African Cinemas

Using Amir Baraka’s conception of Afrosurrealism as a black aesthetic form that is imbricated with ‘lived life’, this article proposes an Afrosur/realist reading of Djibril Diop Mambéty’s Touki Bouki (‘The hyena’s journey’) (1973). I explore the trajectory of the iconic lovers Anta and Mory and their recourse to petty criminality as a means of escaping to Paris. I first consider how petty criminality or ‘hustling’ can be read in relation to Abdoumaliq Simone’s notion of ‘people as infrastructure’ or a realistic reproduction of the African urban. I then turn my attention to Membéty’s surrealist portrayal of Anta and Mory as ‘hyenas’ – or the archetypal figure of the stranger who poses a threat to the city’s social order. Central to my analysis of the surreal as an expression of desire is the filmic reproduction of post-independence Dakar on-screen. I pay attention to place-identity, and the filmic depiction of nodes and modes of mobility as sites of potential disruption to the city as a form of social order. The article thus subverts and complicates the dichotomy between the real and the surreal as cinematic forms that reproduce the postcolonial African urban as both lived and imagined.

Distribution remains one of the main challenges facing African cinema. Reaching domestic and international audiences is difficult despite the promise of digital technological innovations over the last fifteen years. In fact, scholarship on African film distribution in the United States is currently scarce and limited to a few contributions in articles. These articles have included “African Cinema in the American Video Market” by Cornelius Moore (1992); “La construction identitaire par le cinéma: diaspora africaine aux États-Unis” by Boukary Sawadogo (2017); “Evolving Nollywood Templates for Minor Transnational Film” by Moradewun Adejunmobi (2014); and Nollywood: The Creation of Nigerian Film Genres a monograph by Jonathan Haynes (2016). Yet, the distribution of African films in the United States should be the subject of more sustained scholarly attention, as the market is expanding with diverse African diasporic communities increasing in the country that is home to Hollywood. African films are distributed in North America through four channels: the festival circuit; independent distributors; informal circuits (pirated copies of DVDs sold in subway stations and African stores); and online platforms (Amazon, Netflix, YouTube, Vimeo, irokoTV, etc.). African cinema has to cultivate a niche in a market that is not only dominated by Hollywood big budget productions, but also where other films from around the world compete for visibility.

The article approaches The Hurt Locker, an enthusiastically-received ‘critical’ film, as a symptom of today’s prevailing cultural and political codes. First we dwell on the homologies between the state of exception and the narrative logic of the film, including its reflection on the banalization of exception. This is followed by a parallel between the biopolitical optic of the film and today’s dominant ideology, which Badiou calls ‘democratic materialism’. We emphasize that, despite its critical credentials, The Hurt Locker is totally silent on the most crucial aspect of the war against terror, its de-politicizing effects. It is a depoliticized picture, in which the lack of antagonistic politics and subjectivities in today’s democratic materialist constellation is countered with the inherent excess of the system, the protagonist’s (self-)destructive passion for the Real. Following this discussion at the level of the narrative, we discuss the film in the context of what Deleuze conceptualized as ‘time-images’. Our point here is that with the The Hurt Locker we are within ‘the cinema of the seer’, within a nihilistic portrayal of nihilism from inside, on the basis of highly formalized time-images that do not become politicized. In other words, The Hurt Locker is trapped within what it describes.

Nel corso degli ultimi vent’anni, grazie all’introduzione di nuove tecnologie e alla trasformazione del contesto economico e politico locale, la Nigeria ha visto la propria industria cinematografica Nollywood divenire una delle più grandi del mondo. La sua emergenza ha trasformato il panorama della produzione cinematografica africana creando nuovi spazi di espressione, nuove forme di imprenditoria e nuovi modelli culturali, e dando vita, forse per la prima volta nella storia, ad un fenomeno culturale di massa su scala continentale. I saggi che compongono questa raccolta propongono una panoramica sul dibattito accademico che la nascita di Nollywood ha provocato, offrendo diversi spunti teorici ed etnografici per ragionare sulla produzione cinematografica in contesto postcoloniale.
Contributi di: Abdalla Uba Adamu, Anouk Batard, Jean-Paul Colleyn, Jonathan Haynes, Alessandro Jedlowski, MatthiasKrings, BirgitMeyer, Sara Pahor, KatrienPype, IkechukwuObiaya, Giovanna Santanera

