algiers in 1975, thePan African Federation of Filmmakers (FEPACI) adopted the
Charte du cinéaste africain (Charter of the African cinéaste), which recognized the
importance of postcolonial and neocolonial realities in African cinema. The
filmmakers start by recalling the neocolonial condition of African societies. "The
situation contemporary African societies live in is one in which they are dominated
on several levels: politically, economically and culturally." African filmmakers
stressed their solidarity with progressive filmmakers in other parts of the world.
African cinema is often seen a part ofThird Cinema. An Open-Air-Cinema in
Johannesburg with an inflatable
Some African filmmakers, for example Ousmane Sembène, try to give African
movie screen (2010).
history back to African people by remembering the resistance to European and
Islamic domination.

The African filmmaker is often compared to the traditional griot. Like griots, filmmakers' task is to express and reflect communal
experiences. Patterns of African oral literature often recur in African films. African film has also been influenced by traditions from
other continents, such asItalian neorealism, Brazilian Cinema Novo and the theatre of Bertolt Brecht.

Women directors
Senegalese ethnologist and filmmakerSafi Faye was the first African woman film director to gain international recognition.

In 1972, Sarah Maldoror shot her film Sambizanga about the 1961–74 war in Angola. Surviving African women of this war are the
subject of the documentary Les Oubliées (The forgotten women), made byAnne-Laure Folly 20 years later.

In 1995, Wanjiru Kinyanjui made the feature filmThe Battle of the Sacred Tree in Kenya.[42]

In 2008, Manouchka Kelly Labouba became the first woman in the history of Gabonese cinema to direct a fictional film. Her short
film Le Divorce addresses the impact of modern andtraditional values on the divorce of a young Gabonese couple.
Kemi Adetiba, hitherto a music video director, made her directorial debut in 2016 withThe Wedding Party. The film, about the events
involved in the celebration of an aristocratic wedding, would go on to become the most successful Nollywood film in the history of
her native Nigeria.

Wanuri Kahiu is a Kenyan film director, best known for her film From a Whisper, which was awarded Best Director, Best
Screenplay, and Best Picture at theAfrica Movie Academy Awards in 2009.

