Focusing on new trends in African cinema from the 1990s to today, this book explores the film industry, new cinematic languages and modes of production and film's departure from nationalism and social realism. The book examines the relationship between funding and filmmaking; the roles that Pan-Africanism and Negritude play in African cinema; and the Nollywood phenomenon. Contributions by filmmakers, scholars, and producers as well as profiles of thirty important African directors and their films, provide valuable insight into recent developments. In addition, the volume comes with a DVD containing several brief interviews with filmmakers conducted by the author. 320pp, UK. PRESTEL.

An analysis of film making in Africa in relation to their historical, socio-cultural and political contexts. The author looks at fifteen films made by African directors and contrasts them with Hollywood visions of the continent, such as `Out of Africa' and addresses issues such as the recovery of African history, the fight against colonialism, the neglect of the peasantry and the position of women. Illustrated with b/w images. Index, sources, map, xiii, 202pp, UK. JAMES CURREY PUBLISHERS.

Analysing a range of South African and West African films inspired by African and non-African literature, Dovey identifies a specific trend in contemporary African filmmaking-one in which filmmakers are using the embodied audiovisual medium of film to offer a critique of physical and psychological violence. Against a detailed history of the medium's savage introduction and exploitation by colonial powers in two very different African contexts, she examines the complex ways in which African filmmakers are preserving, mediating, and critiquing their own cultures while seeking a united vision of the future. Index, bib, filmography, 334pp, USA. COLUMBIA U P.

The first comprehensive study in English linking filmmaking in the Maghreb (Algeria, Morocco and Tunisia) with that in francophone West Africa and examining the factors (including Islam and the involvement of African and French governments) which have shaped post-independence production. The main focus is the development over forty years of two main traditions of African filmmaking: a social realist strand examining the nature of postcolonial society and a more experimental approach where emphasis is placed on new stylistic patterns able to embrace history, myth and magic. The work of younger filmmakers born since independence is examined in the light of these two traditions. 256pp, UK. EDINBURGH UNIVERSITY PRESS.

The twenty third annual conference of the African Literature Association celebrated African Cinema. Selected papers from that conference constitute a tribute to the creative filmmaking that has distinguished African cinema since independence. Assia Djebar's acceptance speech for the Folon Nichols award is also included. Index, notes, 189pp, USA. AFRICA WORLD PRESS.

A well illustrated volume looking at how directors working in a postcolonial context have challenged existing Western stereotypes of the continent. The author focuses on questions of representation and cultural identity. Index, bib, x, 230pp, UK. JAMES CURREY PUBLISHERS.

Collection that emanated from the African Video Film Arts Festival, which was held at Obafemi Awolowo University, Nigeria. The twenty-five articles deal with foundational issues about the video film industry such as African identity as a basis for the video film. The Legal and economic environments of the video film are also discussed along with suggestions about reviewing the currents laws and drafting new laws in order to ensure the sustenance of the video genre. Country reports from Nigeria, Kenya, Uganda and Ghana are presented and the images of women as portrayed in the files are examined. 296pp, SWAZILAND. ACADEMIC PUBLISHERS.

Considers how the African past has been represented in a wide range of historical films. Written by an eminent team of scholars, the volume provides extensive coverage of both place and time and deals with issues that have been prominent in the written history of Africa. Among the themes dealt with are the slave trade, imperialism and colonialism, racism and anti-colonial resistance. Many of the films will be familiar to readers: they include ‘Out of Africa’, ‘Hotel Rwanda’, ‘Lumumba’, ‘Cry Freedom’, ‘The Battle of Algiers’, and ‘Ceddo’. 384pp, UK. JAMES CURREY PUBLISHERS.

Having now made over 100 films, Jean Rouch is one of Africa's most influential figures in documentary and ethnographic film makers. In bringing together his most important essays and interviews, this volume is a valuable resource in charting his development as an artist and visual scholar. Includes contemporary b/w photographs and an annotated filmography. Index, bib, 400pp, USA. UNIVERSITY OF MINNESOTA PRESS.

Divided into nine chapters, each written by a leading scholar in the field. Each chapter covers the history and major issues of film within that area, as well as provid-ing bibliographies of the leading films, directors and actors. 61 b/w photos, 496pp, UK. ROUTLEDGE.

An inclusive, comprehensive treatment of films and filmmaking on the African continent. The dictionary covers African feature filmmaking from the first locally produced films to today's thriving film industry, listing 5,415 films made by 1,253 filmmakers in 37 countries. Part 1 includes information on filmmakers and provides date and place of birth, training or film experience, other creative activities, and a list of feature films produced. Part 2 presents a national chronology, filmography, and bibliography for each country producing feature films. Part 3 indexes film titles and provides translations into English or French where appropriate. 397pp, USA. INDIANA UNIVERSITY PRESS.

Essays providing pluralistic perspectives on filmmaking throughout Africa highlighting distinct thematic, stylistic and socioeconomic circumstances of African filmmaking. As well as country studies, the authors also discuss the work of several filmmakers including Jean Marie Teno, Abderrahmane Sissako, Mahamat Saleh Haroun, Jean Pierre Bekolo, Daniel Kamwa, Ngangura Mweze and Imungu Ivanga. Includes listings for sourcing African films and lists suggested further reading. Index, notes, 327pp, USA. INDIANA UNIVERSITY PRESS.