Moroccan post-colonial cinema has suffered from the lack of adequate channels of domestic and international distribution and exhibition for most of its relatively short history. Despite the existence of a burgeoning distribution business and a wide network of cinemas across the country, distributors were broadly not interested in investing in national films until the 1990s. Up until that point in time, local films were not deemed interesting or lucrative enough in comparison with high-grossing Hollywood and Bollywood movies , which, due to their mass production scale, cost many times less per copy than local productions. However, things began to change in the early 1990s when a lone investor decided to distribute Abdelkader Lagtaâ's H UB FI D AR AL-BEIDA ("A LOVE AFFAIR IN CASABLANCA " 1991). The film was an instant box office hit and, in the process, proved beyond doubt that the distribution and exhibition of national films could make a profit. Distribution has subsequently played a crucial role in the growth of Moroccan cinema in both quantitative and qualitative terms. However, national cinema today faces new distribution and exhibition challenges, in particular the decline of cinema theatres and the emergence of film piracy. The latter is said to have seriously undermined the economic profitability of the legal distribution economy. In this essay, I want to argue against the grain of the pessimism characterizing the dominant discourse about the future of Moroccan cinema in the face of these two challenges. My argument is that film theatre closures and the prevalence of online and offline piracy are not in themselves life-threatening to Moroccan cinema. Instead, they are indicators of how a post-colonial cinema is adapting to the challenges of globalization and the digital revolution. Moroccan films are increasingly watched at home or on mobile devices rather than on big screens in dark rooms. In the same vein, the proliferation of online and CD-based piracy is not proven to have discouraged people from going to the cinemas to watch Moroccan films. The decline of filmgoing culture has other, much deeper social, demographic, and technological causes. The rise of new forms of circulation and consumption of Moroccan cinema in the twenty-first century is a sign of the emergence of novel and dynamic forms of “popular” film distribution and viewership.

Il volume ricostruisce la genesi e lo sviluppo dell’industria video nigeriana detta Nollywood, un sistema che produce 1000-1500 film ogni anno e li distribuisce direttamente in formato home-video. I video di Nollywood circolano in quasi tutta l’Africa sub-sahariana, nei Caraibi, in Nord America, in Canada e nella maggior parte dei paesi europei. Hanno dato vita a nuove forme di pan-africanismo, grazie alla combinazione tra il modo con cui sono prodotti e distribuiti e i valori estetici, culturali e sociali che essi veicolano. È un tipo di pan-africanismo ben diverso da quello promosso dai grandi portavoce della lotta anticoloniale, ma non per questo si dimostra meno efficace e influente. Il grande successo internazionale di Nollywood ha riaperto il dibattito su cosa significhi «essere africani oggi» e sulle trasformazioni sociali e culturali che hanno attraversato l’Africa negli ultimi anni.

Pressoché assente sul mercato italiano, il «cinema africano» si riaffaccia all’attenzione della critica perlopiù solo in occasione dei festival. Eppure, tanti registi o anche interpreti, emersi sulla scena negli ultimi anni appartengono alla famiglia afrodiscendente e contribuiscono al consolidamento di un interesse crescente per le culture visuali nere. In crisi negli ambiti d’origine, gli studi postcoloniali stanno trovando nuova linfa nel dialogo interdisciplinare e in altre aree, compreso il nostro paese. Gli studi filmici e visuali cominciano appena a prendere le misure con questa nuova ondata d’interesse per le produzioni del Sud globale e di autori postmigranti e con la diffusione di strumenti critici che mettono in questione la prospettiva eurocentrica tuttora dominante. Il libro è una raccolta di saggi e interventi, nel quale De Franceschi delinea l’originalità di alcuni percorsi d’autore e d’attore o indaga alcuni luoghi privilegiati della riflessione teorico-critica, soffermandosi sullo sguardo altrui rivolto ad Africa e afrodiscendenti, per suggerire itinerari di contronarrazione al presente o controstoria del cinema, con un’attenzione privilegiata all’Italia. Lo spettro del titolo è il fantasma del colonialismo, inteso in un’accezione espansa che investe i rapporti di dominio fra l’Occidente e il resto del mondo, ma anche lo spettro variegato delle identità che articolano lo spazio discorsivo della nazione, negato da una narrazione egemonica che tende a sacrificare la pluralità di soggetti e gruppi subalterni.

