Contemporary African cinema.

By: Barlet, Olivier.
Material type: materialTypeLabelBookSeries: African humanities and the arts.Publisher: East Lansing : Michigan State University Press, Description: xiv, 452 pages ; 24 cm.ISBN: 9781611862119.Subject(s): Film, Television and Radio | Motion pictures-Africa, Sub-Saharan-History-21st centuryDDC classification: 791.43096BAR
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Enhanced descriptions from Syndetics:

African and notably sub-Saharan African film's relative eclipse on the international scene in the early twenty-first century does not transcend the growth within the African genre. This time period has seen African cinema forging a new relationship with the real and implementing new aesthetic strategies, as well as the emergence of a post-colonial popular cinema.<br> <br> Drawing on more than 1,500 articles, reviews, and interviews written over the past fifteen years, Olivier Barlet identifies the critical questions brought about by the evolution of African cinema. In the process, he offers us a personal and passionate vision, making this book an indispensable sum of thought that challenges preconceived ideas and enriches an approach to cinema as a critical art.<br>

Table of contents provided by Syndetics

  • Preface (p. xi)
  • Chapter 1 The Question of Criticism (p. 1)
  • Chapter 2 Thematic Continuities and Ruptures (p. 107)
  • Chapter 3 Postcolonial Clichés (p. 179)
  • Chapter 4 Memory and Reconciliation (p. 219)
  • Chapter 5 Styles and Strategies (p. 269)
  • Chapter 6 Economic Perspectives (p. 339)
  • Conclusion (p. 381)
  • Notes (p. 383)
  • Bibliography (p. 403)
  • Index of Filmmakers and Films (p. 435)

Reviews provided by Syndetics

CHOICE Review

Also author of African Cinemas (CH, Jun'01, 38-5490), Barlet attempts a comprehensive study of African films, scrutinizing them in terms of themes, styles and strategies, audience, economics and funding, impact, and postcolonial clichés. The book comprises discreet studies that originally appeared in the online journal Africultures. Barlet examines the films with a view to the evolution of the medium in Africa, with stress on the last 20 years. Starting in the 1990s, the militant trend championed by film director Ousmane Sembène and upheld by his followers lost its momentum in favor of alternatives such as autorism or new humanism, seen in innovations and unplanned developments such as Bollywood (1960s) and, recently, Nollywood. Individual original initiatives became possible because of new film technologies. Besides connecting the main areas of African film studies, the book opens a vista on the path African film traveled (continuities), the angles taken and ways shifted (ruptures) since the year 2000. Bartlet links early seminal works on African cinema by such critics as Manthia Diawara and Nwachukwu Frank Ukadike to work by recent critics (Kenneth Harrow, Akin Adesokan). Barlet's book will be a key tool for research on African films. Summing Up: Recommended. Lower-division undergraduates through faculty. --Kasongo Mulenda Kapanga, University of Richmond