African Cinema and African Cinematic Representation:
A Selected Bibliography/Videography of Materials in the UC Berkeley












Books
Journals
Books and Articles About Ousmane Sembène

Reviews and Articles About Individual Films in MRC

Books

Adeiza, Shamsudeen.
Cradle of film : landmarks of the Nigerian Film Corporation 1. Jos, [Nigeria] : NFC ; c1994.
MAIN: PN1993.5.N55 A33 1994

Adejunmobi, Moradewun .
Vernacular palaver : imaginations of the local and non-native languages in West Africa / Moradewun Adejunmobi. Clevedon [England] ; Buffalo : Multilingual Matters, c2004.
Main Stack P381.A36.A33 2004
Contents: Colonial encounters and discourses of the vernacular -- African literature, European languages, and imaginations of the local -- Foreign languages, local audiences : the case of Nigerian video film in English -- Romance without borders : narrating love, femininity, and the local in contemporary Ivory Coast -- Languages of wider communication and alternative sites of belonging.

Adejunmobi, Moradewun
"Foreign languages, local audiences : the case of Nigerian video film in English." In: Vernacular palaver : imaginations of the local and non-native languages in West Africa Clevedon [England] ; Buffalo : Multilingual Matters, c2004.
Main Stack P381.A36.A33 2004

African Cinema: Postcolonial and Feminist Readings
Edited by Kenneth W. Harrow. Trenton, NJ: Africa World Press, c1999.
Main Stack PN1993.5.A35.A357 1999

African Experiences of Cinema
Edited by Imruh Bakari and Mbye B. Cham. London: BFI Pub., 1996.
UCB Main PN1993.5.A35 A36 1996

African images: recent studies and text in cinema
Edited by Maureen Eke, Kenneth W. Harrow, Emmanuel Yewah. Trenton, NJ: Africa World Press, c2000. Series title: Annual selected papers of the ALA; no. 8.
UCB Main PN1993.5.A35 A372 2000

L'Afrique et le centenaire du cinèma
FEPACI, Fédération panafricaine des cinéastes = Africa and the centenary of cinema / Panafrican Federation of Film Makers. Paris : Présence africaine, c1995.
Main (Gardner) Stacks PN1993.5.A35 A377 1995

Afriques imaginees
Paris: Kailash: Poitiers: Torii, 2001.
MAIN: PN849.A35 A33 2001

Afrique Noire, Quel Cinema?: Actes du Colloque, Universite Paris X Nanterre, Decembre 1981
Coordination, Philippe J. Maarek. Nanterre: Association du cine-club de l'Universite Paris X, [1983].
Main PN1993.5.A35 A381 1983

L'Afrique et le Centenaire du Cinema (Africa and the Centenary of Cinema)
FEPACI, Federation panafricaine des cineastes / Panafrican Federation of Film Makers. Paris: Presence Africaine, c1995.
UCB Main PN1993.5.A35 A377 1995

Andrade-Watkins, Claire.
" Portuguese African Cinema: Historical and Contemporary Perspectives 1969-1993." In: African Experiences of Cinema / edited by Imruh Bakari and Mbye B. Cham. pp: 132-47. London: BFI Pub., 1996.
Main Stack PN1993.5.A35.A36 1996

Armes, Roy.
African filmmaking : North and South of the Sahara Bloomington : Indiana University Press, 2006.
MAIN: PN1993.5.A35 A763 2006

Armes, Roy.
Postcolonial images : studies in North African film Bloomington : Indiana University Press, c2005.
MAIN: PN1993.5.A35 A76 2005
Table of contents http://www.loc.gov/catdir/toc/ecip0417/2004007896.html

Armes, Roy.
Third World film making and the West / Roy Armes. Berkeley: University of California Press, c1987.
Covers North Africa (the Maghreb, or Arab West) and sub-Saharan--or Black--Africa.
Main Stack PN1993.5.D44.A761 1987
Moffitt PN1993.5.D44.A76 1987

Atlanta Third World Film Festival & Forum (9th: 1989)
African Cinema Now!: Three Essays from the 9th Annual Atlanta Third World Film Festival & Forum November 2-5, 1989. Atlanta: Bureau of Cultural Affairs in cooperation with the African Studies Association, 1989.
Main PN1993.4 .A25 1989

Baines, Gary
"Representing the apartheid city: South African cinema in the 1950s and Jamie Uys's The urgent queue." In: Cinema and the city: film and urban societies in a global context / edited by Mark Shiel and Tony Fitzmaurice. Oxford, UK: Malden, Mass.: Blackwell Publishers, 2001. Studies in urban and social change.
Environ Dsgn PN1995.9.C513.C45 2001
Main Stack PN1995.9.C513.C45 2001

Balogun, Francoise.
The Cinema in Nigeria / by Francoise Balogun. Enugu, Anambra State, Nigeria: Delta of Nigeria, 1987.
Main PN1993.5.N55 B35131 1987

Bangre, Sambolgo.
" African Cinema in the Tempest of Minor Festivals." In: African Experiences of Cinema / edited by Imruh Bakari and Mbye B. Cham. pp: 157-61. London: BFI Pub., 1996.
Main Stack PN1993.5.A35.A36 1996

Barlet, Olivier.
Les Cinemas d'Afrique Noire: Le Regard en Question / Olivier Barlet. Paris: L'Harmattan, c1996. Series title: Collection Images plurielles.
UCB Main PN1993.5.A35 B3 1996

Bekolo, Jean-Pierre.
Africa for the future : sortir un nouveau monde du cinéma / Jean-Pierre Bekolo Obama. Achères : Dagan; Yaoundé : Medya, c2009.
Main PN1993.5.S6 B68 1992 Main (Gardner) Stacks PN1998.3.B445 A5 2009

Black and white in colour : African history on screen
Edited by Vivian Bickford-Smith and Richard Mendelsohn. Oxford : James Currey ; Athens : Ohio University Press ; Cape Town : Double Storey, 2007.
MAIN: PN1995.9.A43 B53 2007

Blackframes: Critical Perspectives on Black Independent Cinema
Edited by Mbye B. Cham, Claire Andrade-Watkins]. Cambridge, Mass.: MIT Press, c1988. DD>--Main PN1995.9.N4 B5681 1988
Moffitt PN1995.9.N4 B568 1988

Botha, Martin.
Images of South Africa: The Rise of the Alternative Film / Martin Botha, Adri van Aswegen. Pretoria: Human Sciences Research Councel, c1992.
Main PN1993.5.S6 B68 1992

Burns, James McDonald.
Flickering shadows: cinema and identity in colonial Zimbabwe / J.M. Burns: foreword by Peter Davis. Athens: Ohio University Press, c2002. Research in international studies. Africa series: no. 77
Main Stack PN1993.5.Z55.B87 2002

Cameron, Kenneth M.
Africa on Film: Beyond Black and White/ Rob Nixon. New York: Continuum, 1994
Main Stack PN1995.9.A43.C36 1994

Cham, Mbye B.
"Official history, popular memory: reconfiguration of the African past in the films of Ousmane." In: The historical film: history and memory in media / edited and with an introduction by Marcia Landy. p. 261-66. New Brunswick, N.J.: Rutgers University Press, c2001. Rutgers depth of field series.
Main Stack PN1995.9.H5.H59 2001

Cheriaa, Tahar.
"African Cinema and the Headshrinkers: Looking back at a Strategy for Liberation." In: African Experiences of Cinema / edited by Imruh Bakari and Mbye B. Cham. pp: 42-44. London: BFI Pub., 1996.
Main Stack PN1993.5.A35.A36 1996

Cinema and social discourse in Cameroon
Edited and with an introduction by Alexie Tcheuyap ; [Gilbert Doho ... et al.]. Place/Publisher Bayreuth, Germany : Thielmann & Breitinger, 2005.
Main Stack PN1993.5.C17.C56 2005

Cinema, Colonialism, Postcolonialism: Perspectives from the French and Francophone World
Edited by Dina Sherzer. 1st ed. Austin: University of Texas Press, 1996.
Main Stack PN1993.5.F7.C4788 1996

Cinema discourse
Editor, Augustine-Ufua Enahoro. Jos, Nigeria : Positive Education Publishers, c2002.
Contents: Discourse on the cinema as a national signifier / Augustine-Ufua Enahoro -- Discourse on film censorship in Nigeria / Hyginus O. Ekwuazi -- Discourse on the art of cinema in five phases / Onyero Mgbejume -- Discourse on the cinema of television commercials in Nigeria / Bankole Bello -- Discourse on the French cinema industry / Augustine-Ufua Enahoro.

The cinema of North Africa and the Middle East
Edited by Gonul Donmez-Colin ; [preface by Abbas Kiarostami]. London ; New York : Wallflower Press, 2007.
MAIN: PN1993.5.M638 C56 2007
Contents: Twenty-four essays on individual selected films, many by scholars and writers based in the region. It explores established film cultures such as those of Turkey and Iran, and also nascent cinemas such as Israel, Palestine and Syria. Selected films include Cairo Station (Egypt, 1958), Umat (Turkey, 1970), The Runner (Iran, 1989), Once upon a time, Beriut (Lebanon, 1994), Chronicle of a disappearance (Palestine, 1996), Circle of dreams (Israel, 2000), Ten (Iran, 2002) and Uzak (Turkey, 2003)."--P. 4 of cover. Includes bibliographical references (p. 273-286) and index. Preface / Abbas Kiarostami -- Introduction / Gonul Donmez-Colin -- Ghazal al-banat = Candy Floss / Kay Dickinson -- Bab el-Hadid = Cairo Station / Lina Khatib -- Al-Momia = The mummy / Iman Haman -- Umut = Hope / Gonul Donmez-Colin -- Gelin = The bride / Ayla Kanbur -- Tabiat-e Bijan = Still life / Mehrnaz Saeed-Vafa -- Traversees = Crossing over / Roy Armes -- Davandeh = The runner / Hamid Dabashi -- Lo Sam Zaylin = I don't give a damn / Yehuda Judd Neeman -- Nujum al-Nahar = Stars in broad daylight / Rasha Salti -- Docharkheh Savar = The cyclist / Gonul Donmez-Colin -- Bab al-sama Maftouh = A door to the sky / Florence Martin -- Youcef ou la Legende du septi?eme dormant = Joussef or the Legend of the seventh sleeper / Roy Armes -- Samt al-qusur = Silences of the palace / Viola Shafik -- Kan ya ma kan Beirut = Once upon a time, Beirut / Lina Khatib -- Segell ikhtifa = Chronicle of a disappearance / Haim Bresheeth -- Eskiya = The bandit / Nezih Erdogan -- Beyrouth al Gharbiyya = West Beirut / Mona Deeley -- Kikar Hahalomot = Circle of dreams / Shoshana Madmoni-Gerber -- Kippur / Nitzan Ben-Shaul -- Muwatin, mukhbir wa harami = Citizen, detective and thief / Viola Shafik -- Ten / Gonul Donmez-Colin -- Uzak / Distant / S. Ruken Ozturk -- Forget Baghdad : Jews and Arabs - the Iraqi connection / Ruth Tsoffar

The Cinema of Senegal [Videorecording]
[presented by] Camera Three. Kent, Conn.: Creative Arts Television, [199-?]. 1 videocassette (27 min.): sd., col. with b&w sequences; 1/2 in. VHS.
Media Ctr Video/C 4610

Cinema South Africa : meet the new generation of filmmakers.
Amsterdam : Rialto Wereld, 2007.
PFA : PN1993.5.S6 C56 2007

Cinemas africains d'aujourd'hui : guide des cinematographies d'Afrique
Paris : Karthala, c2007.
MAIN: PN1993.5.A35 C54 2007

Les Cinemas Arabes
Dossier reuni par Mouny Berrah, Jacques Levy et Claude-Michel Cluny; prefaces de Tahar Ben Jelloun et Ferid Boughedir. Paris: Cerf: Institut du monde arabe, c1987. Series title: CinemAction; 43.
Main PN1993.5.A1 C5 1987

Cinemas of the Black Diaspora: Diversity, Dependence, and Oppositionality
Edited by Michael T. Martin. Detroit: Wayne State University Press, 1995. Series title: Contemporary film and television series.
Main PN1995.9.N4 C58 1995

Companion encyclopedia of Middle Eastern and North African film
London; New York: Routledge, 2001.
Media Center PN1993.5.A65 C66 2001

Davis, Peter
In Darkest Hollywood: Exploring the Jungles of Cinema's South Africa / Peter Davis. Athens: Ohio University Press; Randburg, South Africa: Ravan Press, 1996.
Main Stack PN1995.9.S655.D38 1996

In Darkest Hollywood: Cinema and Apartheid Video/C 4010

Diawara, Manthia.
"African cinema and decolonization." In: The short century: independence and liberation movements in Africa, 1945-1994 / edited by Okwui Enwezor; with essays by Chinua Achebe ... [et al.]. Munich: New York: Prestel, c2001.
Main Stack NX587.S49 2001

Diawara, Manthia.
African Cinema: Politics & Culture/ Manthia Diawara. Bloomington: Indiana University Press, c1992.
Main Stack PN1993.5.A35.D5 1992
Moffitt PN1993.5.A35.D5 1992
Contents via Google Books

Diawara, Manthia.
"The Present Situation of the Film Industry in Anglophone Africa." In: African Experiences of Cinema / edited by Imruh Bakari and Mbye B. Cham. pp: 102-11. London: BFI Pub., 1996.
Main Stack PN1993.5.A35.A36 1996

Dictionnaire du Cinema Africain.
Paris: Karthala: Ministere de la cooperation et du developpement, c1991-
Main PN1993.5.A35 D53 1991 t.1 (c1991)

Diop, Samba
African francophone cinema New Orleans : University Press of the South, 2004.
MAIN: PN1993.5.A35 D56 2004

Dovey, Lindiwe.
African film and literature : adapting violence to the screen / Lindiwe Dovey. New York : Columbia University Press, c2009.
Main (Gardner) Stacks PN1993.5.A35 D68 2009

Downing, John D. H.
"Post-Tricolor African Cinema: Toward a Richer Vision." In: Cinema, Colonialism, Postcolonialism: Perspectives from the French and Francophone World. / edited by Dina Sherzer. pp: 188-228. 1st ed. Austin: University of Texas Press, 1996.
Main Stack PN1993.5.F7.C4788 1996

Dulucq, Sophie
"Reve rural, cauchemar urbain? : le cinema negro-africain entre memoire et quete identitaire (annees 1950-1990)." In: Histoire d'Afrique : les enjeux de memoire / sous la direction de Jean-Pierre Chretien et Jean-Louis Triaud. Paris : Karthala, c1999. Series Collection "Hommes et societes"
Main Stack DT19.H568 1999

Ekwuazi, Hyginus.
Film in Nigeria / Hyginus Ekwuazi. 2d ed. Jos, Nigeria: Nigerian Film Corporation, 1991.
Main PN1993.5.N55 E37 1991

Foster, Gwendolyn Audrey.
Women Filmmakers of the African and Asian Diaspora: Decolonizing the Gaze, Locating Subjectivity / Gwendolyn Audrey Foster. Carbondale: Southern Illinois University Press, c1997.
UCB Ethnic PN1998.2 .F672 1997
Main PN1993.5.N55 E37 1991Main Stack PN1998.2.F672 1997

Ekwuazi, Hyginus.
Nigerian cinema : pioneers & practitioners Jos : National Film Institute, 2004. DD>PFA : PN1993.5.N55 E38 2004

Focus on African films
Edited by Francoise Pfaff. Bloomington : Indiana University Press, c2004.
MAIN: PN1993.5.A35 F63 2004
PFA : PN1993.5.A35 F63 2004; circ info
Electronic Location(s): Table of contents http://www.loc.gov/catdir/toc/ecip049/2003021199.html

Gabriel, Teshome H. (Teshome Habte)
Third Cinema in the Third World: The Aesthetics of Liberation / by Teshome H. Gabriel. Ann Arbor, Mich.: UMI Research Press, c1982. Series title: Studies in cinema; no. 21.
Main PN1993.5.A35 .G3 1982
Moffitt PN1993.5.A35 .G3 1982

Gardies, Andre.
Cinema d'Afrique Noire Francophone: l'Espace-miroir / Andre Gardies. Paris: L'Harmattan, c1989.
Main PN1993.5.A35 G36 1989

Gariazzo, Giuseppe.
Breve storia del cinema africano Torino: Lindau, c2001.
MAIN: PN1993.5.A35 G38 2001

Gender and sexuality in African literature and film
Edited and Introduced by Ada Uzoamaka Azodo and Maureen Ngozi Eke. Trenton, NJ : Africa World Press, c2007.
MAIN: PN849.A35 G46 2007
Table of contents http://www.loc.gov/catdir/toc/ecip074/2006036110.html

Gray, John
Blacks in Film and Television: A Pan-African Bibliography of Films, Filmmakers, and Performers / compiled by John Gray. New York: Greenwood Press, 1990. Series title: Bibliographies and indexes in Afro-American and African studies no. 27.
Moffitt PN1993.5.A35 A12 G72, 1990 Reference
Ref/Bib PN1993.5.A35 A12 G72, 1990

Gugler, Josef.
African film : re-imagining a continent Bloomington : Indiana University Press: Cape Town : David Philip: Oxford : James Currey, 2003.
MAIN: PN1993.5.A35 G77 2003
Electronic Location(s): Table of contents http://www.loc.gov/catdir/toc/ecip046/2003014797.html

Gutsche, Thelma.
The History and Social Significance of Motion Pictures in South Africa, 1895-1940. Cape Town, H. Timmins, 1972.
NRLF $B 428 560

Haffner, Pierre.
Essai Sur les Fondements du Cinema Africain / Pierre Haffner. [Abidjan, Dakar]: Nouvelles Editions Africaines, c1978.
Main PN1993.5.A35 H33 1978

Haines, Richard J. and Tomaselli, Keyan G.
"Culture and development: case studies. Toward a political economy of the South African film industry in the 1980s." In: Multinational culture: social impacts of a global economy / edited by Cheryl R. Lehman and Russell M. Moore. Westport, Conn.: Greenwood Press, 1992. Contributions in economics and economic history: no. 122
Main Stack HF1359.M85 1992
Bus & Econ HF1359.M85 1992

Harrow, Kenneth W.
Postcolonial African cinema : from political engagement to postmodernism Bloomington : Indiana University Press, c2007.
MAIN: PN1993.5.A35 H37 2007; View current status of this item
Table of contents http://www.loc.gov/catdir/toc/ecip076/2006100896.html

Hees, Edwin.
The National Film Board of South Africa: A Short History / by Edwin Hees. [Stellenbosch: University of Stellenbosch, 1991?]. Series title: Annale (University of Stellenbosch); 1991/1.
NRLF C 2 954 963

Ilboudo, Patrick G.
Le FESPACO, 1969-1989: Les Cineastes Africains et Leurs Ouvres / Patrick G. Ilboudo. [Ouagadougou]: Editions La Mante, [c1988].
Ref/Bib PN1993.5.A35 I431 1988