Directors by country
Angola: Zézé Gamboa[43]
Benin: Jean Odoutan, Idrissou Mora Kpaï
Burkina Faso: Idrissa Ouedraogo, Gaston Kaboré, Dani Kouyaté, Fanta Régina Nacro, Pierre Yameogo, Sanou
Kollo, Pierre Rouamba, Drissa Touré, S. Pierre Yameogo, Apolline Traore
Cameroon: Jean-Pierre Bekolo, Dia Moukouri,Bassek Ba Kobhio, Jean-Pierre Dikongué Pipa, François
Woukoache, Francis Taptue, Jean-Marie Teno, Thérèse Sita-Bella, Jean-Paul Ngassa, Joséphine Ndagnou
Chad: Issa Serge Coelo, Mahamat Saleh Haroun
Côte d'Ivoire: Desiré Ecaré, Fadika Kramo Lancine, Roger Gnoan M'Bala, Jacques Trabi, Sidiki Bakaba, Henri
Duparc, Akissi Delta, Marie-Louise Asseu
Democratic Republic of the Congo: Zeka Laplaine,[44] Mwezé Ngangura, Mamadi Indoka, Balufu Bakupa-
Kanyinda, Joseph Kumbela
Egypt: Salah Abu Seif, Youssef Chahine, Yousry Nasrallah, Ezzel Dine Zulficar, Sherif Arafa, Khaled Youssef,
Marwan Hamed, Mohamed Khan, Shady Abdel Salam, Khairy Beshara, Samir Seif, Nader Galal, Ali Abdel-
Khalek,[45] Ashraf Fahmy, Radwan El-Kashef,[46] Hady El Bagoury, Ali Ragab, Hala Khaleel, Ehab Lamey, Adel
Adeeb, Tarek Al Eryan, Atef El-Tayeb, Daoud Abdel Sayed, Ehab Mamdouh,[47] Sandra Nashaat
Ethiopia: Haile Gerima, Hermon Hailay, Yemane Demissie, Salem Mekuria[48]
Gabon: Imunga Ivanga, Pierre-Marie Dong, Henri Joseph Koumba Bibidi,Charles Mensah
Ghana: Kwaw Ansah, John Akomfrah, King Ampaw, Yaba Badoe, Chris Hesse, Jim Awindor, Tom Ribeiro, Ernest
Abeikwe, Ajesu, Leila Djansi, Shirley Frimpong-Manso, Halaru B. Wandagou, Nii Kwate Owoo[49]
Guinea: Mohamed Camara, David Achkar, Cheik Doukouré, Cheick Fantamady Camara, Gahité Fofana, Mama
Keïta
Guinea-Bissau: Flora Gomes, Sana Na N'Hada[50]
Haiti: Raoul Peck
Kenya: Wanuri Kahiu, Judy Kibinge, Jane Munene, Anne Mungai, Wanjiru Kinyanjui, Jim Chuchu
Mali: Souleymane Cissé, Cheick Oumar Sissoko, Abdoulaye Ascofare, Adama Drabo, Manthia Diawara
Mauritania: Med Hondo, Abderrahmane Sissako, Sidney Sokhana
Niger: Oumarou Ganda, Moustapha Alassane[51]
Nigeria: Ola Balogun, Tade Ogidan, Kunle Afolayan, Izu Ojukwu, Eddie Ugboma, Amaka Igwe, Zeb Ejiro, Lola Fani-
Kayode, Bayo Awala, Greg Fiberesima, Jide Bello, Billy Kings, Tunde Kelani, Dele Ajakaiye, Chico Ejiro, Andy
Amenechi, Obi Emelonye, Chris Obi Rapu
Rwanda: Eric Kabera, Kivu Ruhorahoza
São Tomé and Príncipe: Ângelo Torres, Januário Afonso
Senegal: Ousmane Sembène, Djibril Diop Mambéty, Safi Faye, Ben Diogaye Bèye, Mansour Sora Wade, Moussa
Sène Absa, Bouna Medoune Seye, Tidiane Aw, Moussa Bathily, Clarence Thomas Delgado, Ahmadou Diallo, Dyana
Gaye, Ababacar Samb Makharam, Ousmane William Mbaye, Samba Félix Ndiaye,Moustapha Ndoye, Joseph Gaï
Ramaka, Blaise Senghor, Thierno Faty Sow, As Thiam, Momar Thiam,Moussa Touré, Mahama Johnson Traoré,
Paulin Soumanou Vieyra, Mansour Sora Wade, Ibrahima Sarr, Alain Gomis
Somalia: Abdisalam Aato, Abdulkadir Ahmed Said, Idil Ibrahim
Sudan: Gadalla Gubara
South Africa: Lionel Ngakane, Gavin Hood, Zola Maseko, Katinka Heyns, Neil Blomkamp, Seipati Bulani-Hopa,
Mickey Dube, Oliver Hermanus, Jonathan Liebesman, William Kentridge, Teddy Matthera, Morabane Modise,
Sechaba Morejele, Nana Mahomo[52]
Togo: Anne Laure Folly
Uganda: Usama Mukwaya, Kinene Yusuf, Kabali Jagenda, Mariam Ndagire, George Stanley Nsamba, Hassan
Kamoga,[53] Matt Bish, Carol Kamya, Jacqueline Rose Kawere Nabagereka
Zimbabwe: M. K. Asante, Jr., Tsitsi Dangarembga
Films about African cinema
Caméra d'Afrique, Director: Férid Boughedir, Tunisia/France, 1983
Les Fespakistes, Directors: François Kotlarski, Eric Münch, Burkina Faso/France, 2001
This Is Nollywood, Director: Franco Sacchi, 2007
Sembene!, Director: Samba Gadjigo and Jason Silverman, 2015 [54]

Le Congo, quel cinéma!- Director: Guy Bomanyama-Zandu, Democratic Republic of Congo

La Belle at the Movies - Director: Cecilia Zoppelletto,Kinshasa
Spell Reel - Filipa César, Guinea-Bissau[55][56]

