Review of: No Simple Way Home, Akuol De Mabior (dir.) (2022), South Sudan: Lbx Africa and Steps
回顾：没有简单的回家之路，Akuol De Mabior（目录）（2022），南苏丹：Lbx非洲和步骤
{"title":"No Simple Way Home, Akuol De Mabior (dir.) (2022)","authors":"A. Mututa","doi":"10.1386/jac_00065_5","DOIUrl":"https://doi.org/10.1386/jac_00065_5","url":null,"abstract":"Review of: No Simple Way Home, Akuol De Mabior (dir.) (2022), South Sudan: Lbx Africa and Steps","PeriodicalId":41188,"journal":{"name":"Journal of African Cinemas","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-07-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45357384","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of: Wildlife Documentaries in Southern Africa: From East to South, Ian Glenn (2023) London: Anthem Press, 271 pp., ISBN 978-1-83998-150-0, h/bk, £80.00
{"title":"Wildlife Documentaries in Southern Africa: From East to South, Ian Glenn (2023)","authors":"A. Mututa","doi":"10.1386/jac_00066_5","DOIUrl":"https://doi.org/10.1386/jac_00066_5","url":null,"abstract":"Review of: Wildlife Documentaries in Southern Africa: From East to South, Ian Glenn (2023)\u0000 London: Anthem Press, 271 pp.,\u0000 ISBN 978-1-83998-150-0, h/bk, £80.00","PeriodicalId":41188,"journal":{"name":"Journal of African Cinemas","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-07-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42344160","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Images of Apartheid: Filmmaking on the Fringe in the Old South Africa, Calum Waddell (dir.) (2018)","authors":"A. Mututa","doi":"10.1386/jac_00069_5","DOIUrl":"https://doi.org/10.1386/jac_00069_5","url":null,"abstract":"Review of: Images of Apartheid: Filmmaking on the Fringe in the Old South Africa, Calum Waddell (dir.) (2018), Uk: Calum Waddell","PeriodicalId":41188,"journal":{"name":"Journal of African Cinemas","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-07-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41568477","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This response article addresses the misinterpretations, misrepresentations and disparagements of my research by filmmaker Simon Bright. Drawing from my book, Zimbabwe’s Cinematic Arts, which is rooted in my doctoral research conducted in 2001, this response aims to rectify factual errors and clarify the nuanced arguments that were misread by Bright. While acknowledging the importance of continuously reshaping and reforming identities, as highlighted by both Bright and myself, this response underscores that my book primarily focuses on the process of identity formation rather than treating identity as a fixed entity. I emphasize the potential overlaps in our perspectives and call for a collaborative approach that builds upon existing scholarship. My response aims to foster a productive dialogue and invites Bright and other filmmakers to contribute further to the transnational history of Southern African filmmaking. By drawing on their years of experience, it is my hope that future works on this subject will enrich the field, serving to enhance and expand upon existing scholarship rather than detract from it.
这篇文章回应了电影制作人西蒙·布莱特对我的研究的误解、歪曲和贬低。我的书《津巴布韦的电影艺术》(Zimbabwe’s film Arts)是我2001年进行的博士研究的成果，本文的回应旨在纠正事实错误，澄清布莱特误读的细微差别论点。虽然承认不断重塑和改革身份的重要性，正如布莱特和我所强调的那样，但这种回应强调了我的书主要关注身份形成的过程，而不是将身份视为固定的实体。我强调我们的观点可能存在重叠，并呼吁在现有学术基础上采取合作方式。我的回应旨在促进富有成效的对话，并邀请布莱特和其他电影人进一步为南非电影制作的跨国历史做出贡献。通过借鉴他们多年的经验，我希望未来关于这一主题的工作将丰富这一领域，有助于加强和扩展现有的学术成果，而不是减损它。
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This article seeks to problematize the concept of queer cinema and then to illuminate conceptual nuances through the analysis of a specific film. The Tunisian feature film Tlamess can be read as queer on two levels. First, its queerness relates to the protagonist, a deserter who undergoes a fundamental metamorphosis: he frees himself from the patterns of military masculinity and, far from the normative world, takes on a maternal role. Second, the dissolution of the traditional gender and family order is staged through cinematic processes that introduce the viewers to a pre-verbal world outside of established symbolic and social patterns. Expressive audio-visual techniques transfer the viewers into this alternative world and create an experience of difference, a kind of mind game. Thus, queer cinema should not only be understood in terms of political activism, as an examination of characters supposedly deviating from gender norms. Rather, and crucially, it emerges in a much broader sense out of the strategies of aesthetic mise en scène.