In Darkest Hollywood: Cinema and Apartheid [VIDEO].
Turns the lens on filmmakers and the South African society they so often misrepresented. Films generally supported the ethos of racial domination that led to apartheid and it was only after Africans insisted on being heard that they began to be portrayed on-screen as more than mere adjuncts of whites. Includes newsreel footage of violence in South Africa and interviews with producers, directors, screenwriters, authors and actors who expound upon films they have been instrumental in producing which explored the conditions of black South Africans. Media Resources Center Video/C 4010

Issa, Maizama.
Oumarou Ganda, Cineaste Nigerien: Un Regard du Dedans sur la Societe en Transition / par Maizama Issa. Dakar: Enda-edition, [1991]. Series title: African environment. Occasional paper; no. 136.
EnvDesign PN1993.5.N55 I86 1991
Main PN1993.5.N55 I86 1991

Jørholt, Eva
"Africa's modern cinematic griots: oral tradition and West African cinema." In: Same and other: negotiating African identity in cultural production / edited by Mai Palmberg and Maria Erikson Baaz. Uppsala: Nordic Africa Institute: London: Global, 2001.
Main Stack NX587.S26 2001

Kasongo Ibanda Ngozulu W. T.
Le "Cinema Pour Africains": Acte d'Influence a Visee Persuasive / Kasongo Ibanda Ngozulu W.T. Louvain-la-Neuve: CIACO, 1989. Series title: Publications de la Faculte des sciences economiques, sociales et politiques de l'Universite catholique de Louvain; nouv. ser., no 188.
NRLF B 3 800 412

Ki-Zerbo, Joseph.
"Cinema and Development in Africa." In: African Experiences of Cinema / edited by Imruh Bakari and Mbye B. Cham. pp: 72-80. London: BFI Pub., 1996.
Main Stack PN1993.5.A35.A36 1996

Lacassin, Francis.
Tarzan, ou, Le Chevalier Crispe / Francis Lacassin; preface de Burne Hogarth. Paris: H. Veyrier, c1982. Series title: Cinema (Henri Veyrier (Firm))
Main PS3503 Bu766.Z75 1982

Larkin, Brian
"Colonialism and the built space of cinema in Nigeria." In: City flicks : cinema, urban worlds and modernities in India and beyond / edited by Preben Kaarsholm. Denmark : International Development Studies, Roskilde University, 2002.
Main Stack PN1995.9.C513.C54 2002

Lee, Raymond.
A Pictorial History of the Tarzan Movies; 50 Years of the Jungle Superman and All-time Box Office Film Champion, by Ray Lee and Vernell Coriell. [Los Angeles, Golden State News Co., 1966].
Main PN1995.9.T3 .L4

Litterature et Cinema en Afrique Francophone: Ousmane Sembène et Assia Djebar
Sous la direction de Sada Niang. Paris: L'Harmattan, c1996. Series title: Collection Images plurielles.
UCB Main PN1998.3.S397 L5 1996

Luedtke, Kurt.
Out of Africa: The Shooting Script / screenplay by Kurt Luedtke; introduced and annotated by Sydney Pollack. New York: Newmarket Press, c1987.
Main PN1997 .O871 1987

South African national cinema London ; New York : Routledge, 2007.

MAIN: PN1993.5.S6 M35 2007

Malkmus, Lizbeth.
Arab and African Film Making / Lizbeth Malkmus and Roy Armes. London; Atlantic Highlands, N.J., USA: Zed Books, 1991.
Main PN1993.5.A65 M3 1991
Moffitt PN1993.5.A65 M3 1991

Mangin, Geoffrey
Filming Emerging Africa: A Pioneer Cinematographers's Scrapbook from the 1940s to the 1960s: New colour Systems, New Film-makers, New Audiences, New Developments in Southern Africa Cape Town: G.Mangin, 1998.
Main Stack PN1993.5.A356.M36 1998

Marginal lives & painful pasts : South African cinema after apartheid
Dompiled by Martin Botha. Parklands : Genugtig!, 2007.
MAIN: PN1993.5.S6 M375 2007; View current status of this item
Table of contents http://www.loc.gov/catdir/toc/fy0802/2007492159.html

Mayer, Ruth.
Artificial Africas: colonial images in the times of globalization Hanover, NH: University Press of New England [for] Dartmouth College, c2002.
MAIN: E169.04 .M3694 2002

Maynard, Richard A.
Africa on Film: Myth and Reality, Edited by Richard A. Maynard. Rochelle Park, N.J., Hayden Book Co. [c1974]. Series title: His Hayden film attitudes and issues series.
Main PN1995.9.A43 M31

Mgbejume, Onyero.
Film in Nigeria: Development, Problems, and Promise / by Onyero Mgbejume. [1st ed.]. [Nairobi, Kenya]: African Council on Communication Education, [1989]. Series title: Africa media monograph series; no. 7.
Main PN1993.5.N55 M47 1989

Modleski, Tania.
"Cinema and the Dark Continent: Race and Gender in Popular Film." In: Writing on the Body: Female Embodiment and Feminist Theory / edited by Katie Conboy, Nadia Medina, and Sarah Stanbury. pp: 208-28. New York: Columbia University Press, c1997. Gender and culture reader
Main Stack PN98.W64.W687 1997.

Movies, Moguls, Mavericks: South African Cinema 1979-1991
Edited by Johan Blignaut, Martin Botha. Cape Town: Showdata, 1992.
Main PN1993.S6 M69 1992

Mungai, Anne.
"Responsibility and Freedom of Expression." In: African Experiences of Cinema / edited by Imruh Bakari and Mbye B. Cham. pp: 65-66. London: BFI Pub., 1996.
Main Stack PN1993.5.A35.A36 1996

Murphy, David
Postcolonial African cinema : ten directors Manchester : Manchester University Press, 2007.
MAIN: PN1998.2 .M87 2007
Contents: Introduction: Representing postcolonial African cinema -- Youssef Chahine -- Ousmane Sembène -- Med Hondo -- Djibril Diop Mambety -- Souleymane Cisse -- Flora Gomes -- Idrissa Ouedraogo -- Moufida Tlatli -- Jean-Pierre Bekolo -- Darrell James Roodt.

Nash, Mark
"The modernity of African cinema." In: The short century: independence and liberation movements in Africa, 1945-1994 / edited by Okwui Enwezor; with essays by Chinua Achebe ... [et al.]. Munich: New York: Prestel, c2001.
Main Stack NX587.S49 2001

Ngangura, Mweze.
"African Cinema: Militancy or Entertainment." In: African Experiences of Cinema / edited by Imruh Bakari and Mbye B. Cham. pp: 60-64. London: BFI Pub., 1996.
Main Stack PN1993.5.A35.A36 1996

Ngansop, Guy Jeremie.
Le Cinema Camerounais en Crise / Guy Jeremie Ngansop. Paris:L'Harmattan, [1988], c1987.
Main PN1993.5.C17 N43 1987

Nixon, Rob
Homelands, Harlem, and Hollywood: South African Culture and the World Beyond / Rob Nixon. New York: Routledge, 1994.
Moffitt DT1757.N59 1994

North African cinema in a global context : through the lens of diaspora
Edited by Andrea Khalil. London : Routledge, 2008.
Main Stack PN1993.5.A355.N67 2008

Nwosu, Joy.
Cinema e Africa Nera. Prefazione di Mino Argentieri. Roma, Tindalo, 1968.
Main PN1995.9.A43 N9
NRLF $B 134 418

Oha, Obododimma
"The visual rhetoric of the ambivalent city in Nigerian video films." In: Cinema and the city: film and urban societies in a global context / edited by Mark Shiel and Tony Fitzmaurice. Oxford, UK: Malden, Mass.: Blackwell Publishers, 2001. Studies in urban and social change.
Environ Dsgn PN1995.9.C513.C45 2001
Main Stack PN1995.9.C513.C45 2001

Okome, Onookome.
Cinema and Social Change in West Africa / Onookome Okome, Jonathan Haynes. Jos: Nigerian Film Corp., 1995.
UCB Main PN1993.5.A358 O56 1995

Operative Principles of the Film Industry: Towards a Film Policy for Nigeria
Edited by Hyginus Ekwuazi and Yakubu Nasidi. Jos: Nigerian Film Corporation, 1992.
Main PN1993.5.N55 O64 1992

Petty, Sheila.
"Black African Feminist Film-Making?" In: African Experiences of Cinema / edited by Imruh Bakari and Mbye B. Cham. pp: 185-93. London: BFI Pub., 1996.
Main Stack PN1993.5.A35.A36 1996

Pfaff, Francoise.
Twenty-five Black African Filmmakers: A Critical Study, With Filmography and bio-bibliography / Francoise Pfaff. New York: Greenwood Press, 1988.
Moffitt PN1998.A2 P477 1988 Reference
Main Ref/Bib PN1998.A2 P477 1988 Biographies

Ramirez, Francis.
Histoire du cinema colonial au Zaire, au Rwanda et au Burundi Tervuren, Belgique : Musee royale de l'Afrique centrale, 1985.
MAIN: DT1.T4 A6 no.7

Rencontres Cinematographiques de Dakar (3rd: 1992)
IIIe Rencontres Cinematographiques de Dakar: Recidak 92; resolutions et communications. Dakar: Recidak, 1992.
Main PN1993.5.S38 R46 1992

Russell, Sharon A.0
Guide to African Cinema / Sharon A. Russell. Westport, Conn.: Greenwood Press, 1998. Reference guides to the world's cinema
Main Stack PN1993.5.A35.R87 1998

Sama, Emmanuel.
"African Films Are Foreigners in Their Own Countries." In: African Experiences of Cinema / edited by Imruh Bakari and Mbye B. Cham. pp: 148-56. London: BFI Pub., 1996.
Main Stack PN1993.5.A35.A36 1996

Schmidt, Nancy J.
Sub-Saharan African Films and Filmmakers, 1987-1992: An Annotated Bibliograghy/ Nancy J. Schmidt. London; [New Providence, N.J.]: Hans Zell Publishers, 1994.
Ref/Bib PN1993.5.A357 A12 S341, 1994

Schmitz, Oliver.
Mapantsula: The Book / [Oliver Schmitz, Thomas Mogotlane; preface by Mongane Wally Serote; foreword by Achmat Dangor]. Fordsburg, South Africa: Congress of South African Writers; Johannesburg: Thorold's Africana Books [distributor, 1991].
Main PN1997 .M373 1991

Shaka, Femi Okiremuete.
Modernity and the African cinema Trenton, NJ : Africa World Press, c2004.
MAIN: PN1993.5.A35 S45 2004
Table of contents http://www.loc.gov/catdir/toc/ecip0411/2003025108.html

Shari'ah, al-Tahir.
Ecrans d'Abondance, ou, Cinemas de Liberation en Afrique: A Propos de l'Importation/Distribution des Films en Afrique (et Dans le Monde Arabe) et de la Necessite de sa Nationalisation / par Tahar Cheriaa [i.e.... Tunis: SATPEC, [1978?].
Main PN1993.5.A35 S5

Shehu, Brendan.
No--Not Hollywood: Essays & Speeches of Brendan Shehu / edited by Hyginus Ekwuazi & Yakubu Nasidi. Jos, Nigeria: Nigerian Film Corp., 1992.
Main PN1993.5.N55 S5 1992

Shehu, Brendan.
Towards a sustainable film industry in Nigeria : selected speeches & papers of Brendan S. Shehu Jos, Plateau State, Nigeria : Nigerian Film Corp., 1996.
MAIN: PN1993.5.N55 S55 1996

Shiri, Keith.
Directory of African Film-Makers and Films / compiled and edited by Keith Shiri. Westport, Conn.: Greenwood Press, 1992.
Doe Library Ref/Bib PN1993.5.A35 S48 1992 Biographies

Slavin, David Henry.
Colonial cinema and imperial France, 1919-1939: white blind spots, male fantasies, settler myths Baltimore: Johns Hopkins University Press, 2001.
MAIN: PN1993.5.F7 S587 2001

Stoneman, Rod.
" South/South Axis: For a Cinema Built by, with, and for Africans." In: African Experiences of Cinema / edited by Imruh Bakari and Mbye B. Cham. pp: 175-80. London: BFI Pub., 1996.
Main Stack PN1993.5.A35.A36 1996

Symbolic narratives/African cinema: audiences, theory and the moving image
Edited by June Givanni. London: British Film Institute, 2000.
Main Stack PN1993.5.A35.S96 2000

Taylor, Clyde
"Africa: The Last Cinema." In World cinema since 1945 / edited by William Luhr. New York: Ungar, 1987.
Presents a 21-page history of the development of filmmaking in Africa in the post-colonial period. (cited Africa World Press Guide http://worldviews.igc.org/awpguide/cinema.html)
Moffitt PN1993.5.A1.W67 1987

Teno, Jean Marie.
"Freedom: The Power to Say No." In: African Experiences of Cinema / edited by Imruh Bakari and Mbye B. Cham. pp: 70-71. London: BFI Pub., 1996.
Main Stack PN1993.5.A35.A36 1996

Thackway, Melissa.
Africa shoots back : alternative perspectives in Sub-Saharan Francophone African film. Bloomington : Indiana University Press ; Oxford : James Currey ; Cape Town : David Philip, 2003.
MAIN: PN1993.5.A35 T48 2003
Table of contents http://www.loc.gov/catdir/toc/ecip046/2003014793.html

To change reels: film and culture in South Africa
Edited by Isabel Balseiro and Ntongela Masilela. Detroit, Mich.: Wayne State University Press, c2003.
MAIN: PN1993.5.S6 T62 2003

Tomaselli, Keyan.
"'African' Cinema: Theoretical Perspectives on Some Unresolved Questions." In: African Experiences of Cinema / edited by Imruh Bakari and Mbye B. Cham. pp: 165-74. London: BFI Pub., 1996.
Main Stack PN1993.5.A35.A36 1996

Tomaselli, Keyan G.
The Cinema of Apartheid: Race and Class in South African Film / Keyan Tomaselli. New York: Smyrna/Lake View Press, c1988.
Main PN1993.5.S6 T58 1988
Moffitt PN1993.5.S6 T58 1988

Tomaselli, Keyan
Myth, Race, and Power: South Africans Imaged on Film and TV /by Keyan Tomaselli ... [et al.]. Bellville [South Africa: Anthropos, 1986. Series title: Critical studies in African anthropology; no. 1.
Main PN1995.9.S6 M971 1986

Traore, Biny.
" Cinema and Freedoms: Reflections of a Senegalese Film-Maker." In: African Experiences of Cinema / edited by Imruh Bakari and Mbye B. Cham. pp: 67-69. London: BFI Pub., 1996.
Main Stack PN1993.5.A35.A36 1996

Traore, Biny.
La Problematique du Cinema Africain: Son Public, Ses Motivations et Ses Fonctions / Traore Biny. Bobo-Dioulasso [Upper Volta]: Lycee Ouezzin Coulibaly, [1983?].
NRLF C 2 842 735

Udeman, Adrienne.
The History of the South African Film Industry, 1940-1971; A Bibliography. Johannesburg, University of the Witwatersrand, Dept. of Bibliography, Librarianship and Typography, 1972.
Main PN1993.5.A13 A12 U3

Ukadike, Nwachukwu Frank.
"African cinema." In: The Oxford guide to film studies / edited by John Hill and Pamela Church Gibson: consultant editors, Richard Dyer, E. Ann Kaplan, Paul Willemen. Oxford: New York: Oxford University Press, 1998.
Main Stack PN1995.O93 1998

Ukadike, Nwachukwu Frank.
"African cinema." In: World cinema: critical approaches / edited by John Hill and Pamela Church Gibson. Oxford: New York: Oxford University Press, 2000.
Main Stack PN1995.W6453 2000

Ukadike, Nwachukwu Frank.
"African cinema." In: The Oxford guide to film studies / edited by John Hill and Pamela Church Gibson. Oxford ; New York : Oxford University Press, 1998.
Media Center PN1995.O93 1998
Main Stack PN1995.O93 1998

Ukadike, Nwachukwu Frank.
Black African Cinema / Nwachukwu Frank Ukadike. Berkeley: University of California Press, c1994.
Main PN1993.5.A35 U4 1994
Moffitt PN1993.5.A35 U4 1994
Contents via Google Books

Ukadike, Nwachukwu Frank.
"New developments in Black African cinema." In: Reading the contemporary: African art from theory to the marketplace / edited by Olu Oguibe and Okwui Enwezor. 1st M... London: Institute of International Visual Arts: Cambridge, Mass.: MIT Press, 1999.
Main Stack N7380.R42 1999

Ukadike, Nwachukwu Frank.
Questioning African cinema: conversations with filmmakers Minneapolis: University of Minnesota Press, c2002.
Full text available online (UC Berkeley users only)
MAIN: PN1993.5.A35 U45 2002

Ukadike, Nwachukwu Frank.
"Reclaiming Images of Women in Films from Africa and the Black Diaspora." In: African Experiences of Cinema / edited by Imruh Bakari and Mbye B. Cham. pp: 194-208. London: BFI Pub., 1996.
Main Stack PN1993.5.A35.A36 1996

Vieyra, Paulin Soumanou.
"African Cinema: Solidarity and Difference." In: Questions of Third Cinema. London / edited by Jim Pines and Paul Willemen. pp: 195-98. London: BFI Publishing, 1989.
Main Stack PN1993.5.D44.Q479 1989
Moffitt PN1993.5.D44.Q479 1989

Vieyra, Paulin Soumanou.
Le Cinema Africain / Paulin Soumanou Vieyra. Paris: Presence africaine, c1975-
Main PN1993.5.A35 V481 t. 1 (c1975)

Vieyra, Paulin Soumanou.
Le Cinema au Senegal / Paulin Soumanou Vieyra. Bruxelles, Belgique: OCIC; [Paris]: L'Harmattan, c1983. Series title: Collection Cinemedia. Cinemas d'Afrique noire; 4.
Main PN1993.5.S38 V541 1983

Vieyra, Paulin Soumanou.
Le cinema au Senegal Bruxelles, Belgique : OCIC ; [Paris] : L'Harmattan, c1983.
MAIN: PN1993.5.S38 V541 1983

Welcome to Nollywood [Videorecording]
After the U.S. and India, the world's third largest producer of feature films is Nigeria. Barely a decade old and already generating over $286 million for the Nigerian economy, this documentary explores this burgeoning industry, from its unique challenges to its diverse array of films that both mirror and comment upon the social issues of the continent. 57 min.
Media Center DVD 8681

Woodhead, Leslie.
A box full of spirits : adventures of a film-maker in Africa London : Heinemann, 1987.
MAIN: DT380.4.M85 W66 1987

Journal Articles

"African Cinema 'Too Serious' for Its Own Good."
Africa News Service April 1, 2002 p1008091u7705

Akudinobi, Jude G.
"Nationalism, African Cinema, and Frames of Scrutiny." Research in African Literatures Fall 2001 v32 i3 p123
UC users only

Akudinobi, Jude G.
"Reco(r)ding Reality: Representation and Paradigms in Nonfiction African Cinema." Social Identities, Sep2000, Vol. 6 Issue 3, p345-367, 23p
UC users only

Andrade-Watkins, Claire
" France's Bureau of Cinema: financial and technical assistance between 1961 and 1977: operations and operations and implications for African cinema. (Article).Framework /38-39, 92; p.27-46.