Film festivals
Africa in Motion, held in Edinburgh, Scotland in late October
Sahara International Film Festival(FiSahara), held in Sahrawi refugee camps in Algeria
African Film Festival, held in New York
The African Film Festival (TAFF) held in Dallas in late June[57]
Silicon Valley African Film Festival, held in San Jose, California
Pan African Film Festival, held in Los Angeles
Africa World Documentary Film Festival, heldin St Louis
Rwanda Film Festival (Hillywood), held in Rwanda

See also
African literature
Africa Movie Academy Awards
List of African films
Political cinema
Somaliwood
Third Cinema
Women's cinema
World cinema
Négritude
Negrophilia
Cinema of Senegal
Cinema of the Democratic Republic of the Congo
List of Democratic Republic of the Congo films
Sometimes in April
Atlas Corporation Studios
Nu Metro Cinemas
Ster-Kinekor
Cinéma_congolais (RDC Congo)

References
1. Hayward, Susan. "Third World Cinemas: African Continent" in Cinema Studies: The Key Concepts(Third Edition).
Routledge, 2006. p. 426-442
2. Leaman, Oliver (2003-12-16).Companion Encyclopedia of Middle Eastern and North African Film(https://books.goo
gle.com.eg/books?id=LmSFAgAAQBAJ&pg=PA23). Routledge. ISBN 9781134662524.
3. "Alexandria, Why? (The Beginnings of the Cinema Industry in Alexandria)"
(https://www.bibalex.org/alexcinema/histo
rical/beginnings.html). Bibliotheca Alexandrina's AlexCinema.
4. "A Chronology of Firsts in Alexandria"(https://www.bibalex.org/alexcinema/historical/chronology.html).
5. "The Golden Age of Egyptian Cinema – the 1940s to 1960s"(http://eng.babelmed.net/dossier/120-egypt/6913-the-go
lden-age-of-egyptian-cinema-the-1940s-to-1960s.html)
.
 6. "African Cinema: Invisible Classics"(http://old.bfi.org.uk/sightandsound/feature/49355)
. British Film Institute.
7. "Nigeria surpasses Hollywood as world's second largest film producer – UN"
(https://www.un.org/apps/news/story.as
p?NewsID=30707). United Nations. 2009-05-05. Retrieved 2013-03-26.
8. "Nigeria's Nollywood eclipsing Hollywood in Africa"(https://www.independent.co.uk/arts-entertainment/films/nigerias-
nollywood-eclipsing-hollywood-in-africa-1974087.html) . The Independent. May 15, 2010. Retrieved 2010-11-24.
9. "Spotlight: The Nigerian Film Industry"(https://www.pwc.com/ng/en/assets/pdf/spolight-the-nigerian-film-industry.pdf)
(PDF). July 2017.
10. Murphskirty, David (2000). "Africans Filming Africa: Questioning Theories of an Authentic African Cinema".Journal
of African Cultural Studies. 13 (2): 239–249. doi:10.1080/713674315 (https://doi.org/10.1080%2F713674315).
JSTOR 1771833 (https://www.jstor.org/stable/1771833).
11. "The anti-colonial gaze in ethnographic cinema: "V oyage au Congo" e "Marquis de Wavrin" " (https://www.cinefiliaritr
ovata.it/the-anti-colonial-gaze-in-ethnographic-cinema-voyage-au-congo-e-marquis-de-wavrin/) . Cinefilia ritrovata.
July 1, 2018. Retrieved October 18, 2018.
12. Barlet, Olivier (2012). "The Ambivalence of French Funding".Black Camera. 3 (2): 205–16.
doi:10.2979/blackcamera.3.2.205(https://doi.org/10.2979%2Fblackcamera.3.2.205) .
JSTOR 10.2979/blackcamera.3.2.205(https://www.jstor.org/stable/10.2979/blackcamera.3.2.205).
13. Diawara, Manthia (1992). African Cinema: Politics and Culture. Bloomington, Indiana:Indiana University Press, pp.
22–23.
14. Halhoul, Khalid (2012). "Using African Cinema to Shift Cultural Perceptions."
Utne Reader (June/July 2012 edition).
Mixed Media Section, pp. 78–79.
15. Wes Felton (December 2010)."Caught in the Undertow: African Francophone Cinema in the French New W ave" (htt
p://sensesofcinema.com/2010/feature-articles/caught-in-the-undertow-african-francophone-cinema-in-the-french-new
-wave/). Senses of Self.
16. Diawara (1992), African Cinema, p. 23.
