Title Page	5
	Copyright Page	6
	Contents	9
	Notes on Contributors	12
	Introduction: Critical Approaches to Africa’s Cinema, From the Age of Liberation and Struggle to the Global, Popular, and Curatorial	17
	Part I Time/Crisis/Uncertainty	37
	Chapter 1 Cinematic Economies of the Hypercontemporary in Haroun and Sissako	39
	Economic Precarity and Everyday Urgency	43
	Warscapes and the Hypercontemporary	49
	Notes	57
	References	58
	Filmography	59
	Chapter 2 Approaching the Uncertain Turn in African Video?Movies: Subalternity, Superfluity, and (Non?)Cinematic Time	60
	Considering Contingency: A Processual Account	64
	Multiplicity, Discontinuity, and the Fissures of Non?cinema	68
	Money?time and Virtual Subalternity	72
	Conclusion	78
	Acknowledgment	79
	Notes	79
	References	80
	Filmography	84
	Chapter 3 Life in Cinematic Urban Africa: Inertia, Suspension, Flow	85
	Notes	100
	References	102
	Filmography	103
	Part II Trauma/Violence/Precarity in an Age of Global Neoliberalism	105
	Chapter 4 At the Intersection of Trauma, Precarity, and African Cinema: A Reflection on Mahamat?Saleh Haroun’s Grigris	107
	Notes	123
	References	124
	Filmography	127
	Chapter 5 Reframing Human Rights: Hotel Rwanda (2004), A Screaming Man (2010), Global Conflict, and International Intervention	128
	Individualism, Bearing Witness, Development, and Human Rights	129
	Human Rights, Hotel Rwanda, and A Screaming Man	140
	Conclusion	148
	Note	150
	References	150
	Filmography	151
	Chapter 6 “The Invisible Government of the Powerful”: Joseph Gaï Ramaka’s Cinema of Power	152
	Introduction	152
	Invisible Governance: The Return of the Stranger	157
	Producing Romantic Love	162
	Conclusion: The Stories We Choose to Tell	166
	Notes	168
	References	169
	Filmography	169
	Part III Sound/Form/Dub	171
	Chapter 7 Transcultural Language Intimacies: The Linguistic Domestication of Indian Films in the Hausa Language	173
	The Trajectories of Hausa Film Development	174
	Interorality and Audiovisual Translation	176
	Conclusion	187
	References	188
	Filmography	189
	Chapter 8 The (Aural) Life of Neo?colonial Space	192
	Sound on Earth	194
	Sound, Space, and City Limits	200
	Waiting for Sound	202
	The Sounds of Bamako	203
	Killing the Music	205
	Conclusion	207
	Notes	207
	References	208
	Filmography	209
	Chapter 9 “Outcast Orders” and the Imagining of a Queer African Cinema: A Fugitive, Afro?Jazz Reading of Karmen Geï	210
	An Afro?Jazz Musical	213
	Black Fugitivity and The Cut	215
	Circles and Borders	219
	Eccentricity and the Law of Genre	223
	“Tomorrow is Another Day”	227
	Notes	229
	References	229
	Filmography	231
	Part IV Platforms/Informality/Archives	233
	Chapter 10 Streaming Quality, Streaming Cinema	235
	Cinema and Streaming	238
	Cinema on Iroko	240
	Premium Services, Quality Content	243
	Slow Cinema	248
	Conclusion	252
	Notes	255
	References	256
	Filmography	258
	Chapter 11 Between the Informal Sector and Transnational Capitalism: Transformations of Nollywood	260
	Countability and Visibility	260
	Nollywood’s Informality	265
	Government Interventions	268
	Corporate Interventions	270
	Notes	279
	References	280
	Filmography	284
	Chapter 12 Nollywood Chronicles: Migrant Archives, Media Archeology, and the Itineraries of Taste	285
	Contemplating Nollywood’s Contours	288
	Disappearing Inscriptions: Nollywood on the Internet	292
	Corporatized Reductions: Nollywood as “Content”	296
	Promoting Nollywood’s Archivization	300
	References	302
	Filmography	304
	Part V National Industries/Media Cities/Transnational Flows	307
	Chapter 13 African Videoscapes: Southern Nigeria, Ethiopia, and Côte d’Ivoire in Comparative Perspective	309
	Introduction	309
	Comparing Video Film Industries in Sub?Saharan Africa	312
	The Difference Video Makes	314
	African Videoscapes	316
	Continuities, Discontinuities, and Convergences	321
	Conclusion	324
	Notes	325
	References	326
	Filmography	330
	Chapter 14 Nairobi?based Female Filmmakers: Screen Media Production between the Local and the Transnational	331
	Foundations: Saikati	332
	Transformations in the New Millennium	334
	Re?emergence of “Festival” Films	340
	Conclusion	344
	Notes	345
	References	348
	Filmography	351
	Part VI Genre/Poetics/Gender	353
	Chapter 15 Darker Vision: Global Cinema and Twenty?first?Century Moroccan Film Noir	355
	Notes	372
	References	372
	Filmography	373
	Chapter 16 From Ethnography to Essay: Realism, Reflexivity, and African Documentary Film	374
	Notes	392
	References	392
	Filmography	394
	Chapter 17 New Algerian Cinema: Portrayals of Women in Films Post?Les années noires	395
	The Masculine Stories of the Mujahidin: The FLN’s Master Narrative on Screen	397
	Post?civil War: Victims Who Survive and Persevere	403
	Notes	414
	References	416
	Filmography	417
	Chapter 18 “Qu’elle aille explorer le possible!”: Or African Cinema according to  Jean?Pierre Bekolo	418
	References	434
	Filmography	435
	Part VII Movement/Fluidity and Aesthetics/Migration	437
	Chapter 19 Relational Histories in African Cinema	439
	From Here to There (or There to Here)	440
	Twenty?first?Century Ambiguous Adventures: L’Afrance	447
	The Frame is Not Enough: Rengaine	451
	Conclusion	455
	Acknowledgements	456
	Notes	456
	References	457
	Further Reading	459
	Filmography	459
	Chapter 20 Crossing Lines: Frontiers, Circulations, and Identity in Contemporary African and Diaspora Film	460
	Notes	477
	References	478
	Filmography	479
	Part VIII The End of Film Criticism?: The New Beginning of Curation and Bricolage	481
	Chapter 21 Towards Alternative Histories and Herstories of African Filmmaking: From Bricolage to the “Curatorial Turn” in African Film Scholarship	483
	Introduction	483
	Rethinking the Origins of African Film Scholarship: A Glance at the Work of Paulin Soumanou Vieyra	484
	Old and New Intellectual Trajectories for African Film Studies: From Bricolage to the “Curatorial Turn”	488
	Film Criticism, Film Curation and Contemporary Scholarship: Contextualizing and Critiquing the “Curatorial Turn” in (African) Film Studies	492
	Notes	497
	References	498
	Filmography	500
	Index	502
	EULA	515