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