17. Gugler, Josef (2003). African Film: Re-Imagining a Continent. Bloomington, Indiana: Indiana University Press, p. 3.
18. Abiola Irele; Biodun Jeyifo (2010).Abiola Irele; Biodun Jeyifo (eds.).The Oxford Encyclopedia of African Thought(htt
ps://books.google.com/books?id=hF_xjFL6_NEC&pg=P A233). 1. Oxford University Press. p. 234.ISBN 978-
0195334739 – via Google Books.
19. Notcutt, L. A., and G. C. Latham,The African and the Cinema: An Account of the Work of the Bantu Educational
Cinema Experiment during the Period March 1935 to May 1937 , London: Edinburgh House Press, 1937.
20. Ukadike, Nwachukwu Frank(1994), Black African Cinema. Berkeley: University of California Press, p. 49.
21. Melissa Thackway (2003).Africa Shoots Back: Alternative Perspectives in Sub-Saharan Francophone African Film
.
Bloomington, Indiana: Indiana University Press,ISBN 978-0-253-34349-9, pp. 7 and 32.
22. For more on Rouch's work, see Steven Feld (ed.),Cine-Ethnography (1994), and Paul Henley, The Adventure of the
Real: Jean Rouch and the Craft of Ethnographic Cinema(2010).
23. See, for example, Nwachukwu Frank Ukadike,Black African Cinema (1994), pp. 48–58.
24. Diawara (1992). African Cinema, pp. 23–24. See also Henley, Paul (2010), The Adventure of the Real: Jean Rouch
and the Craft of Ethnographic Cinema, Chicago: University of Chicago Press, pp. 310–337.
25. Thackway (2003). Africa Shoots Back, pp. 1–6.
26. Bilge Ebiri (November 5, 2015)."The Story of Sembene!: How Ousmane Sembene Invented African Cinema" (http://
www.vulture.com/2015/02/how-ousmane-sembene-invented-african-cinema.html). Vulture. Retrieved October 28,
2018.
27. Dennis McLellan, "Ousmane Sembene, 84; Sengalese hailed as 'the father of African film'" (obituary)
(http://articles.l
atimes.com/2007/jun/14/local/me-sembene14)
, Los Angeles Times, June 14, 2007.
28. FEPACI. (http://www.fepaci.org/congress1)Archived (https://web.archive.org/web/20140226111448/http://www
.fepac
i.org/congress1/) 2014-02-26 at the Wayback Machine
29. Nadia Neophytou (May 19, 2018)."In Cannes, African filmmakers are plotting to take back control from European
producers" (https://qz.com/africa/1282690/african-filmmakers-in-cannes-2018-want-to-take-back-control-from-europe
an-producers/). QuartzAfrica.
30. Jake Bright (June 24, 2015)."Meet 'Nollywood': The second largest movie industry in the world"(http://fortune.com/2
015/06/24/nollywood-movie-industry/). Fortune. Retrieved October 28, 2018.
31. Colm McAuliffe (November 6, 2015)."The death of cinema in Congo: how churches killed of f cowboy films: As the
country is left without a single film theatre, a new documentary explores the end of a once thriving movie culture"
(htt
ps://www.theguardian.com/world/2015/nov/06/congo-cinema-religion-la-belle-at-the-movies) . The Guardian.
Retrieved October 28, 2018.
32. "DR Congo: UNHCR uses cinema to spread awareness of sexual violence" (https://reliefweb.int/report/democratic-re
public-congo/dr-congo-unhcr-uses-cinema-spread-awareness-sexual-violence)
. July 30, 2009. Retrieved
October 28, 2018.
33. Jean-Sebastien Josset (August 25, 2016)."Congo : ouverture d'une salle de cinéma à la pointe de la technologie: La
République du Congo s'offre un cinéma de haut standing de 200 places à Brazzaville"(https://www.jeuneafrique.co
m/351255/culture/congo-ouverture-dun-cinema-a-pointe-de-technologie/) [Congo:Opening of a cutting-edge cinema
hall: The Republic of the Congo getting a luxury cinema with 200 seats in Brazzaville] (in French). JeuneAfrique
.
Retrieved October 28, 2018.
34. "Cinéma : bientôt une salle de projection à Brazzaville"(http://www.adiac-congo.com/content/cinema-bientot-une-sall
e-de-projection-brazzaville-82177)[Cinema: Soon a screen in Brazzaville] (in French). 19 April 2018
. Retrieved