This article examines the shifting interpretations of homosexuality in colonial and post-colonial contexts in east Africa. In 1886, Mwanga II, the king of the Baganda kingdom, executed forty-five male pages of his court. All forty-five were recent converts to Christianity and many accounts of the execution highlight the pages' refusal to submit to the king's sexual demands as the cause of their execution. Over the last one hundred and twenty-five years, the story of the martyrs has been used to support a broad spectrum of political, cultural, and religious claims. By examining the event in both historical and contemporary contexts, this paper identifies broader fault lines within those contexts in relation to Christianity, Islam, colonial power, and post-colonial politics in east Africa.

Does a Zimbabwean film industry exist? The answer is complex. The answer depends on two issues. The first is one's chosen definition of a film industry. The second is the extent of one's knowledge of realities on the ground. This article discusses the state of the Zimbabwean film industry. It argues that the Zimbabwean film industry, like most in Africa, is necessarily a work in progress. Since the country's ‗flag' independence in 1980, the industry has been in a search for itself. A general feature has been the search for ways with which to replace thirty-year old colonial heritages of filmmaking, distribution and exhibition. Initially the industry sought growth through state support, a phenomenon that partially mirrored state support of the Ghanaian film industry under Nkrumah. Part of the state's ambiguous strategy involved growing the industry through marketing the country as a Hollywood set. Financial losses in the mid 1980s, however, caused the state to rapidly retreat from the idea of a state-supported national cinema. This withdrawal coincided with the imposition of World Bank sponsored austerity measures known as Structural Adjustment Programmes. The Zimbabwean film industry has been an orphan ever since. For about a decade, starting in the 1990s, the orphaned industry found a foster-mother in western-sponsored NGOs which used the film industry as a chalkboard to teach message-heavy morality films. The project to take back agricultural land from whites that started in the early 2000s, followed by the collapse of the Zimbabwean dollar, marked the end of a decade-old dominance of the NGO-film in Zimbabwe. The end of the NGO-film paved way for the current state of affairs which can be described as a three-layered coexistence. Middling state and NGO support of the film industry, on the one hand, co-exists with increasingly confident independent filmmaking clusters, on the other hand. Cheaper cameras and editing equipment, added to a nascent straight-to-DVD model somewhat mirroring the production of Bongo films in Tanzania and those of Nollywood, have seen the Zimbabwean film industry emerge anew in a digitally-based third coming. What was traditionally a minority activity is now open to broader participation. The future, though, remains an unknown x. Private investors are still reluctant to invest in the film industry. Funding, distribution and profitability are still sore points. Nevertheless, for the first time, what seem like true foundations are being laid.

cinema and tv terminology (English-Turkish)

This is not a complete collection of all film-making terms, because so many of them are too obscure or technical to be included. However, this listing should provide enough background for a majority of the important terms, and prompt the reader to research them further. When discussing film and the creative craft of film-making, many of these terms are used to describe the complicated and expensive process or task of making movies - from conception to finished product.

Cet ouvrage n'est pas l'aboutissement d'un dessein prémédité. Il est simplement le fruit spontané d'une série de réflexions sur des films ou sur des expériences de cinéastes. C'était une pratique à laquelle nous nous étions habitués, des amis et moi, au sein de l'Association Tunisienne pour la Promotion de la Critique Cinématographique (ATPCC). Notre expérience comprenait des cinéastes de tous bords. J'entends les grands auteurs de cinéma qu'ils soient européens, américains, asiatiques et tardivement, aussi bizarre que cela puisse paraître, africains. Se sont succédé alors des articles sur quelques cinéastes maghrébins et plus tard, sur Idrissa Ouedraogo, sur Souleymane Cissé.