Andrade-Watkins, C.
"Portuguese African Cinema: History and Contemporary Perspectives 1969-1993." Research in African Literatures, 1995 Fall, V26 N3:134-150.

Armes, Roy
"Black African Cinema in the Eighties." Screen XXVI/3-4, May-Aug 85; p.60-73.
Survey of Black African cinema in the 1980's.
UC users only

Asch, Andrew.
"Has Hollywood ignored apartheid?" American Film v 16 Aug 1991. p. 9.
"Hollywood has never really observed a cultural ban on South Africa. According to Jeremy Nathan of the antiapartheid Film and Allied WorkersOrganization, 99 percent of the films shown in South Africa are American.During the public clamor against apartheid in the late 1980s, manyAmerican directors pledged not to export films to South Africa. Today,however, most of these directors are showing movies there, andtop-grossing American films have cleaned up in this small but lucrativemarket. Black ownership of theaters in South Africa is all but unheardof, and few blacks there have creative jobs in filmmaking. Nathan says that filmmaking groups that want to help black South Africans shouldsupport antiapartheid businesses. He and the African National Congressare trying to promote the film business in black South Africa." [Art Abstracts]

Ayisi, Florence; Sidney, Carol.
"Africa and the history of cinematic ideas: BFI International Conference, London, 9-10 September 1995."Screen v 37 Spring 1996. p. 85-9.
"A report on "Africa and the History of Cinematic Ideas: BFIInternational Conference," held at the British Film Institute, London, onSeptember 9 and 10, 1995. This heavyweight event presented an ambitiousagenda constructed around seven major themes ranging from the iconographyof African cinema to questions of decolonization. Creating anddemonstrating an enormous energy and passion for its topic, the event putAfrican cinema in a broader context, created a framework for reflection,and established a background against which the complex, diverse cinemasof Africa can be critically examined for both film and cultural studies." [Art Abstracts]

Bakari, Imruh
"Colonialism and modern lives in African cinema." Screen; Winter2007, Vol. 48 Issue 4, p501-505, 5p
UC users only

Beittel, Mark.
"Mapantsula: Cinema, Crime and Politics on the Witwatersrand." Journal of Southern African Studies 1990 16(4): 751-760.
UC users only

Berenstein, Rhona J.
"White Heroines And Hearts Of Darkness: Race, Gender And Disguise In 1930s Jungle Films." Film History 1994 6(3): 314-339.
UC users only
"Analyzes several 1930's films with jungle adventure and jungle horror themes and explores how the films' representations of women, blacks, and primates express: 1) traditional American racist stereotypes dating from the 1880's; 2) a tradition of popular scientific racism dating from the 19th century that linked blacks and primates; and 3) a general fear of female sexuality." [America Hstory and Life]

Bertelsen, Eve.
"Radical Cheek: Film Theory and the Common Viewer." South African Theatre Journal, vol. 5 no. 1. 1991 May. pp: 5-23.

Boni-Claverie, Isabelle.
"When gazelles fly: an inventory of cinema.: Revue Noire no28 Mar/May 1998. p. 58-61.
" Part of a special section on Zimbabwean art. The writer traces thehistory of Zimbabwean cinema. Doomed since its independence to being areserve of natural settings for foreign adventure movies, Zimbabwe hasoften been filmed but rarely depicted. The country had to wait ten yearsfor the first Zimbabwean feature film, JIT by Michael Raeburn, whichappeared in 1990. The writer traces the development of Zimbabwean cinema from the first and only Zimbabwean film directed under the Rhodesiangovernment, Raeburn's Rhodesia Countdown of 1969, discussing suchdevelopments as the exotic Hollywood movies filmed in the country after independence, the technical expertise picked up by Zimbabweans on theseshoots, the influence of JIT, and the new path being taken by youngerZimbabwean directors trained in European film schools rather than onAmerican film shoots at home." [Art Abstracts]

Burns, James
"Watching Africans watch films: theories of spectatorship in British colonial Africa." Historical Journal of Film, Radio and Television; Vol.XX nr.2 (June 2000); p.197-211
" Discusses a series of experiments throughout the 20th century that emanated from a long-held belief that black Africans lacked the cognitive ability to understand British films and notes the impact of these experiments on movies and documentaries aimed at educating and socializing Africans, as well as on views about African people. The first experiments in the 1920's by William Sellars, a medical officer for the Nigerian government, found that Africans could not understand linkages between scenes or follow fast-paced narrative and action; they tended to view the images literally. Sellars's findings, which supported existing colonial stereotypes, influenced a generation of filmmakers who heeded his recommendations for making films for Africans. The Bantu Educational Kinema Experiment (BEKE) in the 1930's supported Sellars's research. During World War II, however, these views were disputed by educated Africans and British filmmakers, as further experiments showed that Africans could easily understand film images with a few minor cultural adjustments. Gradually, this revised view became widely accepted by nearly all except British colonists in Central and Southern Africa, who maintained a racist perspective on the inferiority of Africans. The colonialists continued to rely on anecdotal evidence that supported their view of white superiority rather than the growing body of contradictory findings." [Historical Abstracts]

Cameron, Kenneth M.
"Paul Robeson, Eddie Murphy, and the Film Text of 'Africa'."Text and Performance Quarterly, vol. 10 no. 4. 1990 Oct. pp: 282-93.

Cham, M; Mungai, A.
"African Women and Cinema: A conversation with Anne Mungai." Research in African Literatures, 1994 Fall, V25 N3:93-104.

Cham, Mbye Baboucar.
"Film Text and Context: Reweaving Africa's Social Fabric Through Its Contemporary Cinema."

Cham, Mbye Baboucar.
"Islam in Senegalese Literature and Film." Africa: Journal of the International African Institute Vol. 55, No. 4, Popular Islam (1985), pp. 447-464
UC users only

Collinge, Jo Anne.
"Under fire: as South Africa's crisis deepens, its independent filmmakers document the pain of apartheid." American Film v 11 Nov 1985. p. 30-4+.

de Turegano, Teresa Hoefert
"The new politics of African cinema at the French ministry of foreign affairs." French Politics, Culture and Society Fall 2002 v20 i3 p22<

Diawara, Manthia.
"African Cinema Today." Framework /37, May 89; p.110-128.
Traces the evolution of 'new African cinema' from FESPACO '87 to FESPACO '89.

Diawara, Manthia.
"The African Tale of Cinema." Discourse Spring-Summer 1989

Diawara, Manthia; Robinson, Elizabeth.
"New perspectives in African cinema: an interview with Cheick Oumar Sissoko." Film Quarterly v 41 Winter 1987/1988. p. 43-8.

Diawara, Manthia.
"New York and Ouagadougou: The Homes of African Cinema." Sight and Sound v3, n11 (Nov, 1993):24 (3 pages).
The role of the Ougadougou festival and the African Film Festival (New York) in marginalizing African cinema and encouraging African filmmakers to pander to US and European audiences.

Diawara, Manthia; Elizabeth Robinson; Cheick Oumar Sissoko
"New Perspectives in African Cinema: An Interview with Cheick Oumar Sissoko." Film Quarterly Vol. 41, No. 2 (Winter, 1987), pp. 43-48
UC users only

Diawara, Manthia.
"Popular Culture and Oral Traditions in African Film." Film Quarterly v41, n3 (Spr, 1988):6 (9 pages).
UC users only
Attempts to fill the vacuum of serious African film criticism by examining the roots of African cinema in the oral tradition.

Diawara, Manthia
" Technological Paternalism." Jump Cut /32, Apr 86; p.61-65. illus., bibliogr.
Discusses the history and present day position of sub-Saharan African film production esp. in Ghana, Nigeria and Zaire. Deals esp. with the effects of colonial rule.

Diawara, Manthia.
"Whose African Cinema Is It Anyway?"Sight and Sound, vol. 3 no. 2. 1993 Feb. pp: 24-25.

Ditmars, Hadani
"The economics of African cinema." African Business Jan 1995 n195 p38(2)

Dodd, Philip (ed.)
"African Cinema." Sight and Sound, vol. 5 no. 9. 1995 Sept. pp: 30-39.

Dritsas, Lawrence
"Flickering Shadows: cinema and identity in colonial Zimbabwe." Africa. 2007. Vol. 77, Iss. 4; p. 621 (2 pages)
UC users only

Duguid, Sarah
"Tales from the backyard." Sight & Sound Vol XIV nr 10 (Oct 2004); p 10-11
A report on the fast-growing Nigerian film industry (Nollywood). Now one of the world's top five producers of films, Nigeria releases between 500 and 800 titles a year.

Dunn, Kevin.
"Lights . . . Camera . . . Africa: Images Of Africa and Africans In Western Popular Films Of The 1930s."African Studies Review 1996 39(1): 149-175.

Ebewo, Patrick J.
"The Emerging Video Film Industry in Nigeria: Challenges and Prospects." Journal of Film and Video. Fall 2007. Vol. 59, Iss. 3; p. 46 (12 pages)
UC users only

Esonwanne, Uzoma
"Interviews with Amaka Igwe, Tunde Kelani, and Kenneth Nnebue." Research in African Literatures; Winter2008, Vol. 39 Issue 4, p24-39, 16p
UC users only
"Kenneth Nnebue, Amaka Igwe, and Tunde Kelani, are three prominent Nigerian cinéastes. In the transcript below, a revised and edited version of three interviews conducted separately with each respondent in Lagos, Nigeria, in August 2001, they address questions on a variety of issues related to Nigerian cinema and the home-video industry: theater, video technology, and the emergence of the home-video industry; training and experience in filmmaking; narrative--sources and preferred genres; oral discourses--use and influence; the economics of filmmaking; film scripts, acting, production, distribution, and consumption; gender and sexual politics; reception and criticism; and the future of the cinema in Nigeria. To facilitate comparison, thematic headings corresponding with issues are provided. Just as they have varied educational and professional backgrounds, so do Nnebue, Igwe, and Kelani provide us with varied insights into filmmaking and popular culture in postcolonial Nigeria." [ABSTRACT FROM AUTHOR] [EBSCO]

Eshun, Esi.
"Africa's future film." Sight and Sound ns5 Aug 1995. p. 5.
"A comment on the Second Annual Cinema d'Afrique festival held in June1995 at the Musee des Beaux Arts, Brussels. This noncompetitive festivalshowcases some of the films funded under the European Union's EuropeanDevelopment Fund. This fund, under the terms of the 1985 LomeConvention, promises several billion ecus for the development andpromotion of cinema in Black Africa, the Caribbean, and the Pacific. Among the films shown at the festival were Cheick Oumar Sissoko's Guimba, Souleymane Cisse's Waati, Bassek Ba Kobhio's Le Grand Blanc de Lambarene,and Idrissa Ouedraogo's Le Cri du coeur." [Art Abstracts]

Eyoh, Dickson.
"Social Realist Cinema and Representations of Power in African Nationalist Discourse." Research in African Literatures v29, n2 (Summer, 1998):112 (16 pages).
UC users only
The resurgence of mass political movements in Africa is a result of the multifaceted crisis of postcolonial legitimacy. Academic commentators and apostles of neoliberal orthodoxy disagree on political and economic liberalization. African social realist cinema reflects the representations of relationships between forms of power in society.

Fila, David Pierre.
"Dependances Africaines." Cahiers du Cinema no551 Nov 2000. p. 50-2.
Reflections on the current state of African cinema

Gant-Britton, Lisbeth.
"African women and visual culture: a sample syllabus."Camera Obscura no36 Sept 1995. p. 84-117.
"Part of a special issue on Black women, spectatorship, and visual ulture. The writer outlines the curriculum of a seminar that focuses on African women as both visual objects and subjects. The seminar compares iterary and visual texts to ascertain how African women are represented and misrepresented and considers how contemporary Black women novelists and film writers are endeavoring to correct some of those isrepresentations. African women are most often represented in motion pictures as "underdeveloped" and "primitive." However, many of the new films by African women are directly challenging such misrepresentations and finding new ways to cope with the diverse sociocultural concerns facing them today. An appendix detailing required texts for the seminar completes the article." [Art Abstracts]

Gill, June-M.
"The films of Euzhan Palcy: a voice for black history." Quarterly Review of Film and Video v 17 no4 2000. p. 371-81.
UC users only
"The writer discusses history and education in relation to Black liberation in the work of Martinian filmmaker Euzhan Palcy. History and education are two key themes in Palcy's work: Her films show an increasing awareness that reestablishing the links to their past is essential to the cause of Black liberation and that education is the way in which this cultural history is passed from generation to generation. The writer discusses Palcy's first two feature films, Sugarcane Alley, set in colonial Martinique, and A Dry White Season, concerning the evils of Apartheid in South Africa. She contends that in these works, education is shown as education under White culture, thus spelling further alienation for Blacks. She also examines Palcy's third film, A Voice for History, a biography of the Martinican poet/statesman Aime Cesaire. She contends that in this film, Palcy rediscovers and preserves the key elements of Black history for the education of Blacks and Whites alike as well as creating a powerful historical summa of the struggle for Black liberation that serves as a call to action for the 21st century." [Art Abstracts]

Givanni, June.
"African Conversations."(Senegalese director Djibril Diop Mambety)(Interview) Sight and Sound v5, n9 (Sept, 1995):30 (2 pages).
UC users only
Director John Akomfrah talks about the category 'African cinema', particularly its characteristics and development.

Givanni, June.
"Dream aloud." Sight and Sound ns5 Sept 1995. p. 37-9.
UC users only
"Part of a special section on African directors. In an interview, the Ghanaian-British director John Akomfrah discusses African cinema. He points out the significance of Djibril Diop Mambety's Touki-Bouki. This film, he explains, helped him understand that African cinema is political by its very nature, being born out of the process of cultural and postcolonial renewal in many African countries. He contends that there s both a moral and an aesthetic dimension to African cinema, and that it will be profoundly involved in the business of reconstruction and political analysis. Also discussed are the characteristics of African cinema and its development." [Art Abstracts]

Goldfarb, Brian.
"A Pedagogical Cinema: Development Theory, Colonialism and Post-Liberation African Film." Iris.18:7-24. 1995 Spring. 5

Gugler, Josef.
"African writing projected onto the screen: Sambizanga, Xala, and Kongi's harvest." African Studies Review v42, n1 (April, 1999):79 (25 pages).
UC users only
Issues are discussed regarding the metamorphosis involved in translating written fiction onto the screen. "Xala" and Kongi's Harvest" are used to show both that text and screen have different requirements, and the intended audience of the two also differ.

Haynes, Jonathan; Okome, Onookome.
"Evolving Popular Media: Nigerian Video Films." Research in African Literatures v29, n3 (Fall, 1998):106 (23 pages).

Haynes, Jonathan
"Nigerian Cinema: Structural Adjustments." Research in African Literatures 1995 Fall, V26 N3:97-119
UC users only

Haynes, Jonathan
"Nollywood in Lagos, Lagos in Nollywood Films." Africa Today. Winter 2007. Vol. 54, Iss. 2; pg. 130, 21 pgs
UC users only

Haynes, Jonathan
"Returning to the African Village. Jump Cut /40, Mar 96; p.62-66.
On the theme of 'returning to the village' in African cinema by examining first features by directors in their thirties, incl. "Ma Fille ne Sera pas Exise", "Laada", "Sango Malo", "Ta dona".

Hitchcock, Peter
"Risking the Griot's eye: Decolonisation and Contemporary African Cinema." Social Identities; Sep2000, Vol. 6 Issue 3, p263-284, 22p UC users only

Hoefert De Turegano, Teresa.
"Featuring African Cinemas." World Literature Today. Oct-Dec 2003. Vol. 77, Iss. 3/4; pg. 14, 5 pgs
UC users only

Kabore, Gaston.
"The African Cinema in Crisis." UNESCO Courier (July-August, 1995):70 (4 pages).
UC users only
" African films have failed to attract local audiences. Past efforts by the film industries of several African countries to remedy this situation has not yielded any positive results. Regional distribution structures would help solve this problem." [Expanded Academic Index]

Kamphausen, H.
"Cinema in Africa: A Survey."Cineaste V/3, Summer 72; p.28-41.
Africa as it has been used as a background and subject for films; African film-makers and their films; a study of the economics of distribution and production.

Kennedy, James H.
"The Image of Blacks in Lusophone Literatures and Cinema: A Research Bibliography." A Current Bibliography on African Affairs, vol. 20 no. 1. 1987-1988. pp: 5-16.

Kipnis, Laura.
"'The Phantom Twitchings of an Amputated Limb': Sexual Spectacle in the Post-Colonial Epic."Wide Angle, vol. 11 no. 4. 1989 Oct. pp: 42-51

Krings, Matthias.
"Conversion on Screen: A Glimpse at Popular Islamic Imaginations in Northern Nigeria." Africa Today. 2008. Vol. 54, Iss. 4; p. 44 (25 pages)
UC users only

Kuryla, Mary.
"Black body: the potential for a non-colonizing cinema in Africa." USC Spectator 9 n1 (1988): 28-37.

Lequeret, Élisabeth
"L'Afrique fantôme." Cahiers du Cinéma nr.557 (May 2001); p.76-83
On the current situation of the African film industry. Incl. interviews with directors Bassek Ba Kobhio, Cheick Oumar Sissoko and Idrissa Ouedraogo and a short article about the Nigerian situation.

Maingard, J.
"New South African Cinema: 'Mapantsula' and 'Sarafina'." Screen, 1994 FALL, V35 N3:235-243.

Maingard, J.
"Trends in South African Documenatry Film and Video: Questions of Identity and Subjectivity." Journal of Southern African Studies , 1995 DEC, V21 N4:657-667.

Maingard, J.
"New South African cinema: Mapantsula and Sarafina." Screen; Vol.XXXV nr.3 (Autumn 1994); p.235-243
A comparison of "Mapantsula", made during apartheid rule and the state of emergency in South Africa, with "Sarafina!", made in 'the new South Africa' but seeking to represent the same socio-political context.

Majapearce, A.
"Made in Nigeria." (AFRICAN FILM) Index on Censorship, 1995 Nov-Dec, V24 N6:140-142.

Marston, Sallie A.; Woodward, Keith; Jones III, John Paul.
"Flattening Ontologies of Globalization: The Nollywood Case." Globalizations, Mar2007, Vol. 4 Issue 1, p45-63, 19p
UC users only

Martin, Michael T.
"'I Am a Storyteller, Drawing Water from the Well of My Culture': Gaston Kabore, Griot ofAfrican Cinema." Research in African Literatures. 33(4):161-79. 2002 Winter
UC users only

Mativo, Kyalo.
"Resolving the Cultural Dilemma of the African Film." Ufahamu: Journal of the African Activist Association, vol. 13 no. 1. 1983. pp: 134-146.