October 28, 2018.
35. Gonzalez, Ed (October 4, 2002)."Waiting for Happiness" (https://www.slantmagazine.com/film/review/waiting-for-hap
piness). Slant Magazine. Retrieved December 4, 2018.
36. "A Season in France (2017)"(https://en.unifrance.org/movie/42910/a-season-in-france)
. en.unifrance.org. Retrieved
2018-12-04.
37. "Mahamat-Saleh HAROUN - Festival de Cannes 2018"(https://www.festival-cannes.com/en/artist/mahamat-saleh-ha
roun). Festival de Cannes 2018. Retrieved 2018-12-04.
38. Cousins, Mark (September 3, 2012)."African Cinema: ten of the best"(https://www.theguardian.com/film/filmblog/20
12/sep/03/10-best-african-films). The Guardian. Retrieved December 4, 2018.
39. Pumzi (2009) (https://www.imdb.com/title/tt1508328/), retrieved 2018-12-04
40. Kermeliotis, Teo (30 March 2010). "Wanuri Kahiu "In Kenya, I'm a hustler" " (http://edition.cnn.com/2010/SHOWBIZ/
Movies/03/26/wanuri.kahiu.pumzi/index.html). CNN. Retrieved 4 December 2018.
41. "Changamoto Arts Fund"(https://www.contemporaryand.com/institue/changamoto-arts-fund/). Contemporary And.
2018. Retrieved 4 December 2018.
42. G. Cahill. "THE BATTLE OF THE SACRED TREE"(https://www.clevelandfilm.org/films/1996/the-battle-of-the-sacred
-tree). Cleaveland International Film Festival.
43. Biography (http://www.africanfilmny.org/2013/zeze-gamboa/), African Film Festival, New York.
44. Thackway (2003). Africa Shoots Back (https://books.google.com/books?id=iA--kyw_FhsC)
. ISBN 9780852555774.
Retrieved 13 October 2010.
45. "Ali Abdel-Khalek" (https://www.imdb.com/name/nm0008157/). IMDb.
46. "Radwan El-Kashef" (https://www.imdb.com/name/nm0008157/). IMDb.
47. "Ehab Mamdouh" (https://www.imdb.com/name/nm6663743/). IMDb.
48. "Salem Mekuria" (http://www.wmm.com/filmcatalog/makers/fm248.shtml), Women Make movies.
49. Maureen Abotsi, "Nii Kwate Owoo" (http://www.ghananation.com/biography/16468-nii-kwate-owoo.html),
GhanaNation, 13 September 2013.
50. Fernando Arenas - Portuguese Literary and Cultural Studies, University of Massachusetts Dartmouth (May 29,
2018). Christopher Larkosh; Mario Perreira; Memory Holloway (eds.). "The Filmography of Guinea-Bissau's Sana Na
N'Hada: From the Return of Amílcar Cabral to the Threat of Global Drug rafficking".
T Transnational Africa. Missing or
empty |url= (help); |access-date= requires |url= (help)
51. Lynsey Chutel (March 30, 2018)."One of Africa's oldest animated films has a timeless message about African life"
(h
ttps://qz.com/africa/1239066/watch-one-of-africas-first-animated-films-created-by-nigers-moustapha-alassane/)
.
Quartz Africa.
52. "Nelson "Nana" Mahomo"(https://www.sahistory.org.za/people/nelson-nana-mahomo). South African History Online.
53. Yael Even Or (August 14, 2017)."The Man Running a Queer Film Festival in a Nation Where Homosexuality Is
Illegal" (https://broadly.vice.com/en_us/article/bjjzka/the-man-running-a-queer-film-festival-in-a-nation-where-homose
xuality-is-illegal). Broadly.
54. "Film Screening: SEMBENE! The Inspiring Story of the Father of African Cinema with Director Samba Gadjigo"
(http
s://events.stanford.edu/events/661/66183/). February 7, 2017. Retrieved October 28, 2018.
55. Ela Bittencourt (June 27, 2017)."Reactivating the Lost Revolutionary Films of Guinea-Bissau: In her debut feature,
artist Filipa César documents the digitization of films made in the African country around the time of its
independence" (https://hyperallergic.com/387611/reactivating-the-lost-revolutionary-films-of-guinea-bissau/)
.
HyperAllergic.
56. Ben Kenigsberg (June 27, 2017). "Review: 'Spell Reel' Shows a Revolution Filmed, on the Leader's Orders". New
York Times. |access-date= requires |url= (help)
57. "TAFF WORKSHOPS AND EVENTS CALENDAR" (http://www.theafricanfilmfestival.org/#TAFF).