Since the early 2000s, Ethiopia has witnessed the rapid growth of a local digital film industry whose economic model is similar to the one adopted by other industries of this kind emerged in African countries such as Nigeria, Ghana and Tanzania. Films are shot in digital format, are independently funded and commercially-driven, use Amharic as main language and target local and diasporic audiences. Unlike other productions of this kind around the continent, however, Ethiopian video films are firstly released in the large cinema theatres that characterize Addis Ababa’s urban landscape, and later circulate via VCDs, in Ethiopia, and in internet, throughout the diaspora. Within a context defined by a relatively tight governmental control on media production and circulation, the emergence of this phenomenon is introducing important transformations, and modifying the way locally-produced media are perceived and consumed within the Ethiopian public sphere. While being commercially oriented, in fact, videos do produce a social and moral commentary which portrays, and in some cases criticizes, the way the society has transformed over the past few years.

Journal of African Cinemas, Volume 7, Number 1, 1 April 2015, pp. 51-55.

South Africa’s most popular film, one of the local industry’s greatest
achievements, arouses mixed feelings. The Gods Must Be Crazy  managed to evade the barriers such as the cultural boycott and reach millions of people overseas.

This study focusing on the relationship between African cinema, colonialism and postcolonial discourse, addresses the cinema of Senegalese director Ousmane Sembene in Sub-Saharan Africa. In Sembene’s films, it was first determined which postcolonial discourses were handled and these  discourses were examined by multimodal film analysis.
In this study, in which four films from 1960-2004 were analyzed, the focus was on how postcolonial discourse contributed to the content of film and which layers corresponded to morphological features and film technique in multimodal film analysis. La Noire de ... (1966), Xala (1975), Camp de Thiaroye (1988) and Moolaade (2004) are examples of this work. Sembene’s film experience emphasized how the postcolonial discourse has changed
in the historical process, the results of pre-colonial and post-colonial themes varying.

Afrika sineması, dünya sinema tarihi açısından farklı bir yerde durmaktadır. Bu farkın kökenleri 1960'larda oluşmaya başlayan sömürgecilikten kurtulma sürecinden ve aykırı sinema hareketlerinden kaynaklanmaktadır. Bu tez çalışması Afrikalı yönetmenlerin yapıtlarındaki kolonyal dönem mirasının etkisi ve buna bağlı olarak direniş biçimlerinin de tepkisel üretimi irdelemektedir. Afrika sineması toplumsal tabanlı bir sinemadır. Sömürülen geçmişi, göç olgusu, azgelişmişliği, bağımsızlık mücadeleleri, diktatörlükler ve toplumsal baskılar gibi toplumsal hayatı etkileyen faktörler Afrika sinemasının yönünü çizmesini sağlamıştır. Bu çalışmada, kolonyal dönemdeki batılı ülkelerin sömürgeci idare şekillerine karşı farklı tarzda başkaldırıları barındıran Afrika sinemasının önemli yönetmenlerinin yapıtları kronolojik olarak işlenmiştir. Çalışmanın sonucunda Afrika sinemasında kolonyal ile postkolonyal dönem arasında kültürel, politik ve tarihsel bir ilişkinin varlığı gözlemlenmiştir.

"ABSTRACT:  Responding to Rosi Braidotti’s call for more ‘conceptual creativity’ in thinking through contemporary feminist subjectivity, this paper proposes the figuration of the body of water. I begin with a critical materialist take on Adrienne Rich’s concept of a politics of location, and follow this with a schematized description of the various ‘hydro-logics’ in which our bodies partake. In the final section, I suggest ways in which these logics already resonate though various quite diverse modes of feminist scholarship. The objective of this paper is to locate, at the confluence of these discourses and descriptions, the space for an invigorated figuration of the feminist subject as body of water. This subject is necessarily posthumanist and profoundly material; both real and aspirational. Most importantly, she is responsively attuned to other watery bodies—both human and more-than-human—and their complex situation within global flows of political, social, cultural, economic and colonial planetary power.