Setting the stage for a critical encounter between Francophone African cinema and Continental European critical theory, this book offers a transnational and interdisciplinary analysis of 16 Francophone African films, including Bassek Ba Kobhio's "The Great White Man of Lambarn", Cheick Oumar Sissoko's "Guimba the Tyrant", and Amadou Seck's "Saaraba". The author invites readers to study these films in the context of transnational conversations between African filmmakers and the conventional theorists whose works are more readily available in academia. 271pp, USA. McFARLAND & COMPANY.

Examination of the role of cinema as a conduit of black expressions of identity. It argues that since its inception, films have played an important part in generating, on the one hand, imaginary significations about black people, and, on the other hand, imaginative signifying practices harmonized with black expressions of identity. Unpacks the categories of racial, cultural and political identity in order to discern the re-enacted practices of blackness linking the socio-historical experience of black peoples to their trans-geographical expressions of Africanicity in film. Index, bib, 231pp, GERMANY. BAYREUTH.

A study of the implications of the Euro African contact on modern African identity looking in particular at cinematic institutions. The author relates current cinematic theories to the African context and looks at the nature of colonialist cinematic representations and the distinction between the institutional practice of colonialist cinema and colonial instructional cinema. Index, bib, 453pp, USA. AFRICA WORLD PRESS.

Collection of essays that looks at this flourishing popular art form. B/w ill, index, 265pp, USA. OHIO U P.

Offers a new critical approach to African cinema, one that requires revisiting the beginnings of African filmmaking and the critical responses to which they gave rise, and to examine the limitations these contained, the price paid for those approaches, and whether those limitations are still in place today. Using Zizek, Badiou, and a range of Lacanian and postmodern-based approaches, Harrow attempts to redefine the possibilities of an African cinematic practice, where fantasy and desire are placed within a more expansive reading of the political and the ideological. The major works of Sembene Ousmane, Djibril Diop Mambety, Souleymane Cisse, Jean-Pierre Bekolo, Jean-Marie Teno, Bassak ba Kohbio, and Fanta Nacro are explored, while at the same time the project of current postmodern theory, especially that of Jameson, is called into question in order that an African postmodernist cultural enterprise might be envisioned. Index, bib, notes, b/w2 stills, 268pp, USA. INDIANA UNIVERSITY PRESS.

First introduction of its kind to an important cross-section of postcolonial African filmmakers from the 1950s to the present. Ten chapters deal with striking examples of directors who have contributed to African cinema, from Egypt, Senegal, Mauritania, Mali, Guinea-Bissau, Burkina Faso, Tunisia, Cameroon, South Africa. The directors have been chosen for their range of stylistic approaches, the geographical spread of where they work, and the representative nature of their acknowledged and nascent careers. Index, bib, b/w photos, 239pp, UK. MANCHESTER UNIVERSITY PRESS.

A road map for exploring African cinema and aesthetics through 12 countries, from issues surrounding film production, distribution and the politics of representing Africa through the lens. 319pp, USA.. UNIVERSITY OF MINNESOTA PRESS.

Cinematic look at the life and work of a visionary outsider artist. BNS, 120 ill, 186pp, USA. POWERHOUSE BOOKS, 1576871320

The Steps for the Future documentary film project began in 2000, as a shared journey by talented African filmmakers and well-known professionals from around the world. The experience of the North combined with the knowledge of the South was an auspicious fusion that helped create 38 unique films. It was also the catalyst for new documentary projects such as Why Democracy? All the films produced dealt with the question of death and the enormous problem of HIV and AIDS in Southern Africa. This is a thorough picture of the process, step by step. Detailed accounts of the logistics of making the series are mingled with reflections on the art of direction, working with other people and the reality of the lives of those people affected by HIV and AIDS. Includes a 220-minute DVD containing 8 documentary films. 222pp, SOUTH AFRICA. JACANA MEDIA.

Teaching resource: video accompanied by large format booklet with ring binder. UK. BRITISH FILM INSTITUTE PUBLISHING.

1998 085170560X Paperback

African cinema in the 1960s originated mainly from Francophone countries. It resembled the art cinema of contemporary Europe and relied on support from the French film industry and the French state. Beginning in1969 the biennial Festival panafricain du cinéma et de la télévision de Ouagadougou (FESPACO), held in Burkina Faso, became the major showcase for these films. But since the early 1990s, a new phenomenon has come to dominate the African cinema world: mass-marketed films shot on less expensive video cameras. These Nollywood films, so named because many originate in southern Nigeria, are a thriving industry dominating the world of African cinema. 248pp, USA. OHIO U P.

An account of the author's career making documentary films in Africa. She describes her experiences telling the stories of albinos in Zimbabwe, female circumcision in Uganda, the Red Terror in Ethiopia, the AIDS crisis in Zambia and polygamy in Nigeria amongst others. xi, 244pp, UK. EYE BOOKS.

Discusses the frequently controversial film-maker, illuminating his work in the context of modern Egyptian culture and its tumultuous post-colonial history. BNS, 202pp, UK., BRITISH FILM INSTITUTE.

Full story of the making of Zulu, one of the best-loved and most enduringly popular British films ever made. It tells the epic story of the Battle of Rorkes Drift of 1879, in which barely 150 soldiers of the British Army in South Africa fought for twelve hours to hold an isolated mission station against sustained assault from 4000 highly disciplined Zulu warriors. Zulu enjoyed blockbusting box office success and now holds near-legendary status in the British popular imagination. It includes: first-hand accounts of shooting the film, many never before published; extracts from the screenplay and script notes, never before published; hundreds of illustrations, many never before published; biographies of all the principal actors and filmmakers. 431pp, USA. TOMAHAWK PRESS.

2005 0953192660 Hardback