Bibliography
Tomaselli, Keyan G., & Mhando, Martin (eds), Journal of African Cinemas, Bristol : Intellect, 2009 - ,ISSN 1754-
9221
Mahir Şaul and Ralph Austen (eds),Viewing African Cinema in the Twenty-First Century: Art Films and the
Nollywood Video Revolution, Ohio University Press, 2010, ISBN 978-0-8214-1931-1
Roy Armes: Dictionary of African Filmmakers, Indiana University Press, 2008,ISBN 0-253-35116-2
Barlet, Olivier (2000). African Cinemas: Decolonizing the Gaze. London; New York: Zed Books. ISBN 978-
1856497428.
Pfaff, Françoise (2004). Focus on African Films. Bloomington: Indiana University Press.ISBN 9780253216687.
Fernando E. Solanas, Octavio Getino, "Towards a Third Cinema" in:Bill Nichols (ed.), Movies and Methods. An
Anthology, University of California Press, 1976, pp. 44–64
Ukadike, Nwachukwu Frank (1994).Black African cinema. Berkeley, CA: University of California Press. ISBN 978-
0520077478.
Africultures: see www.africultures.com (French and English)
Samuel Lelievre (ed.), "Cinémas africains, une oasis dans le désert?",CinémAction, no. 106, Paris, Télérama/Corlet,
1st trimester 2003
Écrans d'Afriques (1992–1998) – French and English – to read on www.africine.org or www.africultures.com
Halhoul, Khalid (2012-07-03)."Using African Cinema to Shift Cultural Perceptions"
. Utne Reader. Retrieved
2014-04-12.
Lindiwe Dovey (2009).African Film and Literature: Adapting Violence to the Screen. Columbia University Press.
ISBN 978-0231147545.
Onookome Okome. "Film Policy and the development of the African Cinema"(PDF) – via Michigan State University.
Oliver Bartlet. "The Five Decades of African Cinemas". Africultures.

External links
Movie theatres re-opening in Africa(in French, extensive business discussion
Congo in Harlem
The Heavy Flag of Pan-African Cinema
Harvard Film Archive
African Cinema in the 1990s
African Media Program– comprehensive database of African media
Library of African Cinema in California
Panafrican Film and TV Festival of Ouagadougou (FESP ACO)
Wiki of the African Film Festival of T
arifa
Utne Reader – Using African Cinema to Shift Cultural Perceptions
Pan-African Film Festival, Cannes
"Top African Film Directors in Alphabetical order", Africapedia

Retrieved from "https://en.wikipedia.org/w/index.php?title=Cinema_of_Africa&oldid=894104143

"

This page was last edited on 25 April 2019, at 17:39(UTC).

Text is available under theCreative Commons Attribution-ShareAlike License ; additional terms may apply. By using this
site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of theWikimedia
Foundation, Inc., a non-profit organization.