McCall, John C.
"The pan-Africanism we have: Nollywood's invention of Africa." Film International v. 5 no. 4 (2007) p. 92-7
UC users only
"Unlike the more sophisticated work of African cinema, Nollywood has created a pan-African forum that makes speaking of a pan-African cinema and a pan-African culture possible for the first time. Since its inception in the late 19th century, the idea of a cultural pan-Africanism was vexed by the continent's cornucopia of cultures, languages, and religions. A certain sense of unity could be evoked from the common experience of colonial domination and the struggle for independence, but the poets of Negritude and the philosophers of pan-Africanism longed to discover and cultivate a common cultural core. What positions Nollywood as a catalyst for pan-African discourse is precisely that it has no view, agenda, or ideology. It is a sprawling marketplace of representations, its plots are taken from newspapers, political rumor, and urban folklore." [Art Index]

Medjigbodo, Nicole.
"Afrique Cinématographiée, Afrique. Cinématographique."[Africa filmed, African films] Canadian Journal of African Studies 1980 13(3): 371-387.
"African cinema began under the very conditions that accompanied the birth of the cinema in the capitalist system. Since political independence, the emergence and development of African cinema has remained within the neocolonial context; conditions for the emergence of a real national cinema, answering particular needs of development and liberation, do not exist. The cinema could constitute for Africa a valuable tool for communication and education, especially a cinema geared to sharpen an awareness of the social, economic, and political realities. In the face of the powerful Euro-American trusts, which are opposed by the considerable though scattered efforts of a number of African screenwriters, there is a growing need for a parallel and militant cinema which, following the Latin American example, will gradually enable the peasants and workers to make the cinema their own instrument of expression." [Historical Abstracts]

Mermin, Elizabeth
"A window on whose reality? The emerging industry of Senegalese cinema." Research in African Literatures Fall 1995 v26 n3 p120(14)
UC users only
"The most common demands that are made upon African cinema in critical circles include a demonstration of 'maturity', a valorization of realism, the incorporation of a political message, and liberation from 'European notions' or aesthetic demands. Wedged between accusations of unaesthetic simplicity, didacticism, and capitulation to the demands of a foreign market, African filmmakers continue to produce the films that the world will, if sometimes reluctantly, call African cinema. Against this background, this paper examines the status of Senegalese cinema, particularly in Dakar, as of spring 1994. Senegal has no shortage of aspiring filmmakers, but there is a lack of technicians, producers, materials, laboratory facilities, films schools, and financial support. This makes the Senegalese film industry dependent on Europe (notably France), which in turn raises the question for whom these films are made, for Senegalese or European audiences. In order to highlight the process of cultural decolonization, both theoretical and practical, with which the Senegalese cinema is struggling, the author discusses three contemporary Senegalese films: 'Guelwaar' (1992), by Ousmane Sembène, 'Toubab Bi' (1991), by Moussa Touré, and 'Hyènes' (1992), by Djibril Diop Mambety." [African Studies/BibloLine]

Mersham, Gary G.
"Mass Media Discourse and the Semiotics of Zulu Nationalism."Critical Arts: A Journal of Cultural Studies, vol. 7 no. 1-2. 1993. pp: 78-119.

Meyer, Birgit
"Popular Ghanaian Cinema and "African Heritage"." Africa Today Spring 1999 v46 i2 p93
UC users only

Mhando, Martin.
"Approaches to African Cinema Study." Senses of-Cinema 2000 July-Aug, 8, (no pagination)

Miller, Nickole.
"Projecting Hope and Making Reel Change in Africa." Human Rights Quarterly, Aug2008, Vol. 30 Issue 3, p827-838, 12p

Minot, Gilbert.
"Toward the African Cinema." Ufahamu: Journal of the African Activist Association, vol. 12 no. 2. 1983. pp: 37-43.

Moller, Olaf.
"A Homegrown Hybrid Cinema of Outrageous Schlock From Africa's Most Populous Nation." Film Comment. Mar/Apr 2004. Vol. 40, Iss. 2; pg. 12, 2 pgs
UC users only

Murphy, David.
"Africans Filming Africa: Questioning Theories of an Authentic African Cinema." Journal of African Cultural Studies, 2000 Dec, 13:2, 239-49.
UC users only

Nixon, Rob.
"'Out of Africa'." Grand Street, vol. 5 no. 4. 1986 Summer. pp: 216-227.

Okome, Onookome.
"From London to Lagos: The Evolution of Film in Nigeria." Afterimage v20, n9 (April, 1993):6 (2 pages).

Oyedele, Wale.
"Aspects of Yoruba Popular Film." Journal of Cultural Studies [Nigeria] v2:1 2000
Pearson, Lyle
"Four years of African film." Film Quarterly v 26 no3 Spring 1973. p. 42-7
Includes: Traore, Mahama: p. 44-5; Sembène, Ousmane: p. 45-7

Pearson, Lyle
"Four Years of African Film." Film Quarterly Vol. 26, No. 3 (Spring, 1973), pp. 42-47
UC users only

Petty, Sheila J.
"African cinema and (re)education: using recent African feature films." Issue [Waltham, Mass.]: African Studies Association; vol. 20, no. 2, p. 26-30, 1991/92
UC users only
"The use of African films in the classroom is by no means restricted to teachers of cinema studies. Students of history, philosophy, anthropology, etc., can also benefit from screening African films when they are used to develop a critical awareness of established, discipline-based methods of observing and interpreting texts. Before considering specific film texts, it is essential to provide the students with some background on the history and practice of representation in African film and the problems involved in the filmmaking process itself. The author discusses three African films teachers could use in the classroom: 'Zan Boko', by Gaston Kaboré (Burkina Faso, 1988), which provides an illustration of change and shifting identities; 'Finzan', by Cheick Oumar Sissoko (Mali, 1990); and 'Ta Donna', by Adamo Drabo (Mali, 1991)." [NISC African Studies]

Petty, Sheila J.
"The Archeology of Origin: Transnational Visions of Africa in a Borderless Cinema." African Studies Review Sept 1999 v42 i2 p73(14)
UC users only
"Author's Abstract: COPYRIGHT 1999 African Studies Association In an interview in Sight and Sound John Akomfrah remarks that "there isthe myth of African Cinema and there is the reality of it. The myth is thatit is largely made by people who live and work in Africa--but my sense isthat the thing is much more fluid than that .... African Cinema is a film world in search of both a constituency and a community, and it realises that it is potentially a borderless cinema" (Givanni 1995: 39). Akomfrah's statement underscores the existence of slippage between transnational and continental articulations of Africa, opening the debate around the nature of the relationship between Africa as origin and African diasporic identities. Visions of Africa created by filmmakers on the shores of the Black Atlantic undeniably challenge monolithic constructions of origin and authenticity. This paper examines the nature of this challenge through an investigation of the aesthetic and ideological projects of three films: SoleilO (Med Hondo, Mauritania/France, 1970); Testament (John Akomfrah,Ghana/UK, 1988) and Ye Wonz Maibel/Deluge (Salem Mekuria,Ethiopia, 1997). Ultimately, the paper demonstrates that although each film possesses a divergent connection to Africa, all three probe theslippage between personal and national histories as a restorative force in redefining contexts of origin and identity." [Expanded Academic Index]

Petty, Sheila J.
"Cities, subjects, sites: sub-Saharan cinema and the reorganization of knowledge."Afterimage v 19 Summer 1991. p. 10-11+.

Petty, Sheila J.
"'How an African Woman Can Be': African Women Filmmakers Construct Women." Discourse 1996 Spring, 18:3, 72-88.

Pfaff, Francoise
"Cinema In Francophone Africa." Africa Quarterly [India] [1983] 22(3-4): 41-48.
In the late 1950's more realistic portrayals of African life began to appear in film as African filmmakers were trained in Europe. Discusses the film work and philosophy of Senegalese Ousmane Sembène.

Pfaff, Francoise.
"Five West African Filmmakers on Their Films." Issue: A Journal of Opinion Vol. 20, No. 2 (Summer, 1992), pp. 31-37
UC users only

Pfaff, Francoise
"New African Cinema." Cineaste v22, n4 (Fall, 1996):58 (2 pages).

Pfaff, Françoise
African Film. (Special Section).Jump Cut /31, Mar 86; p.44-50.
Articles and an interview on African cinema, focusing on expatriate director Med Hondo's films and work process abroad, as well as a guide to researching Africa on film.

Pike, Charles-Ben.
"Colonial Africa and exile cinema."Afterimage v 13 Dec 1985. p. 14-16.

Privett, Ray
"I Make Films about the Big Problems of Our Continent: An Interview with Cheick Oumar Sissoko." Cineaste 252 [March 2000] 38-40
UC users only

Pym, John.
"Shot in Kenya." Sight and Sound v 56 Summer 1987. p. 176-9.
UC users only

Rajgopal, Shoba.
"The politics of location: Ethnic identity and cultural conflict in the cinema of the South Asian diaspora." The Journal of Communication Inquiry. Jan 2003. Vol. 27, Iss. 1; p. 49
UC users only

Reid, Mark A. et al.
"African and Black Diaspora Film/Video. (Special Section). Jump Cut /36, May 91; p.43-126. illus.
Discusses different facets of the black film experience in Africa and the West; incl. interviews with directors and producers.

Reid, Mark A.
"Producing African Cinema in Paris." (Interview). Jump Cut /36, May 91; p.47-51.
Producer André Daventure discusses cross-cultural problems and the production, distribution and finance of French-speaking African films.

Reynolds, Glenn.
"Playing Cowboys and Africans: Hollywood And The Cultural Politics of African Identity." Historical Journal of Film, Radio, and Television. Aug 2005. Vol. 25, Iss. 3; p. 399

Salvin, David H.
"French cinema's other first wave: political and racial economies of cinema colonial, 1918 to 1934."Cinema Journal v 37 Fall 1997. p. 23-
UC users only
"The writer discusses the French colonial film that developed in Morocco during the 1920s. Morocco was popular with film companies of the 1920sas it afforded them low-cost settings and labor enabling them to compete with Hollywood spectaculars. The French colonial lobby recognized the efficacy of film as a means of promoting popular support for the Empire by associating modern arms, machinery, and medicine with white, Western supremacy. Those films made in Morocco bore the mark of Hubert Lyautey,a French protectorate official who used film to create a climate ofopinion among both French and Moroccans that was favorable to his policy of indirect rule. His propaganda machine was destroyed and his project ended, however, by settlers who arrived in Africa seeking to dominate not cooperate. The French-Moroccan film industry never recovered after Lyautey's departure, and colonial films of the 1930s focused exclusivelyon Europeans." [Art Abstracts]

Schmidt, Nancy J.
"African Literature on Film: A Preliminary Bibliography/Filmography."Research in African Literatures, vol. 17 no. 2. 1986 Summer. pp: 261-266.
UC users only

Schmidt, Nancy J.
"Recent Film by Sub-Saharan African Filmmakers."African Literature Association Bulletin, vol. 17 no. 1. 1991 Winter. pp: 7-11

Sharrett, Christopher
"Zulu, or the limits of liberalism." Cineaste; Vol.XXV nr.4 (Sept 2000); p.28-33
UC users only
Analysis of Cy Enfield's "Zulu", a highly regarded historical epic of the sixties noted for its respectful treatment of the Zulu warriors. Argues that its representations of the racial Other and historical distortions and omissions are coloured by its political agenda.

Shepperson, Arnold. Tomaselli, Keyan G.
"Restructuring the Industry: South African Cinema beyond Apartheid." South African Theatre Journal. 16: 63-79. 2002., Book Publication Date: 2002.

Shohat, Ella.
"Framing Post-Third-Worldist Culture: Gender and Nation in Middle Eastern/North African Film." Jouvert: A Journal of Postcolonial Studies vol. 1 no. 1. 1997.

Smyth, Rosaleen.
"The Development Of British Colonial Film Policy, 1927-1939, With Special Reference To East And Central Africa." Journal of African History [Great Britain] 1979 20(3): 437-450.
"Since 1920, British officials saw the cinema as a propaganda tool for imperial interests. American films were viewed as a threat to British commercial and political interests, leading to strict censorship. South African policies of racial discrimination in censorship and segregation in theaters were precedents adopted throughout East and Central Africa. By 1935, the educational potential of film was developed when the Carnegie Foundation funded the International Missionary Council's Bantu Educational Kinema Experiment, which lasted only two years. Neither financial nor government support was available. The Colonial Film Unit was created in 1939 to provide war propaganda, but later turned to the production of instructional films." [Historical Abstracts]

Smyth, Rosaleen.
"The Feature Film In Tanzania." African Affairs 1989 88(352): 389-396.
"Despite a number of ventures since the 1930's, the feature film industry has failed to develop in Tanzania and East Africa. In view of the influx of videocassette recorders and increasing access to television, a viable African cinema industry requires the removal of barriers to production and distribution." [Historical Abstracts]

Spark, David
"African cinema: a view from Ghana." Sight and Sound Autumn 1988 v57 n4 p224(1)

Ssali, Ndugu Mike.
"Apartheid and Cinema."Ufahamu: Journal of the African Activist Association, vol. 13 no. 1. 1983. pp: 105-133.

Staples, Amy J.
"Safari adventure: forgotten cinematic journeys in Africa." Film History. 2006. Vol. 18, Iss. 4; pg. 392, 20 pgs
UC users only

Stollery, Martin
"The question of Third Cinema: African and Middle Eastern cinema." Journal of Film and Video, Wntr 2001 v52 i4 p44(12)
UC users only
"This article examines the term 'Third Cinema' as it relates tothe culture, politics, and history surrounding motion picture production inAfrica and the Middle East. Topics addressed include how students ofThird Cinema can understand its cultural context and avoid Eurocentriccriticism, and readings and screenings are suggested." [Expanded Academic Index]

Stoneman, Rod
"African Cinema -- Addressee Unknown." Kinema, Spring 1994.

Strain, Ellen.
"Exotic Bodies, Distant Landscapes: Touristic Viewing and Popularized Anthropology in the Nineteenth Century." Wide Angle 18.2 (1996) 70-100.

Strauss, Frederic.
"Le Cinema africain entre deux eaux." Cahiers du Cinema no445 June 1991. p. 44-5.

Teno, Jean-Marie
"Imagining Alternatives: African Cinema in the Year 2000."

Thackway, Melissa.
"Future Past: Integrating Orality into Francophone West African Film." Matatu: Journal for African Culture and Society. 25-26: 229-42. 2002.

Tomaselli, Keyan G.
"African Cinema - Theoretical Perspectives on Some Unresolved Questions."Critical Arts: A Journal of Cultural Studies, vol. 7 no. 1-2. 1993. pp: 1-42.

Tomaselli, Keyan G.
"Capitalism and Culture in South African Cinema: Jingoism, Nationalism and the Historical Epic."Wide Angle, vol. 8 no. 2. 1986. pp: 33-43.
On the ideological implications of South African cinematic depictions of Boer-British and Boer-British-Zulu conflicts, 1900-23, in the context of British/South African economic relations.

Tomaselli, Keyan. Eke, Maureen.
"Secondary Orality in South African Film." Iris. 18:61-69. 1995 Spring. 5

Tomaselli, Keyan.
"The Cinema in South Africa Today."Cineaste, vol. 15 no. 2. 1986. pp: 13-15.

Tomaselli, Keyan.
"Racism in South African Cinema."Cineaste, vol. 13 no. 1. 1983. pp: 12-15.

Tomaselli, Keyan; Shepperson, A; Eke, M.
"Towards a Theory of Orality in African Cinema." Research in African Literatures, 1995 Fall, V26 N3:18-35.
UC users only

Ukadike, N. Frank.
"African Cinematic Reality: The documentary Tradition as an Emerging Trend."Research in African Literatures v26, n3 (Fall, 1995):88 (9 pages).
UC users only

Turner, Diane D.; Kamdibe, Muata.
"Haile Gerima: In Search of an Africana Cinema." Journal of Black Studies. Jul 2008. Vol. 38, Iss. 6; pg.

Ukadike, N. Frank.
"African Films: A Retrospective and a Vision for the Future."Critical Arts: A Journal of Cultural Studies, vol. 7 no. 1-2. 1993. pp: 43-60.

Ukadike, N. Frank.
"Anglophone African Media." Jump Cut /36, May 91; p.74-80. illus., bibliogr.
A survey of film and tv production in Ghana, Kenya and Nigeria.

Ukadike, N. Frank.
"Framing FESPACO: Pan-African film in context."Afterimage v 19 Nov 1991. p. 6-9.

Ukadike, N. Frank.
"Reclaiming Images of Women in Films from Africa and the Black Diaspora."Frontiers: A Journal of Women Studies, vol. 15 no. 1. 1994. pp: 102-22

Ukadike, N. Frank.
"Western Film Images Of Africa: Genealogy Of An Ideological Formulation."Black Scholar 1990 21(2): 30-48.
"Discusses the images of Africa and Africans in American, European, and South African films, particularly the stereotypes of savage and ignorant primitives in Tarzan, safari adventure, and other movie genres that serve to justify colonialism, as well as the few anticolonial and sensitive portrayals of the continent, including those made by the growing black African film industry." [America History and Life]

Wagner, Tereza; Ondobo, Claude.
"African Cinema: Stories and Images." (Africa Today: Crisis and Change) Dissent v39, n3 (Summer, 1992):350 (3 pages).
African cinema is characterized as indispensible because of its independent development, sureness of its inspiration, strength and rights. There is also a linkage which lies between cinema and African civilization apart from the similarity of African stories and the language of film. The dichotomy of modernity and tradition was the constant theme of early African filmmakers. The emergence of the historical film ushered in new practitioners of the medium whose main interests lies in describing the totality of life in village communities.

Wagner, Tereza; Ondobo, Claude.
"African cinema; a young and relatively unknown art.UNESCO Courier March 1988 p27(3)

Walker, Sheila S. and Rasamimanana, Jennifer.
"Tarzan In The Classroom: How "Educational" Films Mythologize Africa And Miseducate Americans." Journal of Negro Education 1993 62(1): 3-23.

Werman, Marco
"African cinema: a market in the U.S.?" Africa Report May-June 1989 v34 n3 p68(3)

Wicomb, Zoe.
"Reading, Writing, and Visual Production in the New South Africa." The Journal of Commonwealth Literature, vol. 30 no. 2. 1995. pp: 1-15.

Willemen, Paul.
"The Making of an African Cinema."Transition: An International Review, vol. 58. 1992. PAGES: 138-50.

Wright, Rob.
"Africa's Film Capital." (Ouagadougou Pan-African Film Festival) Africa Report v40, n1 (Jan-Feb, 1995):61 (3 pages).

Zacks, Stephen A.
"The Theoretical Construction of African Cinema." Research in African Literatures v26, n3 (Fall, 1995):6 (12 pages).
UC users only

Ousmane Sembène

Adesokan, Akin.
"The Significance of Ousmane Sembène." World Literature Today. Jan/Feb 2008. Vol. 82, Iss. 1; pg. 37, 4 pgs
UC users only

Aas-Rouxparis, Nicole.
"Conversation avec Ousmane Sembène." (Interview) The French Review, Feb 2002 v75 i3 p572(12)
The Senegalese filmmaker Ousmane Sembène discusses his work. Films include 'Emitai,' 'Xala,' and his new trilogy 'L'Heroisme au quotidien,' 'Faat Kine' and 'Molaade.' Article text is in French.