KEYWORDS: water, subjectivity, figuration, new materialism, posthumanism"

On any given Thursday night, the residents of Soweto gather around their radios to listen to the salacious radio show Cheaters. Inspired partly by the US-based television show of the same name, and broadcast on Jozi FM, the radio show encourages disgruntled lovers who suspect their partners of infidelity to call in and have the radio station investigate. 1 The show asks, "Are you having a problem with your lover? Infidelity, Uyajola?" 2 If the answer is affirmative, the parties are asked to call a hotline number. Typically, the investigation takes several weeks, but at its conclusion the disgruntled lover, his or her partner, and the person he or she is being unfaithful with are invited to the radio station. The invitation often involves some form of deception, as the idea is generally to attract the unfaithful lover and his or her accomplice to the station unaware of exactly why they are there. What follows is a raucous exchange of words between the wronged party, his or her lover, and the person with whom he or she is cheating. Unlike the American version of the show, which is screened on television, the radio version in Soweto is broadcast live and encourages audiences to comment and participate. Thus the pleasure of listening to the show comes not only from hearing the battling parties reveal the most intimate details of their dysfunctional relationships in the most graphic detail but also from the commentary and questions from the listeners who call in. Furthering the public humiliation of the parties is the fact that a large crowd often gathers outside the radio station itself, to catch a glimpse of the players. The aggrieved party receives offers of support and encouragement, while those considered on the wrong side of this moral play are subjected to verbal, and in some cases physical, abuse. Predictably, this radio drama plays out in ways that are specifically gendered and heteronormative. Overwhelmingly, those who seek redress in the public forum are women who have been wronged by unfaithful male lovers. This often GLQ 18:2 -3

nomic, cultural, and political practices? If so, does this alter higher-order claims we may wish to make about, say, commodification, the production of the subject, the creation of the mass, technological reproducibility, speed, and a host of other phenomena that go along with the rise of the late modern? One of the important elements of postcolonial and decolonial thinking has been to challenge historical narratives and discourses of modernity that emanate from Europe and which claim universality for what are, in fact, particular histories and epistemologies. My work shares this ambition to draw out histories of media and technology that operate at variance with normative histories of the modern. But this runs the risk of reifying cultural distinction and writing histories that focus on the exceptionalism of-in this case-Africa, rather than seeing its participation in a common media history. In this line of reasoning, mainstream histories of visual culture argue that its technological base and cultural techniques were formative to the production of modern forms of spectacle, attention, and capital, but that Kenya or Nigeria are different, anchored in cultural lifeways that provide an alternative to the march of the modern. 1 For some theorists this difference is liberatory, in that it offers a critical position from which Western normativity can be challenged and imagined otherwise. For others, the insistence on difference runs the risk of cultural reification. Achille Mbembe, for instance, has forcefully critiqued the tendency to assert cultural uniqueness. He argues that it repeats a long, racist history by which Africans-ever since the Enlightenment-have been conceived of as outside and separate from the modern, excluded from participating in the same historical and cultural processes as the rest of the world. He terms this the "principle of ontological difference" (2002: 247) and sees it as the grounds by which Africa is stigmatized as backward. 2 Instead, he argues, the "obsession" with uniqueness and difference must be opposed by a "thematics of sameness," an analysis of the ways African societies and nations take part in contemporaneous, reciprocal interaction with cultural, political, and economic flows from all over the world. 3 Decolonial thinking, emerging from Latin America, has been politically animated by the ques-1. It is precisely the attempt to account for this difference from Western epistemologies-delinking-that has animated much decolonial thinking. For an overview, see Mignolo 2007.

Mi texto escrito para mi ciclo (13 proyecciones) "La Tricontinental. Cine, utopía e internacionalismo" para el Museo Reina Sofía (Madrid).
My text written for my film program (13 screenings) "Tricontinental. Cinema, Utopia and Internationalism for Museum Reina Sofía (Madrid).

Artigo publicado como parte do catálogo da mostra "Clássicos Africanos: A primeira geração de cineastas da África do Oeste" realizada na CAIXA Cultural do Rio de Janeiro (Brasil) de 19 de novembro a 01 de dezembro de 2019. O artigo (p. 49-64) trata sobre a relação entre as narrativas de filmes realizados por cineastas africanos e as narrativas de tradição oral, atentando, sobretudo para a presença de alegorias como o principal legado deixado por essa tradição nas produções cinematográficas.