{"title":"Deconstructing gender and family norms in new Tunisian cinema: A queer reading of Ala Eddine Slim’s Tlamess/طلامس(2019)","authors":"Claudia Gronemann","doi":"10.1386/jac_00063_1","DOIUrl":"https://doi.org/10.1386/jac_00063_1","url":null,"abstract":"This article seeks to problematize the concept of queer cinema and then to illuminate conceptual nuances through the analysis of a specific film. The Tunisian feature film Tlamess can be read as queer on two levels. First, its queerness relates to the protagonist, a deserter who undergoes a fundamental metamorphosis: he frees himself from the patterns of military masculinity and, far from the normative world, takes on a maternal role. Second, the dissolution of the traditional gender and family order is staged through cinematic processes that introduce the viewers to a pre-verbal world outside of established symbolic and social patterns. Expressive audio-visual techniques transfer the viewers into this alternative world and create an experience of difference, a kind of mind game. Thus, queer cinema should not only be understood in terms of political activism, as an examination of characters supposedly deviating from gender norms. Rather, and crucially, it emerges in a much broader sense out of the strategies of aesthetic mise en scène.","PeriodicalId":41188,"journal":{"name":"Journal of African Cinemas","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44160693","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Giovana Nabarrete de Souza Cruz, Babatunde Onikoyi, Sheila Petty
Review of: 2022 African Movie Festival, Gas Station Arts Centre in Winnipeg, Manitoba, 23–25 September 2022
回顾:2022年非洲电影节，马尼托巴省温尼伯加油站艺术中心，2022年9月23日至25日
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The Pan-African Film and Television Festival of Ouagadougou (FESPACO) celebrated its golden jubilee at its 26th edition in 2019. This marks a time for reflection and assessment of the future of the festival. The 50th anniversary also represents a key juncture for scholars and practitioners to rethink curatorial practice in Africa to enable film festivals to function also as a medium of production and dissemination of critical discourse on African screen media. FESPACO has a longstanding tradition of continually producing archives of knowledge about African cinema. The study of the relationships between FESPACO and critical discourse on African cinema offers a template for other festivals to follow, thus opening a new discursive space in the emerging field of film festival studies.
{"title":"FESPACO and critical discourse on African cinema","authors":"B. Sawadogo","doi":"10.1386/jac_00060_1","DOIUrl":"https://doi.org/10.1386/jac_00060_1","url":null,"abstract":"The Pan-African Film and Television Festival of Ouagadougou (FESPACO) celebrated its golden jubilee at its 26th edition in 2019. This marks a time for reflection and assessment of the future of the festival. The 50th anniversary also represents a key juncture for scholars and practitioners to rethink curatorial practice in Africa to enable film festivals to function also as a medium of production and dissemination of critical discourse on African screen media. FESPACO has a longstanding tradition of continually producing archives of knowledge about African cinema. The study of the relationships between FESPACO and critical discourse on African cinema offers a template for other festivals to follow, thus opening a new discursive space in the emerging field of film festival studies.","PeriodicalId":41188,"journal":{"name":"Journal of African Cinemas","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47903168","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The cinema as a medium and an art form has been a major consideration in Africa’s struggles against colonialism. These struggles, which encompass aspirations to establish Africa’s cultural and political autonomy in the postcolonial era, are ongoing. Marking the 26th edition of the Pan-African Festival of Cinema and Television (FESPACO) therefore was considered as an important opportunity for reflection. More so, the occasion was taken as a call to re-engage with the challenge of shaping and transforming ‘the Continent’s greatest cultural event’ for the future. The 2019 festival was launched around the colloquium theme: ‘Confronting our memory and shaping the future of a Pan-African cinema in its essence, economy and diversity’. This article begins with an account of the colloquium and reflects on the knowledge production dimension of the festival, which has been a core component of FESPACO’s identity and existence. It also seeks to situate the event of the 50th anniversary in a continuum of critical discussions about the festival, its past, present and future, and in relation to the seminal aspirations of African filmmakers for an African cinema, its challenges and opportunities.