Andrade-Watkins, Claire.
"Film Production in Francophone Africa 1961 to 1977: Ousmane Sembène-An Exception."In: Ousmane Sembène: dialogues with critics and writers / edited by Samba Gadjigo ... [et al.]. pp: 29-36 Amherst: University of Massachusetts Press, c1993.
Main Stack PN1998.3.S397.O88 1993
Moffitt PN1998.3.S397.O88 1993

Anselmi, Ines
"Ousmane Sembènecineaste." [Language: German] Du no12/1 Dec 1995/Jan 1996. p. 111-12+
"Part of a special section on African history, politics, and culture. A profile of leading African film director and author Ousmane Sembène of Senegal. After World War II Sembène made his way from being an immigrant manual worker in France to being an author and celebrated film director in his home country. His works express his communist opinions in a variety of themes and in a creative language. Sembène has lately become friendlier with the Senegalese government, but he still fights economic and cultural colonialism." [Art Abstracts]

Atkinson, Michael
"Ousmane Sembène." In: Ghosts in the machine: speculating on the dark heart of pop cinema / by Michael Atkinson. 1st Limelight ed. New York: Limelight Editions, 1999.
Main Stack PN1995.A775 1999

Atkinson, M.
"Ousmane Sembène: We Are No Longer in the Eara of Prophets." Film Comment, 1993 July-August, V29 N4:63+.
"Sembène's straightforward, unadorned films present true life tales of the Senegalese people. He does not use fancy camera angles or special effects in his depictions of village tensions, city poverty and cultural clashes. His films include 'Borom Sarret,' 'Black Girl,' and 'Mandabi.'" [Expanded Academic Index]

A Call to Action: The Films of Ousmane Sembène
Edited by Sheila Petty. Westport, Conn.: Greenwood Press, 1996. Contributions to the Study of Popular Culture; no. 60
Main Stack PN1998.3.S397.C36 1996

Carter, Donald Martin
"Comrade storyteller : diasporic encounters in the cinema of Ousmane Sembène." In: Navigating the African diaspora : the anthropology of invisibility / Donald Martin Carter. Minneapolis : University of Minnesota Press, c2010.
Main (Gardner) Stacks DT16.5 .C38 2010

Cham, Mbye Baboucar.
"Art and Ideology in the Work of Sembène Ousmane and Haile Gerima." Presence Africaine: Revue Culturelle du Monde Noir/Cultural Review of the Negro World, vol. 129 no. 1. 1984. pp: 79-91.

Cham, Mbye Baboucar.
"Official history, popular memory: reconfiguration of the African past in the films of Ousmane Sembène." In: The historical film: history and memory in media / edited and with an introduction by Marcia Landy. New Brunswick, N.J.: Rutgers University Press, c2001. Rutgers depth of field series.
Main Stack PN1995.9.H5.H59 2001
Also in: Ousmane Sembène: dialogues with critics and writers / edited by Samba Gadjigo ... [et al.]. pp: 29-36 Amherst: University of Massachusetts Press, c1993.
Main Stack PN1998.3.S397.O88 1993
Moffitt PN1998.3.S397.O88 1993

The cinema of Senegal / [presented by] Camera Three. [videorecording] Kent, Conn.: Creative Arts Television, [199-?] VHS.
Media Center VIDEO/C 4610

Copnall, James
"'Globalisation is a type of fraud': Please meet Sembène Ousmane, Senegal's famous auteur." (The Interview). (Interview) New African April 2001 p40(2) (1467 words)
UC users only

Diawara, Manthia
"Popular culture and oral traditions in African film." Film Quarterly v 41 Spring 1988. p. 6-14
UC users only

Downing, John D. H.
"Post-Tricolor African Cinema: Toward a Richer Vision." In: Cinema, colonialism, postcolonialism: perspectives from the French and francophone world / edited by Dina Sherzer. 1st ed. pp: 188-228 Austin: University of Texas Press, 1996.
Main Stack PN1993.5.F7.C4788 1996

Gadjigo, Sada Niang
"Art for Man's Sake: A Tribute to Ousmane Sembène." Framework: The Journal of Cinema and Media, Volume 49, Number 1, Spring 2008, pp. 30-34
UC users only
Gadjigo, Sada Niang
"Interview with Ousmane Sembène." Research in African Literatures Fall 1995 v26 n3 p174(5)
UC users only

Gadjigo, Samba, 1954-
Ousmane Sembène : the making of a militant artist / Samba Gadjigo ; translated by Moustapha Diop ; with a foreword by Danny Glover. Bloomington : Indiana University Press, c2010.
Full text available online (UC Berkeley users only)
Main (Gardner) Stacks PQ3989.S46 Z6613 2010

Landy, Marcia
"History, Folklore, and Common Sense: Sembène’s Films and Discourses of Postcoloniality." In: Postcolonial discourse and changing cultural contexts : theory and criticism / edited by Gita Rajan Westport, Conn. : Greenwood Press, 1995.
Full text available online (UC Berkeley users only)
Main (Gardner) Stacks PN56.C63 P67 1995

Langford, Rachael
"Challenging the Colonization of Space: Exteriors and Interiors in the Films of Ousmane Sembène and Souleymane Cisse." In: Francophone post-colonial cultures: critical essays / edited by Kamal Salhi. Lanham, Md.: Lexington Books, c2003. After the empire.
Main Stack PQ3897.F73 2003

Litterature et Cinema en Afrique Francophone: Ousmane Sembène et Assia Djebar
Sous la direction de Sada Niang. Paris: L'Harmattan, c1996. Series title: Collection Images plurielles.
UCB Main PN1998.3.S397 L5 1996

Mortimer, Robert A.
"Ousmane Sembène and the cinema of decolonization." African Arts v 5 no3 Spring 1972. p. 26-7+

Murphy, David.
"Africans Filming Africa: Questioning Theories of an Authentic African Cinema." Journal of African Cultural Studies. 13 (2): 239-49. 2000

Murphy, David.
"An African Brecht: the cinema of Ousmane Sembène." New Left Review, July-August 2002 i16 p115-129
This article examines the works of Senegalese filmmaker Ousmane Sembène. The author focuses on the themes of corruption and contestation in the pre- and post-Independence African nation as seen through Sembène's aesthetics of social satire, expressionist set-pieces and epic sweep.

Murphy, David
"Ousmane Sembène." In: Postcolonial African cinema : ten directors Manchester : Manchester University Press, 2007.
MAIN: PN1998.2 .M87 2007
Contents: Introduction: Representing postcolonial African cinema -- Youssef Chahine -- Ousmane Sembène -- Med Hondo -- Djibril Diop Mambety -- Souleymane Cisse -- Flora Gomes -- Idrissa Ouedraogo -- Moufida Tlatli -- Jean-Pierre Bekolo -- Darrell James Roodt.

Ni Chreachain, Firinne.
"If I Were a Woman, I'd Never Marry an African." (discussion with Senegalese film-maker and novelist Sembène Ousmane) (Interview) African Affairs v91, n363 (April, 1992):241 (7 pages).
"Sembène Ousmane, Senegalese novelist and film-maker, discusses his work and the current cultural and political situation in Senegal and the rest of Africa. Ousmane was born in Senegal in 1923, got his first novel published in 1956 and directed his first feature film in 1962. He has consistently opposed both French and American domination and urged the preservation of native Senegalese culture. He also opposes Senegal's Senghor regime, which recently banned Ousmane's film 'Ceddo' for its examination of Islamic influence in Senegal." [Expanded Academic Index]

Niang, Sada
"Mandab. Character, Context, and Wolof language. Jump Cut /40, Mar 96; p.55-61.
On Ousmane Sembène's "Le Mandat", argues that in its characterization and use of the Wolof and French languages, it maps Sembène's social concerns, sketches his mandate as a cineaste in post-colonial Africa and revitalizes the ideals of the Fédération Panafricaine des Cinéastes (FEPACI) charter.

Niang, Sada. Gadjigo, Samba.
"Interview with Ousmane Sembène." Research in African Literatures. 26 (3): 174-78. 1995 Fall Research in African Literatures, Fall 1995 v26 n3 p174(5)
UC users only
"Noted filmmaker Ousmane Sembène is one of the founders of Panafrican Festival of Cinema, which was first held as the 'Semaine du Cinem Africain' in 1969. The festival is African cinema's second largest on the continent. Sembène's latest film, 'Guelwaar,' was chosen for the opening ceremony, but was later withdrawn due to its depiction of state begging. The film's planned showing coincided with the Senegalese presidential election campaigns." [Expanded Academic Index]

Novicki, Margaret A., Topouzis, Daphne.
"Ousmane Sembène: Africa's Premier Cineaste." Africa Report. 35 (5): 66-68. 1990 Nov-Dec.

Nzbatsinda, Anthère
"Le Griot dans le récit d'Ousmane Sembène: entre la rupture et la continuité d'une représentation de la parole africaine." The French Review Vol. 70, No. 6 (May, 1997), pp. 865-872
UC users only

Ousmane Sembène: poet of the African cinema." (interview)
UNESCO Courier Jan 1990 p4(4)

Ousmane Sembène: Dialogues with Critics and Writers
Edited by Samba Gadjigo ... [et al.]. Amherst: University of Massachusetts Press, c1993.
UCB Main PN1998.3.S397 O88 1993
UCB Moffitt PN1998.3.S397 O88 1993

"Ousmane Sembène: filmmakers have a great responsibility to our people."
In: The Cineaste interviews : on the art and politics of the cinema / Dan Georgakas, Lenny Rubenstein. Chicago : Lake View Press, c1983.
Main Stack PN1993.5.D44.C56 1983

Osuri, Goldie
"Genealogies of the body politic: history and resistance in the cinema of Sembène." In: Post-colonialism : culture and identity in Africa / [edited by] Pal Ahluwalia and Paul Nursey-Bray. p. 91-110 Commack, NY : Nova Science Publishers, c1997. Horizons in post-colonial Africa.
Main Stack DT21.P67 1997

Owoo, Kwate Nee
"The Language of Real Life: Interview with Ousmane Sembène." Framework: The Journal of Cinema and Media, Volume 49, Number 1, Spring 2008, pp. 27-29 pp. 27-29
UC users only
Pearson, Lyle
"Four years of African film." Film Quarterly v 26 no3 Spring 1973. p. 42-7
Includes: Traore, Mahama: p. 44-5; Sembène, Ousmane: p. 45-7

Peary, Gerald; McGilligan, Patrick
"Ousmane Sembène: an interview." Film Quarterly v 26 no3 Spring 1973. p. 36-42

Perry, G. M.
"Ousmane Sembène." Film Quarterly 26:3 (1973:Spring) 36
UC users only

Pfaff, Francoise.
The Cinema of Ousmane Sembène, A Pioneer of African Film / Francoise Pfaff; foreword by Thomas Cripps. Westport, Conn.: Greenwood Press, 1984. Series title: Contributions in Afro-American and African studies no. 79
Main PN1998.A3 S4256 1984
Moffitt PN1998.A3 S4256 1984

Pfaff, Francoise.
"Five West African Filmmakers on Their Films." Issue: A Journal of Opinion Vol. 20, No. 2 (Summer, 1992), pp. 31-37
UC users only

Pfaff, Francoise.
Twenty-five Black African Filmmakers: A Critical Study, With Filmography and bio-bibliography / Francoise Pfaff. New York: Greenwood Press, 1988.
Moffitt PN1998.A2 P477 1988 Reference
Ref/Bib PN1998.A2 P477 1988 Biographies

Pfaff, Francoise.
"The Uniqueness of Ousmane Sembène's Cinema." In:Ousmane Sembène: Dialogues with Critics and Writers. Gadjigo, Samba (ed.); Faulkingham, Ralph (ed.); Cassirer, Thomas (ed.); Sander, Reinhard (ed.). xii, 123 pp.
Main Stack PN1998.3.S397.O88 1993
Moffitt PN1998.3.S397.O88 1993

Proyect, Louis
"Common Folk: The Films of Ousmene Sembène." (Critical Essay) Canadian Dimension July 2001 v35 i4 p43 (1631 words)
UC users only

Pym, John; Combs, Richard
"Venice: Chabrol, Rudolph, Sembène look to the past." Sight and Sound v 58 Winter 1988/1989. p. 4-5

Rapfogel, Jared; Porton, Richard.
"The Power of Female Solidarity: an Interview with Ousmane Sembène." Cineaste: America's Leading Magazine on the Art and Politics of the Cinema, vol. 30, no. 1, pp. 20-25, Winter 2004.

"Sembène Ousmane; poet of the African cinema." (interview)UNESCO Courier Jan 1990 p4(4) (1677 words)
UC users only

Sembène: the making of African cinema / a film by Ngugi wa Thiongo and Manthia Diawara. [videorecording] New York : Third World Newsreel, [1994?] VHS. Sembène, Ousmane, 1923
Media Center VIDEO/C 9820

Tesson, Charles
"Si l'Afrique nous etait contee." Cahiers du Cinema no386 July/Aug 1986. p. v

Vieyra, Paulin Soumanou.
Ousmane Sembène Cineaste; Premiere Periode, 1962-1971. Paris, Presence Africaine [1972]. Series title: Collection Approches.
NRLF $B 184 916

Weaver, H.D., Jr.
"'Film-makers have a great responsibility to our people'. An interview with Ousmane Sembène." Cineaste Vol VI nr 1 (1973); p 26-31
With special reference to his own films, O.S. discusses the problems and the responsibilities of African filmmakers.

Weaver, H.D., Jr.
"Interview with Ousmane Sembène." Issue: A Journal of Opinion Vol. 10, No. 1/2, Tenth Anniversary Number (Spring, 1980), pp. 14-20
UC users only

Wert, William F. Van
"Ideology in the Third World Cinema: A Study of Sembène Ousmane and GlauberRocha." Quarterly Review of Film Studies 4:2 (1979:Spring)207

Yousaf, Nahem.
"Sembène Ousmane and 'Rhetorical Film Forum'." Wasafiri: Journal of Caribbean, African, Asian and Associated Literatures and Film. 22: 49-53. 1995 Autumn

Black Girl

Hamid, Rahul.
"Introduction to Black Girl." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema. 23: (no pagination). 2002 Nov-Dec., Book Publication Date: 2002.

Landy, Marcia ; others
"Ousmane Sembène's films." Jump Cut nr 27 (July 1982); p 23-33
Articles discussing the films of African director O.S., esp. "Xala" and "La noire de...".

Langford, Rachael.
"Black and White in Black and White Identity and Cinematography in Ousmane Sembène's La Noire de.../Black Girl (1966)." Studies in French Cinema, 2001, Vol. 1 Issue 1, p13, 9p
UC users only

Borom Sarat

"Borom Sarret."
Avant-Scène Cinéma nr 229 (June 1 1979); p 35-42

Dahlberg, Andrea.
"Film as a Catalyst for Social Change: Ousmane Sembène's Borom Sarret." Bright Lights Film Journal, vol. 42, pp. (no pagination), November 2003.

Fofana, Amadou T.
Ousmane Sembène's Borom Sarret: A Griot's Narrative." Literature Film Quarterly, 2011, Vol. 39 Issue 4, p255-265, 11p
UC users only

Niang, Sada.
"Borom Sarret." (movie reviews) African Arts Jan 1993 v26 n1 p83(3)

Camp de Thiaroye

Agozino, Biko
"The third debt to the Third World: the politics of law and order in Camp de Thiaroye." Third Text no36 Autumn 1996. p. 3-13
UC users only
"The writer discusses Sembène Ousmane's film Camp de Thiaroye. He presents biographical information about Ousmane. He outlines the film's plot, which is based on the true story of a group of African soldiers who kidnapped a French general after they were refused any payment for time spent in the French army during World War II. The soldiers were, he adds, massacred after they released the general. He describes articulation theory, suggesting that the perspective of articulation constitutes a militant call for the intensification of the struggle by the oppressed who are recognized as key players in their own struggle for liberation. He argues that Ousmane's film illustrates that there are gender, class, and race contradictions that tend to divide the oppressed and to weaken resistance. These issues, he continues, need to be taken seriously so that an effective and ultimate victory over the forces of imperialism can be won." [Art Abstracts]

Diawara, Manthia.
"Camp de Thiaroye." Black Film Review v 6:3 1991

Gugler, Josef
"Fiction, fact, and the critic's responsibility: Camp de Thiaroye, Yaaba, and The Gods Must Be Crazy." In: Focus on African films / edited by Francoise Pfaff. Bloomington : Indiana University Press, c2004.
Main Stack PN1993.5.A35.F63 2004
PFA PN1993.5.A35.F63 2004

Harrow, Kenneth W.
"Camp de Thiaroye: Who's That Hiding in Those Tanks, and How Come We Can't See Their Faces." Iris. 18: 147-52. 1995 Spring

James, Caryn
"Camp de Thiaroye." The New York Times Sept 5, 1990 v139 pB6(N) col 5 (15 col in)

Leahy, James.
"Camp de Thiaroye." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema. 28: (no pagination). 2003 Sept-Oct., Book Publication Date: 2003.

Niang, Sada.
"Camp de Thiaroye." (movie reviews) African Arts Jan 1993 v26 n1 p83(3)

Pym, John
"Camp de Thiaroye." Sight and Sound v 58 Autumn 1989. p. 280
UC users only

Topouzis, Daphne.
"Demystifying French colonialism." (Ousmane Sembène's new film 'The Camp at Thiaroye' recounts the 1944 massacre in Africa) Africa Report Nov-Dec 1990 v35 n5 p69(3)
UC users only

Ceddo

Berrian, Brenda F.
"Manu Dibango and Ceddo's transatlantic soundscape." In: Focus on African films / edited by Francoise Pfaff. Bloomington : Indiana University Press, c2004.
Main Stack PN1993.5.A35.F63 2004
PFA PN1993.5.A35.F63 2004

Cancel, Robert.
"Epic Element in Ceddo." Current Bibliography on African Affairs. 18(1):3-19. 1985-1986

Diouf, Mamadou. Julian, Robert (translator).
"History and Actuality in Ousmane Sembène's Ceddo and Djibril Diop Mambety's Hyenas." In: African experiences of cinema / edited by Imruh Bakari and Mbye B. Cham. pp: 239-51. London : BFI Pub., 1996.
Main Stack PN1993.5.A35.A36 1996

Gupta, U.
"Ceddo." Cineaste Vol VVII nr 4 (Summer 1978); p 37-38

Iyam, David Uru.
"The Silent Revolutionaries: Ousmane Sembène's 'Emitai,' 'Xala,' and 'Ceddo'." African Studies Review. 29(4):79-87. 1986 Dec.
UC users only

Kindem, G.H.; Steele, M.
"Women in Sembène's films." Jump Cut nr 36 (May 1991); p 52-60
Examines aspects of female characterization in Ousmane Sembène's "Emitai" and "Ceddo".