While conducting my research on the Nigerian video industry over the past few years, I often had the impression to fi nd myself in front of an object of study that implicitly resisted defi nition. While, on the one hand, one could say that all research object challenges and resists the researcher's attempt to classify and encapsulate it in theoretically coherent discourses, in the case of the Nigerian video industry I had the feeling that discursive practices were playing a particular role. Throughout my research I in fact observed a particular tension between the way the video industry was discussed and represented, both locally and internationally, and the way the industry itself was evolving and transforming over time.

The present article examines the use of cinema as an instrument of national liberation in colonial Angola. After contextualizing the use of cinema by independence movements in Portugal's former colonies, I question first whether the activities of cineclubes in Angola contributed to the development of militant films. I then explore whether the fact that Angola's independence struggle had early on been the subject of filmed international reportage was a determining factor in the use of film as an instrument of struggle, even before the publication of Fernando Solanas e Octavio Getino's " Towards a Third Cinema " (1969). Finally, I focus on the use of cinema by the MPLA, analyzing Sarah Maldoror's cinematic adaptation of José Luandino Vieira's narratives of militance and colonial incarceration.

São escassos os estudos sobre como as lutas de libertação foram representadas nas imagens em movimento. Este artigo procura contribuir para o estudo sobre como, durante o Estado Novo português, em Angola, os filmes foram usados como uma arma de propaganda política ou postos ao serviço da militância pela causa da libertação do colonialismo.

This essay starts off with a theoretical review of the notions of “author” and “authorship” as
reflected by academic theory and cultural, artistic and film criticism by scholars of African arts and
cinema. The notions of “author” and “authorship” are used in order to examine the ways in which they
are assumed, negotiated and affirmed and/or refuted in the films by Bissau-Guinean Flora Gomes,
highlighting his style and some of the early authorship traits. This essay is part of a doctoral dissertation
currently in progress.
Keywords: Trajectory; Authorship; Style; Flora Gomes

For quotation please refer to the articles published from the thesis :
- Part of chapter one can be found in: “Small screen cinema: Informality and remediation in Nollywood”. Journal of Television and New Media 13(5): 431 – 446
- A revised version of chapter two is published in: “Regulating mobility, reshaping accessibility: Nollywood and the piracy scapegoat”. In Staging the Immaterial: Rights, Style and Performance in Sub-Saharan Africa. Eds. M. Diawara and U. Röschenthaler. Oxford: Sean Kingston
- Part of chapter three is published in: “From Nollywood to Nollyworld: Processes of transnationalization in the Nigerian video film industry”. In Global Nollywood: Transnational Dimensions of an African Video Film Industry. Eds. M. Krings and O. Okome. Bloomington: Indiana University Press. 25 – 45.
- Chapter four is published in: “When the Nigerian video film industry became “Nollywood”:  Naming, branding and the videos’ transnational mobility”. Estudos Afro-Asiátcos 33( 1/2/3):  225-251
- Chapter six is published in: “Nigerian videos in the global arena: The postcolonial exotic revisited”. In Global South 7(1): 157 – 178.
- Parts of chapter seven are published in two different articles: 
(a) “On the periphery of Nollywood: Nigerian video filmmaking in Italy and the emergence of intercultural aesthetics”. In Postcolonial Italy: Challenging National Homogeneity. Eds. C. Lombardi-Diop and C. Romeo. London and New York: Palgrave Macmillan. 239 – 252.
(b) “Exporting Nollywood: Nigerian video filmmaking in Europe”. In Behind the Screen: European Contributions to Production Studies. Eds. P. Szczepanik and. Vonderau. London and New York: Palgrave Macmillan

A Post-coloniality millennial great piece of writing from Namibia diaspora. Ngamije's  inspiration behind the transcontinental journey in the novel highlights that migration, and foreign places shape people’s “desires, fears, and ambitions” (Cheeky Natives 2020). Migrants face migration entanglements annexed to Geo-Spatial mobility, Afropolitanism, Millennium culture and above all, they are confronted with the same social, economic, and political issues as from their home countries. Hence, the novel tackles themes to do with migration, othering, third space, hybridity, culturalization, Afropolitanism, Cosmopolitanism to mention but a few.