{"title":"Memory and/in the mirror: FESPACO, a platform for a global Africa?","authors":"Imruh Bakari","doi":"10.1386/jac_00062_1","DOIUrl":"https://doi.org/10.1386/jac_00062_1","url":null,"abstract":"The cinema as a medium and an art form has been a major consideration in Africa’s struggles against colonialism. These struggles, which encompass aspirations to establish Africa’s cultural and political autonomy in the postcolonial era, are ongoing. Marking the 26th edition of the Pan-African Festival of Cinema and Television (FESPACO) therefore was considered as an important opportunity for reflection. More so, the occasion was taken as a call to re-engage with the challenge of shaping and transforming ‘the Continent’s greatest cultural event’ for the future. The 2019 festival was launched around the colloquium theme: ‘Confronting our memory and shaping the future of a Pan-African cinema in its essence, economy and diversity’. This article begins with an account of the colloquium and reflects on the knowledge production dimension of the festival, which has been a core component of FESPACO’s identity and existence. It also seeks to situate the event of the 50th anniversary in a continuum of critical discussions about the festival, its past, present and future, and in relation to the seminal aspirations of African filmmakers for an African cinema, its challenges and opportunities.","PeriodicalId":41188,"journal":{"name":"Journal of African Cinemas","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47417833","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article is a contribution to the celebration the 50th anniversary of FESPACO. It is divided in two major parts. The first takes stock of some of the most important debates that have traversed the festival since its inception, offers a sense of the significance of the festival and its experience, briefly reviews the Black Camera volumes on FESPACO and introduces the unique essays commissioned for this Special Issue. The second half examines three important issues related to the future of FESPACO and African cinema more generally: the centrality of histories and memories with an examination of the new Classics section of the festival, the extraversion and dependency of the political economies of African cinema, their impact on the forms, circulation and reception of African cinema, and their significance for FESPACO, and, finally the urgent need to address questions of sovereignty and territorial integrity on the continent as sine qua non for the very existence, survival and blossoming of an African film and audiovisual industry, liable to continue and potentially complete the unfinished emancipatory project at the heart of the festival.
{"title":"FESPACO@50 and beyond: Dialectics of an emancipatory project","authors":"Aboubakar Sanogo","doi":"10.1386/jac_00059_1","DOIUrl":"https://doi.org/10.1386/jac_00059_1","url":null,"abstract":"This article is a contribution to the celebration the 50th anniversary of FESPACO. It is divided in two major parts. The first takes stock of some of the most important debates that have traversed the festival since its inception, offers a sense of the significance of the festival and its experience, briefly reviews the Black Camera volumes on FESPACO and introduces the unique essays commissioned for this Special Issue. The second half examines three important issues related to the future of FESPACO and African cinema more generally: the centrality of histories and memories with an examination of the new Classics section of the festival, the extraversion and dependency of the political economies of African cinema, their impact on the forms, circulation and reception of African cinema, and their significance for FESPACO, and, finally the urgent need to address questions of sovereignty and territorial integrity on the continent as sine qua non for the very existence, survival and blossoming of an African film and audiovisual industry, liable to continue and potentially complete the unfinished emancipatory project at the heart of the festival.","PeriodicalId":41188,"journal":{"name":"Journal of African Cinemas","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43978152","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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