Niang, Sada.
"Ceddo." (movie reviews) African Arts Jan 1993 v26 n1 p83(3)

Rosen, Philip
"Making a nation in Sembène's Ceddo." Quarterly Review of Film and Video v 13 May 1991. p. 147-72
The depiction of national history in Ousmane Sembène's "Ceddo".
UC users only

Emitai

Aas-Rouxparis, Nicole.
"Conversation avec Ousmane Sembène." (Interview) The French Review, Feb 2002 v75 i3 p572(12)
The Senegalese filmmaker Ousmane Sembène discusses his work. Films include 'Emitai,' 'Xala,' and his new trilogy 'L'Heroisme au quotidien,' 'Faat Kine' and 'Molaade.' Article text is in French.

Iyam, David Uru.
"The Silent Revolutionaries: Ousmane Sembène's 'Emitai,' 'Xala,' and 'Ceddo'." African Studies Review. 29(4):79-87. 1986 Dec.
UC users only

Kindem, G.H.; Steele, M.
"Women in Sembène's films." Jump Cut nr 36 (May 1991); p 52-60
Examines aspects of female characterization in Ousmane Sembène's "Emitai" and "Ceddo".

Niang, Sada.
"Emitai." (movie reviews) African Arts Jan 1993 v26 n1 p83(2)

Peters, Jonathan A.
"Aesthetics and Ideology in African Film: Ousmane Sembène's Emitai." In: African Literature Association. Meeting (9th : 1983 : University of Illinois, Champaign/Urbana) African literature in its social and political dimensions / edited by Eileen Julien, Mildred Mortimer, Curtis Schade. pp: 69-75 Washington, D.C. : Three Continents Press, c1986. Annual selected papers of the ALA: 1983/9.
Main Stack PL8010.A361 1983

Pfaff, Francoise.
"Myths, Traditions, and Colonialism in Ousmane Sembène's Emitai." College Language Association Journal. 24 (3): 336-346. 1981 Mar. Quarterly Review of Film Studies Vol IV nr 2 (Spring 1979); p 207-226

Van Wert, William F.
"Ideology in the Third World cinema." Quarterly Review of Film Studies Vol IV nr 2 (Spring 1979); p 207-226
Discusses the nature of revolutionary art, the failure of Ejzenshtejn's films as an ideological force, Sembène's 'Emitai', and Rocha's 'Barravento'.

Faat kine

Aas-Rouxparis, Nicole.
"Conversation avec Ousmane Sembène." (Interview) The French Review, Feb 2002 v75 i3 p572(12)
The Senegalese filmmaker Ousmane Sembène discusses his work. Films include 'Emitai,' 'Xala,' and his new trilogy 'L'Heroisme au quotidien,' 'Faat Kine' and 'Molaade.' Article text is in French.

Delame-Watts, Francoise
"'Faat-Kine' and the Films of Ousmane Sembène." (movie review) The French Review Feb 2003 v76 i3 p618-619
UC users only

Garritano, Carmela
"Troubled Men and the Women Who Create Havoc: Four Recent Films by West African Filmmakers." (Ainsi Meurent les Anges)(Dole)(Faat Kine)(Karmen Gei)(Movie Review) . Research in African Literatures Fall 2003 v34 i3 p159(7) (3637 words)
UC users only

Hoberman, J
"Sound Investitures."The Village Voice 46:13 [3 April 2001] p.115
Reviews the film "The Tailor of Panama" directed by John Boorman. Informs on plot and casting, stating this adaptation is a cut above winter 2000's best studio offerings. Reviews the African film "Faat-Kine," written and directed by Ousmane Sembène. Opines "Faat-Kine" is in every way a sunny film.

Klawans, Stuart.
"African cinema's main man celebrates women." The New York Times March 11, 2001 pAR15(N) pAR15(L) col 1 (40 col in)
Mitchell, Elvis .
"At a gas station, finding answers to life's questions." (Living Arts Pages)(movie review) The New York Times March 28, 2001 s0 pB5(N) pE1(L) col 2 (20 col in)

Rosenbaum, Jonathan
"Faat kine." Film Comment v 37 no1 Jan/Feb 2001. p. 14-15
UC users only
"Ousmane Sembène of Senegal, the first and in numerous ways still the greatest of all African filmmakers, began as a talented novelist who turned to filmmaking at age 40 primarily to reach more Africans. Sembène is a storyteller who views film more as an extension of his prose than as an abstract calling, making his propensity for reinventing the cinema each time he embarks on a new film one of the chief pleasures to be derived from his work. His latest film, Faat Kine, features Venus Seye as a sassy, exuberant 40-year-old manager of a gas station and is as packed with locals and subplots as a Jacques Demy musical. Among the numerous issues floating through this rich comedy of manners are the everyday operations of a gas station, the differences between being Islamic and being Catholic, and the apparent incongruities of traditional African life enduring in a modern capital like Dakar." [Art Abstracts]

Guelwaar

Atkinson, Michael
"Ousmane Sembène. 'We are no longer in the era of prophets'." Film Comment Vol XXIX nr 4 (July-Aug 1993); p 63-67,69
UC users only
Examines the subjects of the director's previous work on the release of "Guelwaar".

Kauffmann, Stanley
"Guelwaar." (movie reviews) The New Republic Sept 6, 1993 v209 n10 p30(2) (1134 words)
UC users only

Maslin, Janet.
"Guelwaar." (movie reviews) . The New York Times July 29, 1993 v142 pB5(N) col 4 (16 col in)

Mermin, Elizabeth
"A window on whose reality? The emerging industry of Senegalese cinema." Research in African Literatures Fall 1995 v26 n3 p120(14)
UC users only
"The most common demands that are made upon African cinema in critical circles include a demonstration of 'maturity', a valorization of realism, the incorporation of a political message, and liberation from 'European notions' or aesthetic demands. Wedged between accusations of unaesthetic simplicity, didacticism, and capitulation to the demands of a foreign market, African filmmakers continue to produce the films that the world will, if sometimes reluctantly, call African cinema. Against this background, this paper examines the status of Senegalese cinema, particularly in Dakar, as of spring 1994. Senegal has no shortage of aspiring filmmakers, but there is a lack of technicians, producers, materials, laboratory facilities, films schools, and financial support. This makes the Senegalese film industry dependent on Europe (notably France), which in turn raises the question for whom these films are made, for Senegalese or European audiences. In order to highlight the process of cultural decolonization, both theoretical and practical, with which the Senegalese cinema is struggling, the author discusses three contemporary Senegalese films: 'Guelwaar' (1992), by Ousmane Sembène, 'Toubab Bi' (1991), by Moussa Touré, and 'Hyènes' (1992), by Djibril Diop Mambety." [African Studies/BibloLine]

Mowitt, John.
"Guelwaar: Politicizing the Aesthetics of Hunger." Edebiyat: Journal of Middle Eastern Literatures, Mar1998, Vol. 8 Issue 1, p129, 8p;
UC users only

N'gom, M'baré
"L'Oralité filmique comme plateforme narrative chez Ousmane Sembène: Guelwaar." CLA Journal, vol. 46, no. 3, pp. 408-24, March 2003.

Pfaff, Francoise
"Guelwaar." (motion picture review) Cineaste v 20 no2 [1993]. p. 48-9
UC users only

Xala

Aas-Rouxparis, Nicole.
"Conversation avec Ousmane Sembène." (Interview) The French Review, Feb 2002 v75 i3 p572(12)
UC users only
The Senegalese filmmaker Ousmane Sembène discusses his work. Films include 'Emitai,' 'Xala,' and his new trilogy 'L'Heroisme au quotidien,' 'Faat Kine' and 'Molaade.' Article text is in French.

Eyoh, Dickson.
"Social Realist Cinema and Representations of Power in African Nationalist Discourse." Research in African Literatures v29, n2 (Summer, 1998):112 (16 pages).
UC users only
"In its representations of the relationships between forms of power in society, African social realist cinema advances a sophisticated view of how the forces of institutional and cultural pluralism underscore the postcolonial predicament of African societies. African social realist cinema shares the discourse of radical political economy of the 1970s and early1980s on the postcolonial experience. However, a greater sensitivity to the cultural and symbolic dimensions of political power enables social realist cinema to avoid some of the more profound limitations of the radical political economy perspective. Three films that are representative of the genre, Ousmane Sembène's 'Xala', Gaston Kabore's 'Zan Boko', and Cheick Oumar Sissoko's 'Finzan', illustrate social realist cinema's greater success in revealing the complexity of power relations in African society. The use of a double perspective - a traditionalist point of view and a modernist point of view -is key to social realist cinema's ability to transcend the reductive explanation of the nature and dynamics of power anddetail the many faces and complexity of power relations in postcolonial Africa." [NISC African Studies]

Gabriel, Teshone H.
"Xala: A Cinema of Wax and Gold." Presence Africaine: Revue Culturelle du Monde Noir/Cultural Review of the Negro World. 116: 202-214. 1980.

Gugler, Josef.
"African Writing Projected onto the Screen: Sambizanga, Xala, and Kongi's Harvest." African Studies Review Vol. 42, No. 1 (Apr., 1999), pp. 79-104
UC users only

Gugler, Josef. Diop, Oumar Cherif.
"Ousmane Sembène's Xala: The Novel, the Film and Their Audiences." Research in African Literatures. 29 (2): 147-58. 1998 Summer
UC users only
" Ousmane Sembène's film 'Xala,' released in 1974, was a major departure from his novel. The differences can be partly understood as judicious adaptations to the medium. A shift in emphasis, from denouncing the Senegalese to exposing the neocolonial political regime, defies explanation in terms of the requirements of the novel and film, however." [Expanded Academic Index]

Harrow, Kenneth.
"Sembène Ousmane's Xala: The Use of Film and Novel as Revolutionary Weapon." Studies in Twentieth Century Literature. 4 (2): 177-188. 1980 Spring.

Landy, Marcia
"Political allegory and engaged cinema: Sembène's Xala." Cinema Journal v 23 Spring 1984. p. 31-46
UC users only

Landy, Marcia ; others
"Ousmane Sembène's films." Jump Cut nr 27 (July 1982); p 23-33
Articles discussing the films of African director O.S., esp. "Xala" and "La noire de...".

Lindfors, Bernth.
"Penetrating Xala." International Fiction Review. 24 (1-2): 1-11. 1997

Lynn, Thomas J.
"Community, Carnival, and the Colonial Legacy in Ousmane Sembène's Xala." Cincinnati Romance Review, vol. 23, pp. 60-74, 2004.

Lynn, Thomas J.
"Politics, plunder, and postcolonial tricksters: Ousmane Sembène's Xala." International Journal of Francophone Studies, 2003, Vol. 6 Issue 3, p183-196, 14p;
UC users only

Lyons, Harriet D.
"The Uses of Ritual in Sembène's Xala." Canadian Journal of African Studies Vol. 18, No. 2 (1984), pp. 319-328
UC users only

Mowitt, John.
"Sembène Ousmane's Xala: Postcoloniality and Foreign Film Languages." Camera Obscura: A Journal of Feminism, Culture, and Media Studies. 31: 73-95. 1993 Jan-May.

Mulvey, Laura
"The carapace that failed : Ousmane Sembène's 'Xala' (1974)." In: Reading the contemporary : African art from theory to the marketplace / edited by Olu Oguibe and Okwui Enwezor. 1st M. London : Institute of International Visual Arts: Cambridge, Mass. : MIT Press, 1999.
Main Stack N7380.R42 1999

Mulvey, Laura
"The carapace that failed." In: Post-war cinema and modernity : a film reader / edited by John Orr and Olga Taxidou. New York, NY : New York University Press, 2001.
Main (Gardner) Stacks PN1994 .P6567 2001
Pacific Film Archive PN1994 .P6567 2001

Mulvey, Laura
"Xala, Ousmene Sembène (1974): the carapace that failed." Camera Obscura nr 31 (Jan-May 1993); p 48-71
Examines poetic and political themes in "Xala", esp. the concept of the fetish.

Mushengyezi, Aaron.
"Reimaging Gender and African Tradition? Ousmane Sembène's Xala revisited." Africa Today. Fall 2004. Vol. 51, Iss. 1; pg. 47, 16 pgs
UC users only

Niang, Sada.
"Xala." (movie reviews) African Arts Jan 1993 v26 n1 p83(3)

Niang, Sada.
"Interview with Ousmane Sembène." Research in African Literatures, Fall95, Vol. 26 Issue 3, p174, 5p
UC users only

Turvey, Gerry.
"'Xala' and the Curse of Neo-Colonialism." Screen, May-Aug85, Vol. 26 Issue 3/4, p75-87, 13p
UC users only

Reviews and Articles About Individual Films in MRC

Afrique, Je te Plumerai

Clark, Andrew F.
"Afrique, Je te Plumerai." (movie reviews) American Historical Review v98, n4 (Oct, 1993):1156 (3 pages).

Ukadike, N. Frank.
"The Other Voices of Documentary: Allah Tantou and Afrique, je te plumerai." Iris. 18:81-94. 1995 Spring
also in:
Focus on African films
Edited by Francoise Pfaff. Bloomington : Indiana University Press, c2004.
Main Stack PN1993.5.A35.F63 2004
PFA PN1993.5.A35.F63 2004

Ukadike, N. Frank.
"African Cinematic Reality: The Documentary Tradition as an Emerging Trend." Research in African Literatures. 26(3):88-96. 1995 Fall

Allah Tantou

Gabara, Rachel
"Mixing Impossible Genres: David Achkar and African AutoBiographical Documentary." New Literary History - Volume 34, Number 2, Spring 2003, pp. 331-352
UC users only
"Despite vigorous debate in the second half of the twentieth century about the nature of the autobiographical genre, little critical attention has been paid either to African autobiography or to autobiographical film. Both have instead been dismissed as theoretically impossible for their inability to continue the coherent, individual “I” of the Western autobiographical tradition. This essay responds to such restrictions of the range of autobiography, arguing for a genre with flexible and porous borders and taking as a test case an African autobiographical film, Guinean David Achkar’s 1991 Allah Tantou. Once included rather than excluded, works such as Achkar’s offer new possibilities for the interrelation of autobiography, biography, and history, expanding the boundaries of what has been considered first-person narration." [Project Muse]
Ukadike, N. Frank.
"The Other Voices of Documentary: Allah Tantou and Afrique, je te plumerai." Iris. 18:81-94. 1995 Spring

Ukadike, N. Frank.
"African Cinematic Reality: The Documentary Tradition as an Emerging Trend." Research in African Literatures. 26(3):88-96. 1995 Fall
UC users only

Chocolat

See French Cinema bibliography

Cry Freedom

Burns, John F.
"Film is the weapon, apartheid the target." ("Cry Freedom" about the life and death of Stephen Biko) New York Times v137, sec2 (Sun, Nov 1, 1987):H1(N), H1(L), col 1, 71 col in.

Carchidi, Vitoria.
"South Africa from Text to Film: Cry Freedom and A Dry White Season." In: Florida State University Conference on Literature and Film (15th: 1990) Literature and film in the Historical Dimension: Selected Papers from the Fifteenth Annual Florida State University Conference on Literature and Film / edited by John D. Simons. Gainesville: University Press of Florida, c1994.
UCB Main PN50 .F57 1990

Claiborne, William.
"S. African police seize Biko movie; authorities raid theaters showing Attenborough's 'Cry Freedom.'" (Richard Attenborough, Steven Biko) Washington Post v111 (Sat, July 30, 1988):A1, col 2, 25 col in.

'Cry Freedom' is seized by Pretoria. (police seize copies of film claiming risk to public safety) New York Times v137 (Sat, July 30, 1988):5(N), 6(L), col 3, 8 col in.

Gilliam, Dorothy.
"'Cry Freedom' opens a window." (film on apartheid in South Africa) (column) Washington Post v110 (Thu, Nov 12, 1987):C3, col 4, 19 col in.

Hitchens, Christopher.
"White wash." American Film v 13 Jan/Feb 1988. p. 62-8.
"In Cry Freedom, director Sir Richard Attenborough fails to convey the texture and depth of apartheid in South Africa, making the film nothing more than an optimistic civil rights soap opera. One major fault lies in the film's simplistic portrayals of its two main characters. Attenborough treats journalist Donald Woods and black activist Stephen Biko as one-dimensional forces for good, considerably weakening the complexity and dramatic tension of the actual story on which the film is based. Even more disturbing are Attenborough's tendencies toward sentimentality and inaccuracy. When he neglects to show apartheid's reliance on tribalism and division, or the existence of continuing censorship in South Africa, Attenborough does severe damage to his film's credibility. By etching his film in such black and white terms, he merely patronizes everyone concerned, including the audience." [Art Abstracts]

Hoaglund, Jim.
"Setback for 'Freedom.'" ("Cry Freedom" banned in South Africa) (column) Washington Post v111 (Thu, Aug 4, 1988):A21, col 1, 14 col in.

Kraft, Scott.

"'Cry Freedom' viewed as history lesson; S. African critics oppose government suppression of movie." Los Angeles Times v107, secI (Tue, Aug 2, 1988):6, col 1, 25 col in.

Kraft, Scott.
"S. Africa bans showing of film 'Cry Freedom'; officials allege public safety threat, pull prints from theaters after premiere; censor overruled." Los Angeles Times v107, secI (Sat, July 30, 1988):1, col 3, 34 col in.

Mgxashe, Mxolisi.
"A black South African looks at 'Cry Freedom.'" Christian Science Monitor v80, n15 (Wed, Dec 16, 1987):13, col 1, 24 col in.

Nixon, Rob.
"Cry White Season: Apartheid, Liberalism, and the American Screen." South Atlantic Quarterly, vol. 90 no. 3. 1991 Summer. pp: 499-529.

Sampson, Anthony
"Attenborough's Biko." Sight and Sound v 57 Winter 1987/1988. p. 48-50.

Trucco, Terry.
"Denzel Washington on re-creating Biko's life." (Steven Biko) New York Times v137 (Sat, Dec 26, 1987):12(N), 15(L), col 1, 20 col in.

White, Armond.
"Apartheid chic." Film Comment v 23 Nov/Dec 1987. p. 11-14+.
"Richard Attenborough's film Cry Freedom and Philip Saville's HBO movie Mandela fail as political statements because they remain rooted in white ideology. Both films are about apartheid, both have black hero-martyrs, and both idealize their subjects. Nelson Mandela, jailed for speaking out for the African National Congress, is depicted as never getting angry and always preaching peace. Cry Freedom is told from the point of view of white journalist Donald Woods, who fled South Africa after black activist Stephen Biko was slain by the police. The black heroes are aggrandized, belittled, and never shown as real people in a bitter struggle. At best, these films may enlighten the politically ignorant, but through tear-jerking techniques rather than an appeal to principle." [Art Abstracts]

A Dry White Season

Collins, Glenn.
"A young Black director's view of apartheid in 'Dry'." (Euzhan Palcy, director of 'A Dry White Season) (Living Arts Pages) New York Times v139 (Mon, Sept 25, 1989):B1(N), C15(L), col 4, 23 col in.