"Monograph about Souleymane Cisse's work (the very first one ever dedicated to the director of Yeelen), with textual analysis of his films, discussions about main symbolic motives and style and references to the context.
Written in the occasion of a retrospective organized by Cines del Sur Film Festival in Granada, Spain.
In Spanish/English. Translated into Italian (Con gli occhi dell’eternità. Il cinema di Souleymane Cissé. Torino: Kaplan, 2010)."

Minha tentativa de responder como se pode dialogar o estudo da arte e os estudos de gênero/gender. Não pretendi dar uma única resposta à contribuição dos estudos de gênero, e, mais espeficamente, dos estudos gays, à análise de produtos culturais e objetos artísticos, mas levantar algumas possibilidades sem me aprofundar em nenhuma, talvez mais até contar uma história, uma aventura. Esta trajetória me leva hoje a pensar a identidade feminina, a homossexualidade e o travestimento não só como experiências  que apenas digam respeito, respectivamente, a mulheres, homossexuais e a travestis, nem só como uma questão que diga respeito a com quem cada indivíduo tem relações sexuais, mas como uma base para uma formação (Bildung) contemporânea, pela qual aprendemos com o que somos mas também com o que não somos; uma ética, entendida como uma forma de conduta diante do mundo, em que a amizade e a deriva, como nos ensinou Michel Foucault (1989, 1994),  aparecem como contraponto às prisões patriarcais do amor romântico e do sexo-rei; bem como base para uma estética mais afetiva e direta, o retorno ao simples a ao cotidiano. Trata- se ainda de um lugar de fala silenciado, mas que precisa e tem sido resgatado se quisermos uma democracia multicultural, uma base para uma política em que o privado não é apenas espetáculo midiático permanente, mas possibilidade de adesão ao mundo, uma política  tão ambígua como somos todos nós.
O encontro de dois homens pode ser apenas um encontro, mas também pode ser uma possibilidade de diálogo e abertura para o mundo, desafio maior de todo discurso minoritário, alguma vez discriminado. Esta é o motivo por que acho central ainda hoje assinar como crítico, gay. Não se trata de apenas considerar a homossexualidade como um adjetivo, mas afirmar uma experiência substantiva que interliga vida cotidiana e prática intelectual. A experiência gay nada tem de redutora, classificadora, se assim o quisermos, é um mistério insondável, um ponto de partida, uma pergunta mais do que uma resposta.

El contraste más evidente entre la presentación de la familia como protagonista antes y después del franquismo lo encontramos en la saga que nació a raíz de la película La gran familia (Fernando Palacios, 1963). Esta primera película, fuertemente conservadora y respetuosa con el orden instituido, tiene como fin la entronización de la familia y de la procreación, una de las grandes metas propagandísticas del régimen. Nace a consecuencia de la influencia de la comedia italiana y de los premios a la natalidad tan de moda durante la dictadura del general Franco. Definido como una forma «pringosa, bobalicona, paternalista, moralizante y muy deformada visión de la realidad española de la época» (Torres, 1997: 209), el film cuenta una sucesión de mínimas historias en torno al matrimonio formado por Carlos Alonso (Alberto Closas), su mujer (Amparo Soler Leal), sus dieciséis hijos, el padre de él (Pepe Isbert) y el padrino (José Luis López Vázquez) de los dieciséis niños.

Um dos grandes desafios para os cinemas situados no contexto do Sul Global, é encontrar estratégias para criar narrativas fílmicas que, para além da relevância social e temática de suas histórias, operem um movimento crítico aos efeitos do colonialismo por meio de uma subversão às próprias normas que regem a produção cinematográfica. Os cinemas africano estão engajados nesse desafio. [...] Filme dirigido pelo cineasta camaronês Jean-Pierre Bekolo, O enredo de Aristóteles encontra sua estratégia de desconstrução e reescrita narrativa através do que vamos denominar aqui de metacinema, ou seja, o uso do cinema e seus recursos narrativos como forma de discutir o próprio cinema.

