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African Cinema: Manifesto and Practice for Cultural Decolonization

Volume 2: FESPACO-Formation, Evolution, Challenges
Studies in the Cinema of the Black Diaspora

von: Michael T. Martin, Gaston Jean-Marie Kaboré, Allison J. Brown, Cole Nelson, Ardiouma Soma, Lindiwe Dovey, Manthia Diawara, Beti Ellerson, Sambolgo Bangre, Dorothee Wenner, M. Africanus Aveh, Mahir Saul, Mbye Cham, Ousmane Sembene, Wole Soyinka, Aboubakar Sanogo, Teresa Hoefert de Turegano, Claire Andrade-Watkins, Olivier Barlet, Rod Stoneman, Férid Boughedir, Claire Diao, Michel Amarger, Mustapha Ouedgraogo, Colin Dupré, Sheila Petty, Imruh Bakari, June Givanni, Rémi Abega, Joseph E. Roskos
35,99 €
Verlag:	Indiana University Press
Format:	EPUB
Veröffentl.:	08.08.2023
ISBN/EAN:	9780253066275
Sprache:	englisch
Anzahl Seiten:	660

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Titelbeschreibung

Challenging established views and assumptions about traditions and practices of filmmaking in the African diaspora, this three-volume set offers readers a researched critique on black film.
Volume Two of this landmark series on African cinema is devoted to the decolonizing mediation of the Pan African Film & Television Festival of Ouagadougou (FESPACO), the most important, inclusive, and consequential cinematic convocation of its kind in the world. Since its creation in 1969, FESPACO's mission is, in principle, remarkably unchanged: to unapologetically recover, chronicle, affirm, and reconstitute the representation of the African continent and its global diasporas of people, thereby enunciating in the cinematic, all manner of Pan-African identity, experience, and the futurity of the Black World. 
This volume features historically significant and commissioned essays, commentaries, conversations, dossiers, and programmatic statements and manifestos that mark and elaborate the key moments in the evolution of FESPACO over the span of the past five decades.

Inhaltsverzeichnis

Dedication Acknowledgments Preface, by Ardiouma Soma African Cinema and the Diasporic: Introductory Considerations, by Michael T. Martin and Gaston Jean-Marie Kaboré Part I: Sites and Contexts of Exhibition African Film Festivals in Africa: Curating "African Audiences" for "African Films", by Lindiwe Dovey On Tracking World Cinema: African Cinema at Film Festivals, by Manthia Diawara African Women on the Film Festival Landscape: Organizing, Showcasing, Promoting, Networking, by Beti Ellerson African Cinema in the Tempest of Minor Festivals, by Sambolgo Bangre Postcolonial Film Collaboration and Festival Politics, by Dorothee Wenner Part II: FESPACO: An Evolving Cinematic and Cultural Formation African Cinema and Festival: FESPACO, by Manthia Diawara FESPACO: Promoting African Film Development and Scholarship, by M. Africanus Aveh FESPACO and Cultural Valorization, by Mahir Saul African Cinema: Between the "Old" and the "New", by Mbye Cham Statement at Ouagadougou (1979), by Ousmane Sembene A Name Is More Than the Tyranny of Taste, by Wole Soyinka Cine-Agora Africana: Meditating on the Fiftieth Anniversary of FESPACO, by Aboubakar Sanogo Cultural Politics of Production and Francophone West African Cinema: FESPACO 1999, by Teresa Hoefert de Turegano A Mirage in the Desert? African Women Directors at FESPACO, by Claire Andrade-Watkins Cabascabo, the Film That Lastingly Established FESPACO: An Interview with Alimata Salambere, by Olivier Barlet The Long Take: Gaston Kaboré on FEPACI & FESPACO, by Michael T. Martin Pressing Revelations: Notes on Time at FESPACO, by Rod Stoneman Fifty Years of Women's Engagement at FESPACO, by Beti Ellerson Thiaroye or Yeelen? The Two Ways of African Cinemas, by Férid Boughedir Long Live Cinema! Long Live FESPACO.: A Luta Continua!, by Claire Diao Rethinking FESPACO As an Echo, by Michel Amarger Going to the Cinema in Burkina Faso, by Mustapha Ouedgraogo FESPACO Film Festival, by Colin Dupré FESPACO and Its Many Afterlives, by Sheila Petty Part III: Conditionalities and Challenges Towards Reframing FESPACO, by Imruh Bakari FESPACO Past and Future: Voices from the Archive, by June Givanni The Opening of South Africa and the Future of African Film, by Mahir Saul FESPACO 2019: Moving Toward Resurrection, by Olivier Barlet Fifty Years of Memories for Shaping the Future!, by Rémi Abega Part IV: Commentaries: Filmmakers, Film Scholars, and Media Professionals Part V: Documents Resolution on the Pan-African Film Festival of Ouagadougou (1972) Regulations of the Carthage Film Festival (1970s) Regulations of the Pan-African Film Festival of Ouagadougou (1980) Regulations for the Official Juries of the 26th Edition of FESPACO (2019) FESPACO Award Winners (1972-2019) FESPACO 50th Anniversary Symposium (2019) Manifesto of Ouagadougou (2017) FESPACO Poster Gallery (1969-2019) Organizing Themes of the FESPACO Festival (1973-2019) Major Events of FESPACO (1969-2016) The African Film Library of Ouagadougou Dossier 1: Paul Robeson Award Initiative (PRAI) Dossier 2: The Higher Institute of Image and Sound / Studio School (ISIS-SE) Dossier 3: Imagine Film Training Institute Power to the Imagination (2020), by Rod Stoneman Founding Myths and Storytelling: The African Modern (2011), by Michael T. Martin

Autorenportrait

Michael T. Martin is Professor of Cinema and Media Studies at the Media School at Indiana University, Bloomington. He is editor or coeditor of several anthologies, including (with David C. Wall) The Politics and Poetics of Black Film: Nothing But a Man and Race and the Revolutionary Impulse in The Spook Who Sat by the Door. Martin directed and coproduced the award-winning feature documentary on Nicaragua, In the Absence of Peace, distributed by Third World Newsreel. Gaston Jean-Marie Kaboré is a film director, producer, and screenwriter and the former director of the Centre National du Cinéma in Burkina Faso.

Unpublished endorsement

African Cinema: Manifesto and Practice for Cultural Decolonization combines theory and praxis as a means to explore the social, cultural, political, economic and gendered dynamics of African cinemas within a global context, all of which are determining factors in how African filmmaking practitioners and stakeholders negotiate their place as directors, producers, organizers, activists, scholars, distributors, cultural readers. The collection is an important addition to African Cinema Studies in particular, and the library of Film Studies in general.