Ganim, Russell.
"Saisons riches et fecondes: Education et identite africaine dans le cinema d'Euzhan Palcy." Revue-Francophone 1994 Autumn, 9:2, 25-43.

Gill, June M.
"The films of Euzhan Palcy: a voice for black history." Quarterly Review of Film and Video v 17 no4 2000. p. 371-81.

hooks,-bell.
"A Call for Militant Resistance." In: Multiple voices in feminist film criticism / Diane Carson, Linda Dittmar, and Janice R. Welsch, editors. pp: 358-64. Minneapolis: University of Minnesota Press, c1994.
Main Stack PN1995.9.W6.M82 1994
Moffitt PN1995.9.W6.M82 1994

Maslin, Janet.
"Dry White Season." (Living Arts Pages) (movie reviews) New York Times v139 (Wed, Sept 20, 1989):B1(N), C19(L), col 1, 14 col in.

Nixon, Rob.
"Cry White Season: Apartheid, Liberalism, and the American Screen." South Atlantic Quarterly, 1991 Summer, 90:3, 499-529.

Finzan

Beer, Amy; List, Christine
"Looking at African women: media representations of feminism, human rights, anddevelopment." In: The feminization of development processes in Africa: current and future perspectives / edited by Valentine Udoh James and James S. Etim. p. 51-66, Westport, Conn.: Praeger, 1999.
UCB Main HQ1240.5.A35 F45 1999
Four films on women's issues in Africa - 'Warrior marks' (1993), 'Finzan' (1989), 'Hidden faces: a look at the lives of Egyptian women' (1990) and 'Women with open eyes' (1994) - are used as entry points for an exploration of differing perspectives on gender, culture, human rights, and development in media representations of African women. The first two films, which present female genital mutilation as a violation of human rights, represent a Westernized view of feminism and human rights. The last two films use a multifaceted approach to development and paint the women's movement in Africa as a large, progressive movement of women from a variety of social positions, and refuse to single out genital mutilation or poverty as the principal issues of importance to African women.A discussion of these two films suggests that there are techniques of filmic representation that are less troublesome but that are nonetheless effective in constructing international awareness of complex issues that affect the lives of African women." [NISC African Studies]

DeLuca, Laura; Kamenya, Shadrack.
"Representation of Female Circumcision in 'Finzan, a Dance for the Heroes.'" Research in African Literatures v26, n3 (Fall, 1995):83 (5 pages).
UC users only
"Cheik Oumar Sissoko's film, 'Finzan, a Dance for Heroes,' became prominent for its depiction of the cultural, social and moral conflicts inherent in the practice of female circumcision. The issue has been a strong emotional topic for Western academic feminists and has been extensively covered in literature for almost two decades. The African film highlighted urban and village value conflicts, particularly between adherence to tradition and change." [Expanded Academic Index]

Diawara, Manthia; Robinson, Elizabeth.
"New perspectives in African cinema: an interview with Cheick Oumar Sissoko." Film Quarterly v 41 Winter 1987/1988. p. 43-8.

Eyoh, Dickson (Dickson L. Eyoh)
UC users only
"Social realist cinema and representations of power in African nationalist discourse. Research in African Literatures; vol. 29, no. 2, p. 112-127, 1998
"In its representations of the relationships between forms of power in society, African social realist cinema advances a sophisticated view of how the forces of institutional and cultural pluralism underscore the postcolonial predicament of African societies. African social realist cinema shares the discourse of radical political economy of the 1970s and early 1980s on the postcolonial experience. However, a greater sensitivity to the cultural and symbolic dimensions of political power enables social realist cinema to avoid some of the more profound limitations of the radical political economy perspective. Three films that are representative of the genre, Ousmane Sembène's 'Xala', Gaston Kabore's 'Zan Boko', and Cheick Oumar Sissoko's 'Finzan', illustrate social realist cinema's greater success in revealing the complexity of power relations in African society. The use of a double perspective - a traditionalist point of view and a modernist point of view - is key to social realist cinema's ability to transcend the reductive explanation of the nature and dynamics of power and detail the many faces and complexity of power relations in postcolonial Africa." [NISC African Studies]

Gadjigo, Samba.
"Finzan." (movie reviews) Research in African Literatures v23, n4 (Winter, 1992):101 (2 pages).
UC users only

Holden, Stephen
"Finzan." (movie review) The New York Times March 22, 1992 v141 s1 p48(L) col 4 (13 col in)

Petty, Sheila J.
"African cinema and (re)education: using recent African feature films." Issue [Waltham, Mass.]: African Studies Association; vol. 20, no. 2, p. 26-30, 1991/92
"The use of African films in the classroom is by no means restricted to teachers of cinema studies. Students of history, philosophy, anthropology, etc., can also benefit from screening African films when they are used to develop a critical awareness of established, discipline-based methods of observing and interpreting texts. Before considering specific film texts, it is essential to provide the students with some background on the history and practice of representation in African film and the problems involved in the filmmaking process itself. The author discusses three African films teachers could use in the classroom: 'Zan Boko', by Gaston Kaboré (Burkina Faso, 1988), which provides an illustration of change and shifting identities; 'Finzan', by Cheick Oumar Sissoko (Mali, 1990); and 'Ta Donna', by Adamo Drabo (Mali, 1991)." [NISC African Studies]

Tall, Sonya D.
"African Cinema as Socio-Cultural Instrument for Development: A Study of Finzan and Women with Open Eyes." Griot: Official Journal of the Southern Conference on Afro-American Studies, 12(1):87-101. 2000

Guimba, Un Tyrant une Époque (Guimba, The Tyrant)

Diawara, Manthia.
"New Perspectives in African Cinema: An Interview with Cheick Oumar Sissoko." Film Quarterly 41:2 (1987/1988:Winter) 43

"Guimba." (movie review)
The New York Times May 24, 1996 v145 pC5(L) col 1 (7 col in)

Janet Maslin. The New York Times Oct 9, 1995 v145 pB3(N) col 5 (8 col in)

Petty, Sheila.
"Guimba."(Review) (movie reviews) African Studies Review v42, n1 (April, 1999):213 (2 pages).

UC users only

Privett, Ray.
"I Make Films about the Big Problems of Our Continent: An Interview with Cheick Oumar Sissoko." Cineaste. 25(2):38-40. 2000

Hotel Rwanda

Adhikari, Mohamed.
"Hotel Rwanda: Too Much Heroism, Too Little History-or Horror?" In: Black and white in colour : African history on screen / edited by Vivian Bickford-Smith and Richard Mendelsohn. Oxford : James Currey ; Athens : Ohio University Press ; Cape Town : Double Storey, 2007.
Main Stack PN1995.9.A43.B53 2007

Fletcher, Luke
"hitHotel hitRwanda's Moral Compass." Screen Education 39 (2004) p. 16-22
UC users only

Härting, Heike.
"Global Humanitarianism, Race, and the Spectacle of the African Corpse in Current Western Representations of the Rwandan Genocide." Comparative Studies of South Asia, Africa and the Middle East, vol. 28, no. 1, pp. 61-77, 2008 UC users only

"The Horror of Genocide, On Screen."
Africa Research Bulletin: Political, Social & Cultural Series; Mar2006, Vol. 43 Issue 3, p16596-16597, 2p
UC users only

Kemp, Philip.
"Hotel Rwanda." Sight & Sound, Apr2005, Vol. 15 Issue 4, p60-62, 2p
UC users only

LaMarre, Heather L.; Landreville, Kristen D.
"When is Fiction as Good as Fact? Comparing the Influence of Documentary and Historical Reenactment Films on Engagement, Affect, Issue Interest, and Learning." Mass Communication & Society; Oct-Dec2009, Vol. 12 Issue 4, p537-555, 19p
UC users only

Ndahiro, Alfred.
Hotel Rwanda, or, The Tutsi genocide as seen by Hollywood Paris : Harmattan, c2008.
MAIN: DT450.435 .N34 2008

Nzabatsinda, Anthere.
"Hotel Rwanda." Research in African Literatures, Winter2005, Vol. 36 Issue 4, p233-236, 4p
UC users only

Rusesabagina, Paul.
An ordinary man : an autobiography / Paul Rusesabagina with Tom Zoellner. New York : Viking, 2006
Main Stack DT450.443.R87.A3 2006
Moffitt DT450.443.R87.A3 2006)

Torchin, Leshu.
"Hotel Rwanda." Cineaste, Spring2005, Vol. 30 Issue 2, p46-48, 3p
UC users only

Hyenas

Diouf, Mamadou. Julian, Robert (translator).
"History and Actuality in Ousmane Sembène's Ceddo and Djibril Diop Mambety's Hyenas." In: African experiences of cinema / edited by Imruh Bakari and Mbye B. Cham. pp: 239-51. London : BFI Pub., 1996.
Main Stack PN1993.5.A35.A36 1996

Grayson, Sandra M.
"Djibril Diop Mambety: A retrospective." Research in African Literatures. Winter 2001. Vol. 32, Iss. 4; p. 136 (5 pages)
UC users only

Mermin, Elizabeth
"A window on whose reality? The emerging industry of Senegalese cinema." Research in African Literatures Fall 1995 v26 n3 p120(14)
UC users only
"The most common demands that are made upon African cinema in critical circles include a demonstration of 'maturity', a valorization of realism, the incorporation of a political message, and liberation from 'European notions' or aesthetic demands. Wedged between accusations of unaesthetic simplicity, didacticism, and capitulation to the demands of a foreign market, African filmmakers continue to produce the films that the world will, if sometimes reluctantly, call African cinema. Against this background, this paper examines the status of Senegalese cinema, particularly in Dakar, as of spring 1994. Senegal has no shortage of aspiring filmmakers, but there is a lack of technicians, producers, materials, laboratory facilities, films schools, and financial support. This makes the Senegalese film industry dependent on Europe (notably France), which in turn raises the question for whom these films are made, for Senegalese or European audiences. In order to highlight the process of cultural decolonization, both theoretical and practical, with which the Senegalese cinema is struggling, the author discusses three contemporary Senegalese films: 'Guelwaar' (1992), by Ousmane Sembène, 'Toubab Bi' (1991), by Moussa Touré, and 'Hyènes' (1992), by Djibril Diop Mambety." [African Studies/BibloLine]

Oscherwitz, Dayna L.
"Of Cowboys and Elephants: Africa, Globalization and the Nouveau Western in Djibril Diop Mambety's Hyenas." Research in African Literatures. Winter 2008. Vol. 39, Iss. 1; p. 223 (16 pages)
UC users only

Porton, Richard.
"Hyenas." In: The Oxford guide to film studies / edited by John Hill and Pamela Church Gibson: consultant editors, Richard Dyer, E. Ann Kaplan, Paul Willemen. pp: 576-77. Oxford: New York : Oxford University Press, 1998.
Main Stack PN1995.O93 1998 1998

Porton, Richard.
"Mambety's Hyenas: Between Anti-Colonialism and the Critique of Modernity." Iris. 18:95-103. 1995 Spring

Rayfield, J.R.
"Hyenas: The Message and the Messenger." Research in African Literatures v26, n3 (Fall, 1995):78 (5 pages).
UC users only

Sklar, Robert.
"Anarchic visions." Film Comment. May/Jun 2000. Vol. 36, Iss. 3; pg. 40, 4 pgs
UC users only

Ukadike, N. Frank
The Hyena's Last Laugh: A conversation with Djibril Diop Mambety." Transition 78
UC users only

Uraizee, Joya F.
"Subverting the Status Quo in Senegal: Djibril Diôp Mambety's Hyenas and the Politics of Liberation." Literature/Film Quarterly. 2006. Vol. 34, Iss. 4; p. 313 (10 pages)
UC users only

Williams, Patrick
"'Entering and leaving modernity' - utopia and dystopia in Mambety's Touki bouki and Hyènes." In: The seeing century : film, vision and identity / edited by Wendy Everett. Amsterdam: Atlanta : Rodopi, 2000. Critical studies (Amsterdam, Netherlands): v.14.
Main Stack PN1995.25.S44 2000

The Little Girl Who Sold The Sun (La Petite Vendeuse de Soleil)

Higgins, Ellie.
"Urban Apprenticeships and Senegalese Narratives of Development: Mansour Sora Wade's Picc Mi and Djibril Diop Mambety's La Petite vendeuse de soleil." Research in African Literatures. 33(3):54-68. 2002 Fall
UC users only

Hutner, Simeon.
"The Little Girl Who Sold the Sun."(Review) Cineaste v25, n4 (Fall, 2000):64.

Stratton, David.
"The Little Girl Who Sold the Sun."(Review) Variety v374, n5 (March 22, 1999):42 (1 page).

Lumumba

Barr, Burlin.
"Raoul Peck's Lumumba and Lumumba: La mort du prophète: On Cultural Amnesia and Historical Erasure." African Studies Review, Apr2011, Vol. 54 Issue 1, p85-116, 32p
UC users only

Briley, Ron
"Lumumba." (Film Reviews) Cineaste Winter 2001 v27 i1 p37(3)
UC users only

Diawara, Manthia.
"The 'I' Narrator in Black Diaspora Documentary." In: Struggles for representation : African American documentary film and video / edited by Phyllis R. Klotman and Janet K. Cutler. pp: 315-28. Bloomington : Indiana University Press, c1999.
Main Stack PN1995.9.N4.S77 1999

Garane, Jeanne.
"Orality in the City: Mweze Ngangura's La Vie est belle and Raoul Peck's Lumumba: La Mort du prophete." Esprit Createur. 41(3):151-62. 2001 Fall

Harris, Joanne
"Raoul Peck's poetic reality." (Haitian motion picture director)(Interview) American Visions June-July 1996 v11 n3 p45(1)

Kyle, Keith
"Lumumba." (movie review) International Affairs July 2002 v78 i3 p595(10)
UC users only

Ongiri, Amy Abugo
"Lumumba." (video recording review). American Historical Review April 2002 v107 i2 p675(1)
UC users only

Pavsek, Christopher
"The Black Holes of History: Raoul Peck's Two Lumumbas." Framework: The Journal of Cinema and Media, Volume 50, Numbers 1 & 2, Spring & Fall 2009, pp. 82-94
UC users only

Riding, Alan
"In a mirror on Africa, a hero unfairly tarnished." (the new film 'Lumumba' by Raoul Peck). The New York Times June 24, 2001 pAR13(N) pAR13(L) col 1 (25 col in)

Urquhart, Brian
"Lumumba." (Review)(Cover Story) . The New York Review of Books Oct 4, 2001 v48 i15 p4(4)

Watson, Julia.
"Raoul Peck's Lumumba: A Film for Our Times." Research in African Literatures, Summer2002, Vol. 33 Issue 2, p230, 18p
UC users only

Zook, Kristal Brent
"A Decade with Lumumba." New Crisis; Jan/Feb2002, Vol. 109 Issue 1, p45, 2p
UC users only

Mr. Johnson

Harding, Jeremy.
"Mister Johnson." (movie reviews) TLS. Times Literary Supplement, n4591 (March 29, 1991):15.

Pym, John.
"Mister Johnson." (Nigeria's first western feature film ) Sight and Sound v59, n2 (Spring, 1990):94 (2 pages).

Quart, Leonard.dd> "Mister Johnson." (movie reviews) Cineaste, 1991, Vol. 18 Issue 3, p64 <
UC users only

Rafferty, Terrence.
"Mister Johnson." (movie reviews) New Yorker v67, n7 (April 8, 1991):82 (3 pages).

Simon, John.
"Mister Johnson." (movie reviews) National Review v43, n8 (May 13, 1991):56 (3 pages).

Smith, Laurie Halpern.
"It's Back to Nigeria for Bruce Beresford." (filming 'Mr. Johnson' returned the director to the country where he first read the Joyce Cary novel some 25 years ago) New York Times v139, sec2 (Sun, May 6, 1990):H13(N), H13(L), col 1, 45 col in.

Saaraba: Utopia

Gadjigo, Samba.
"Saaraba." (movie reviews) Research in African Literatures v23, n4 (Winter, 1992):101.

Olson, Debbie

"Techno-utopia and the search for Saaraba (1989)." In: The black imagination, science fiction, futurism and the speculative / edited by Sandra Jackson, Julie E. Moody-Freeman. New York : Peter Lang, c2011.

Main (Gardner) Stacks PS153.N5 B5545 2011

Sango Malo

Haynes, Jonathan
"Returning to the African Village. Jump Cut /40, Mar 96; p.62-66. On the theme of 'returning to the village' in African cinema by examining first features by directors in their thirties, incl. "Ma Fille ne Sera pas Exise", "Laada", "Sango Malo", "Ta dona".

Lequeret, Elisabeth.
"Ne pas etre necessiteux, ca gene". [Interview with Bassek ba Kobhio] Cahiers du Cinema no557 May 2001. p. 79.

Sankofa

Cham, Mbye Baboucar.
"Art and Ideology in the Work of Sembène Ousmane and Haile Gerima." Presence Africaine: Revue Culturelle du Monde Noir/Cultural Review of the Negro World, vol. 129 no. 1. 1984. pp: 79-91.

Gilliam, Dorothy.
"Rallying Around 'Sankofa.' "(Haile Gerima's film about slavery) (Column) Washington Post v116 (Sat, Nov 6, 1993)

Grayson, Sandra M.
Symbolizing the past : reading Sankofa, Daughters of the Dust, & Eve's Bayou as histories / Sandra M. Grayson. Lanham, MD : University Press of America, c2000.
Main Stack PN1995.9.N4.G73 2000

Grayson, Sandra M.
"'Spirits of Asona Ancestors Come': Reading Asante Signs in Haile Gerima's Sankofa." CLA Journal. 42 (2): 212-27. 1998 Dec
" Haile Gerima's films have a recurring theme of transformation, change and realization, with the film 'Sankofa' presenting the transformation of the main character, Mona, who returns in time to experience slavery. Asante signs can be read in the film to reveal a coded dimension within which the slave community holds secret meetings and plans a rebellion. The sankofa symbol is displayed on a staff, with the symbol meaning that it is permissible to return to the past so as to proceed forward. Women hold high positions of leadership in Asante cosmogony, with the women in Sankofa portrayed as active fighters of oppression." [Expanded Academic Index]

Hedges, Inez
"Black independent film: an interview with Haile Gerima." (Interview) Socialism and Democracy Summer 1996 v10 n1 p119(9)
UC users only
"Haile Gerima, an independent black American filmmaker asserts that through her film 'Sankofa,' she has attempted to depicts the historical tradition of black resistance with the focus on women as outsiders in the black society. Her adherence to the L.A. Rebellion made her discard the Hollywood tradition for a transnational theme. Gerima feels that the freshness and uncertainty of filmmaking makes it a compelling medium to indulge in. Her next venture portrays the blacks' intellectual journey to the west and its dislocating effect on the black psyche." [Expanded Academic Index]

James, Caryn.
"Sankofa." (movie reviews) New York Times v143 (Fri, April 8, 1994):B11(N), C8(L), col 1, 11 col in.