The feature films by Flora Gomes: Mortu nega (1988),
Udju azul di Yonta (1992), Po di sangui (1996), Nha
fala (2002) and Republica di mininus (2012) narrate
stories that speak of transits, music, woman, children,
war, (neo)colonialism, cosmogony, life, death, love,
birth, migration, tradition, modernity, collectivity;
taking place in the countryside, or outdoors generally,
in an ironic, critical and metaphorical tone of speech.
In this sense, the present abstract "I make films to be
seen": an analysis of the film narrative of Flora
Gomes" proposes to shed light on the elements of
narrative cinematography of the fiction films of Flora
Gomes which are present in the speech, themes,
soundtrack, orality, time, duration, space, camera
movements, actors’ preparation, the work of
illumination of the black body, the scenery, and the
visual metaphors of this director. Note that the
present text is an extract of some of Gomes's
trademarks from doctoral thesis defended in 2018.

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Analyzing the Nigerian video industry through the lens of new media theory, this article proposes a genealogy of the Nollywood media format to identify and define its specificities. The films that the industry produces are often referred to as cinema but, compared to the output of other film industries around the world, Nollywood produces something that can be located in between cinema and television. The informality of Nigerian videos’ production and distribution has in fact allowed for the articulation of complex processes of remediation, which have participated in creating an original product, something that I would like to call “small screen cinema.” This media format has had a determinant role in Nollywood’s popular success and its definition is thus important for a general understanding of the industry’s social, economic, and cultural relevance

Civil war is not a new phenomenon in Africa. The Nigerian Civil
War of 1967-1970 represents a dark past but provides an intriguing
basis to develop a history that enables us to understand Nigeria’s
direction. It is against this backdrop that this paper examines
the impact of the Nigerian Civil War on the educational decline
in the University of Ibadan. While some effects were immediate,
such as diminishing student admissions and enrollments, a decline
in postgraduate studies, and the insecurity of lives and property,
other long-term effects manifested themselves after the war include
problems such as displaced families, ethnic chauvinism, and the
reabsorption of the Easterners into the University community. This
work relies heavily on primary sources, archival materials, newspapers,
and secondary sources to make its case.

Keywords: civil wars, universities, University of Ibadan, education

Cinematically, Yoruba filmmakers represent different aspects of the Nigerian nation and various elements of traditional cultures, customs, and praxes. In particular, they pay close attention to the influences of supernatural powers and metaphysical agents in human times and affairs, and they represent them in elaborate visual narratives. Against this cinematic backdrop, this paper investigates the representations of àjẹ́, erroneously known as witchcraft, in Yoruba language films. The paper posits that contemporary Yoruba language filmmakers copy the cinematic models that the late Chief Hubert Ogunde and Alhaji Yekini Ajileye created to make movies about witches. By focusing on the representations of witchcraft in two purposefully selected films, Ìyá-Àjẹ́ (2017) and Àgbà-Mẹ́ta (2016), this article argues that the binary model that Yoruba filmmakers adopt in their portrayal of witches is a tired formula. Instead, this study proposes àjẹ́ism as a theoretical model for studying the àṣẹ vital force that witches own, as well as the relevance of àṣẹ to women's empowerment, civil protests, and space claiming. Thus, this essay proposes that we reimagine àjẹ́ as a cultural resistance tool that women can appropriate to fight injustices and oppressions.

With the introduction of analogue and (later) digital technologies, many sub-Saharan African countries have witnessed the emergence and rapid growth of commercial video film industries. The Nigerian industry, Nollywood, is the case studies that raised most scholarly interest, generating the formulation of an analytical model which has often influenced our understanding of other instances of video film production around the continent. This chapter proposes a comparative analysis of the history of video filmmaking in three sub-Saharan African countries (Nigeria, Ethiopia and Côte d’Ivoire) in order to complicate our understanding of African video film beyond the Nollywood model. Drawing from ethnographic materials collected during fieldwork conducted in each of these countries, this chapter offers an original contribution to the existing debate on the impact of analogue and digital technologies on the transformation of African cinema which highlight the impact of specific local political, economic, and infrastructural contexts on the development of video film industries around the continent.