Jørgensen, Anne Mette
"Sankofa and modern authenticity in Ghanaian film and televison." In: Same and other : negotiating African identity in cultural production / edited by Mai Palmberg and Maria Erikson Baaz.Uppsala : Nordic Africa Institute: London : Global, 2001.
Main Stack NX587.S26 2001

Kande, Sylvie.
"Look Homeward, Angel: Maroons and Mulattos in Haile Gerima's Sankofa." Research in African Literatures. 29 (2): 128-46. 1998 Summer.
UC users only
"Haile Gerima's 'Sankofa' shows the passage of a black American whose journey to the past provides a new consciousness of her African identity. Gerima also depicts a Maroon's resistance to slavery and shows his complex history. Although Gerima claims the mulatto character in the film deconstructs stereotypes, the character's sexual impotence exploits a stereotype and is viewed as an "unnatural" product of the mixture of races." [Expanded Academic Index]

Kruger, Barbara.
"Sankofa Film-Video Collective and Black Audio Film Collective." (The Collective for Living Cinema, New York) Artforum v27, n1 (Sept, 1988):143 (2 pages).

McClure, Michelle L.
""Sankofa": "One must return to the past in order to move forward." Black Camera; 2000, Vol. 15 Issue 1, p9-9, 1p

Mitchem, Stephanie.
"Sankofa: Black Theologies." Cross Currents: The Journal of the Association for Religion and Intellectual Life. 50 (1-2): 177-84. 2000 Spring-Summer

Murphy, Anthony C.
"Sankofa: Distributive Justice." (Haile Gerima's film gets new opportunities for international distribution from Mypheduh Films, Washington, D.C.) American Visions v9, n5 (Oct-Nov, 1994):10.
UC users only

Sampson, Sally.
"Images of Africa." (interview with African cinema director Haile Gerima)(Interview) Index on Censorship v24, n6 (Nov-Dec, 1995):136 (4 pages).

Sterritt, David.
"Sankofa." (movie reviews) Christian Science Monitor v86, n211 (Fri, Sept 23, 1994):

Stratton, David.
"Sankofa." (movie reviews) Variety v350, n7 (March 15, 1993):64.

Tassy, Elaine.
"'Sankofa' Takes a Different Route to Theaters."(independent producers Haile Gerima and Shirikiana Aina used creative financing to distribute 'Sankofa' motion picture) Los Angeles Times v113 (Tue, Jan 25, 1994):D4

Thompson, Ben.
"Sankofa." (movie reviews) Sight and Sound v4, n7 (July, 1994):53 (2 pages).

Ukpokodu, I. Peter.
"African Heritage from the Lenses of African-American Theatre and Film." Journal of Dramatic Theory and Criticism. 16 (2): 69-93. 2002 Spring

Woolford, Pamela.
"Filming Slavery: A Conversation with Haile Gerima." Transition: An International Review, vol. 64. 1994. pp: 90-104.

Shaka Zulu (TV)

Golan-Agnon, Daphna.
Inventing Shaka : using history in the construction of Zulu nationalism / Daphna Golan. Boulder, CO : L. Rienner Publishers, 1994.
Main (Gardner) Stacks DT1768.Z95 G65 1994

Hamilton, Carolyn.
"'An Appetite for the Past': The Re-Creation of Shaka and the Crisis in Popular Historical Consciousness." South African Historical Journal Volume 22, Issue 1, 1990 UC users only

Hamilton, C. A.
"A positional gambit: Shaka Zulu and the conflict in South Africa." Radical History Review, Spring1989, Issue 44, p5-31, 27p
UC users only

Hamilton, Carolyn.
Terrific majesty : the power of Shaka Zulu and the limits of historical invention / Carolyn Hamilton. Cambridge, Mass. : Harvard University Press, 1998.
(Full-text available online [UC Berkeley users only]
Main (Gardner) Stacks DT1768.Z95 H36 1998

Leecha, Stephen
"'Aggressive by nature, depraved and like Nazis': images of Zulu violence." Kleio Volume 30, Issue 1, 1998
UC users only

Mersham, G.
"The discourse of the historical television drama: the case of 'Shaka Zulu'." South African Journal of Cultural History, Vol. 5, Iss 2, , Apr, :2, 1991.
UC users only

Mersham, G.
"History, television and Shaka Zulu." South African Journal of Cultural History, Vol. 5, Iss 1, , Jan, :2, 1991.

Mersham, G.
"Mass media discourse and the semiotics of Zulu nationalism." Critical Arts, Vol. 7, Iss 1/2, , Oct, :4, 1993.
UC users only

Tomaselli, Keyan G.; Stehouwer, Saskia.
"'Popular memory and historical films : capital and culture.'" In: Encountering development : the making and unmaking of the third world / Arturo Escobar ; ; with a new preface by the author. Princeton, N.J. : Princeton University Press, 2012.
Main (Gardner) Stacks HD75 .E73 2012

Tomaselli, Keyan G.
"The semiotics of anthropological authenticity: The film apparatus and cultural accommodation." Visual Anthropology Volume 14, Issue 2, 2001
UC users only

Tomaselli, Keyan G.
"Shaka Zulu, visual history and television." Southern African Humanities, Dec2003, Vol. 15, p91-107, 17p
UC users only

Tomaselli, Keyan G.; Shepperson, Arnold.
""Where's Shaka Zulu?": Shaka Zulu as an intervention in contemporary political discourse." Visual Studies, Oct2002, Vol. 17 Issue 2, p129-140, 12p
UC users only

Touki-Bouki

Givanni, June.
"Dream aloud." Sight and Sound ns5 Sept 1995. p. 37-9.
"Part of a special section on African directors. In an interview, the Ghanaian-British director John Akomfrah discusses African cinema. He points out the significance of Djibril Diop Mambety's Touki-Bouki. This film, he explains, helped him understand that African cinema is political by its very nature, being born out of the process of cultural and postcolonial renewal in many African countries. He contends that there s both a moral and an aesthetic dimension to African cinema, and that it will be profoundly involved in the business of reconstruction and political analysis. Also discussed are the characteristics of African cinema and its development." [Art Abstracts]

Grayson, Sandra M.
"Djibril Diop Mambety: A retrospective." Research in African Literatures. Winter 2001. Vol. 32, Iss. 4; p. 136 (5 pages)
UC users only

Pfaff, Francoise.
"New African Cinema." Cineaste v22, n4 (Fall,1996):58 (2 pages).

Sklar, Robert.
"Anarchic visions." Film Comment. May/Jun 2000. Vol. 36, Iss. 3; pg. 40, 4 pgs
UC users only

Williams, Patrick
"'Entering and leaving modernity' - utopia and dystopia in Mambety's Touki bouki and Hyènes." In: The seeing century : film, vision and identity / edited by Wendy Everett.Amsterdam: Atlanta : Rodopi, 2000.Critical studies (Amsterdam, Netherlands): v.14.
Main Stack PN1995.25.S44 2000

Wend Kuuni

African Cinema: Postcolonial and Feminist Readings
Edited by Kenneth W. Harrow. Trenton, NJ: Africa World Press, c1999.
Main Stack PN1993.5.A35.A357 1999

African Experiences of Cinema
Edited by Imruh Bakari and Mbye B. Cham. London: BFI Pub., 1996.
UCB Main PN1993.5.A35 A36 1996
"The essays in this volume deal with contemporary issues in African cinema from a postcolonial and feministperspective. In the first part, on theorizing African cinema, Stephen Zacks starts with a discussion of what can beproperly defined as authentic African cinema, Jonathan Haynes describes African filmmaking and the postcolonialpredicament by focusing on two films by the young Cameroonian filmmaker Jean-Pierre Bekolo and Keyan Tomaselli, Arnold Shepperson and Maureen Eke focus on orality in African cinema. The next part contains studiesin postcolonial films: Trinh T. Minh-ha's 'Reassemblage' (Stephen A. Zacks), Haile Gerima's 'Sankofa' (Sylvie Kandé), Gaston Kaboré's 'Wend Kuuni' (Marie-Magdaleine Chirol), and Souleymane Cissé's 'Yeelen' (Suzanne H.MacRae)." [NISC African Studies]

Chirol, Marie-Magdeleine.
"The Missing Narrative in Wend Kuuni." Research in African Literatures v26, n3 (Fall, 1995):49 (8 pages). UC users only

Diawara, Manthia.
"Oral Literature and African Film: Narratology in 'Wend Kuuni'." Presence Africaine: Revue Culturelle du Monde Noir/Cultural Review of theNegro World, vol. 142. 1987. pp: 36-49.

Diawara, Manthia.
"Popular Culture and Oral Traditions in African Film." Film Quarterly, v41, n3 (Spr, 1988):6 (9 pages).

Diawara, Manthia.
"Oral Literature and African Film: Narratology in 'Wend Kuuni'." Presence Africaine: Revue Culturelle du Monde Noir/Cultural Review of the Negro World. 142:36-49. 1987. Paris, France

Diawara, Manthia.
"Oral literature and African film : narratology in Wend kuuni / Manthia Diawara." In: Third cinema in the third world : the aesthetics of liberation / by Teshome H. Gabriel. Ann Arbor, Mich. : UMI Research Press, c1982 Studies in cinema: no. 21.
Main Stack PN1993.5.A35.G3 1982
Moffitt PN1993.5.A35.G3 1982

Goldfarb, Brian.
"A Pedagogical Cinema: Development Theory, Colonialism and Post-Liberation African Film." Iris. 18: 7-24. 1995 Spring.,

Martin, Michael T.
"'I Am a Storyteller, Drawing Water from the Well of My Culture': Gaston Kabore, Griot of African Cinema." Research in African Literatures. 33(4):161-79. 2002 Winter

Pfaff, Francoise.
"New African cinema." Cineaste v 22 no4 1997. p. 58-9.

Martin, Michael T.
""I am a storyteller, drawing water from the well of my culture": Gaston Kaboré, Griot of Africa cinema--An interview with Michael T. Martin." Research in African Literatures. Winter 2002. Vol. 33, Iss. 4; p. 161 (20 pages)
UC users only

Negash, Girma.
"Politics and Facets of Identity: Changing Lenses in Gaston Kaboré's Cinema." Social Identities, Sep2000, Vol. 6 Issue 3, p285-303, 19p
UC users only

Pfaff, Francoise
"Africa from within: the films of Gaston Kabore and Idrissa Ouedraogo as anthropological sources." Society for Visual Anthropology Review; 1990, Vol. 6 Issue 1, p50-59, 10p

Pfaff, Francoise.
"New African Cinema." Cineaste v22, n4 (Fall, 1996):58 (2 pages).

Xala

Aas-Rouxparis, Nicole.
"Tableaux africains: 'Xala' et 'Tableau ferraille.'" French Review v74, n4 (March, 2001):742 (15 pages).
Two Senegalese films are discussed, 'Xala' (1974) by Ousmane Sembène and 'Tableau feraille' (1997) by Moussa Sene Absa, with a focus on problems posed by the confrontations between tradition and modernity. Article text is in French.

Bayo, Ogunjimi.
"Ritual Archetypes: Ousmane's Aesthetic Medium in Xala." Ufahamu: Journal of the African Activist Association. 14 (3): 128-138. 1985.,

Eyoh, Dickson (Dickson L. Eyoh)
"Social realist cinema and representations of power in African nationalist discourse. Research in African Literatures; vol. 29, no. 2, p. 112-127, 1998
UC users only
"In its representations of the relationships between forms of power in society, African social realist cinema advances a sophisticated view of how the forces of institutional and cultural pluralism underscore the postcolonial predicament of African societies. African social realist cinema shares the discourse of radical political economy of the 1970s and early 1980s on the postcolonial experience. However, a greater sensitivity to the cultural and symbolic dimensions of political power enables social realist cinema to avoid some of the more profound limitations of the radical political economy perspective. Three films that are representative of the genre, Ousmane Sembène's 'Xala', Gaston Kaboré's 'Zan Boko', and Cheick Oumar Sissoko's 'Finzan', illustrate social realist cinema's greater success in revealing the complexity of powerrelations in African society. The use of a double perspective - a traditionalist point of view and a modernist point of view -is key to social realist cinema's ability to transcend the reductive explanation of the nature and dynamics of power anddetail the many faces and complexity of power relations in postcolonial Africa." [NISC African Studies]

Gabriel, Teshone H.
"Xala: A Cinema of Wax and Gold." Presence Africaine: Revue Culturelle du Monde Noir/Cultural Review of the Negro World. 116: 202-214. 1980., Book

Gugler, Josef.
"African writing projected onto the screen: Sambizanga, Xala, and Kongi's harvest." African Studies Review v42, n1 (April, 1999):79 (25 pages).
Issues are discussed regarding the metamorphosis involved in translating written fiction onto the screen. "Xala" and Kongi's Harvest" are used to show both that text and screen have different requirements, and the intended audience of the two also differ.

Gugler, Josef. Diop, Oumar Cherif.
"Ousmane Sembène's Xala: The Novel, the Film and Their Audiences." Research in African Literatures. 29 (2): 147-58. 1998 Summer.
UC users only

Gugler, Josef.
"Xala, 1974: impotence sexual, cultural, economic, and political." In: African film : re-imagining a continent Bloomington : Indiana University Press ; Cape Town : David Philip ; Oxford : James Currey, 2003
Main Stack PN1993.5.A35.G77 2003
Moffitt PN1993.5.A35.G77 2003
PFA PN1993.5.A35.G77 2003
Table of contents http://www.loc.gov/catdir/toc/ecip046/2003014797.html

Harrow, Kenneth.
"Sembène Ousmane's Xala: The Use of Film and Novel as Revolutionary Weapon." Studies in Twentieth Century Literature. 4 (2): 177-188. 1980

Iyam, David Uru.
"The Silent Revolutionaries: Ousmane Sembène's 'Emitai,' 'Xala,' and 'Ceddo'." African Studies Review. 29(4):79-87. 1986 Dec.
UC users only

Lindfors, Bernth.
"Penetrating Xala." International Fiction Review. 24 (1-2): 1-11. 1997.

Lynn, Thomas J.
"Hybridity and Ambivalence in Postcolonial West African Literature." Literary Griot: International Journal of Black Expressive Cultural Studies. 14 (1-2): 208-19. 2002 Spring-Fall

Mowitt, John.
"Sembène Ousmane's Xala: Postcoloniality and Foreign Film Languages." Camera Obscura. 31:73-95.1993 Jan-May

Mowitt, John.
"Ousmane Sembène's Xala." In: Re-takes : postcoloniality and foreign film languages Minneapolis : University
Main Stack PN1993.5.D44.M68 2005
Table of contents http://www.loc.gov/catdir/toc/ecip053/2004027415.html

Murphy, David.
"Africans Filming Africa: Questioning Theories of an Authentic African Cinema." Journal of African Cultural Studies. 13(2):239-49. 2000 Dec

Mulvey, Laura.
"Xala, Ousmane Sembène (1974): The Carapace That Failed." Camera Obscura: A Journal of Feminism, Culture, and Media Studies. 31: 49-71. 1993 Jan-May.

Murphy, David.
"Africans Filming Africa: Questioning Theories of an Authentic African Cinema." Journal of African Cultural Studies. 13 (2): 239-49.

Ngara, John.
"Xala: An Allegory on Celluloid." Africa: International Business, Economics and Political Monthly. 64: 51. 1976

Saber, Ahmed.
"Ousmane Sembène's Xala: An Anti-Bourgeois Novel." Ufahamu: Journal of the African ActivistAssociation. 21(3):16-26. 1993 Fall

Yeelen

Adair, Gilbert.
"Yeelen." (movie reviews) Sight and Sound v57, n4 (Autumn, 1988):284 (2 pages).

Gadjigo, Samba.
"Yeelen." (movie reviews) Research in African Literatures v23, n4 (Winter, 1992):99 (2 pages).

Gentile, Philip.
"In the Midst of Secrets: Souleymane Cisse's Yeelen." Iris. 18: 125-35. 1995 Spring.

Hoffman, Rachel.
"Yeelen." (movie reviews) African Arts v22, n2 (Feb, 1989):100 (2 pages).

MacRae, Suzanne H.
"Yeelen: A Political Fable of the Komo Blacksmith/Sorcerers." Research in African Literatures v26, n3 (Fall, 1995):57 (10 pages)
UC users only

Murphy, David.
"Africans Filming Africa: Questioning Theories of an Authentic African Cinema." Journal of African Cultural Studies. 13 (2): 239-49. 2000 Dec

Pallister, Janis L.
"Postcolonial Precolonialism in Contemporary West African Cinema: Yeelen." Crossings. 1 (2): 174-97. 1997 Fall.

Zan Boko

Andrade-Watkins, Claire.
"Zan Boko." (movie reviews) American Historical Review v97, n4 (Oct, 1992):1143 (4 pages).
UC users only

Eyoh, Dickson.
"Social Realist Cinema and Representations of Power in African Nationalist Discourse." Research in African Literatures v29, n2 (Summer, 1998):112 (16 pages).
UC users only
"In its representations of the relationships between forms of power in society, African social realist cinema advances a sophisticated view of how the forces of institutional and cultural pluralism underscore the postcolonial predicament of African societies. African social realist cinema shares the discourse of radical political economy of the 1970s and early1980s on the postcolonial experience. However, a greater sensitivity to the cultural and symbolic dimensions of political power enables social realist cinema to avoid some of the more profound limitations of the radical political economy perspective. Three films that are representative of the genre, Ousmane Sembène's 'Xala', Gaston Kabore's 'Zan Boko', and Cheick Oumar Sissoko's 'Finzan', illustrate social realist cinema's greater success in revealing the complexity of power relations in African society. The use of a double perspective - a traditionalist point of view and a modernist point of view -is key to social realist cinema's ability to transcend the reductive explanation of the nature and dynamics of power anddetail the many faces and complexity of power relations in postcolonial Africa." [NISC African Studies]

Gadjigo, Samba.
"Zan Boko." (movie reviews) Research in African Literatures v23, n4 (Winter, 1992):100 (2 pages).

Martin, Michael T.
""I am a storyteller, drawing water from the well of my culture": Gaston Kaboré, Griot of Africa cinema--An interview with Michael T. Martin." Research in African Literatures. Winter 2002. Vol. 33, Iss. 4; p. 161 (20 pages)
UC users only

Negash, Girma.
"Politics and Facets of Identity: Changing Lenses in Gaston Kaboré's Cinema." Social Identities, Sep2000, Vol. 6 Issue 3, p285-303, 19p
UC users only

Pfaff, Francoise
"Africa from within: the films of Gaston Kabore and Idrissa Ouedraogo as anthropological sources." Society for Visual Anthropology Review; 1990, Vol. 6 Issue 1, p50-59, 10p

Pfaff, Francoise.
"New African Cinema." Cineaste v22, n4 (Fall, 1996):58 (2 pages).

Williams, Amie.
"Zan Boko." (movie reviews) African Arts v23, n2 (April, 1990):91 (3 pages).

Martin, Michael T.
"'I Am a Storyteller, Drawing Water from the Well of My Culture': Gaston Kabore, Griot ofAfrican Cinema." Research in African Literatures. 33(4):161-79. 2002 Winter

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