This article argues that Rider Haggard’s 1885 novel King Solomon’s Mines and filmed versions of it were a major influence on Ryan Coogler’s 2018 hit film Black Panther. It examines ways in which the modern film in reversing some of the plot and colonial tropes of the original nonetheless remains indebted to it and that this source helps explain some of the weaknesses and inconsistencies of the plot of Black Panther.
{"title":"Looted treasures? Black Panther and King Solomon’s Mines","authors":"I. Glenn","doi":"10.1386/jac_00050_1","DOIUrl":"https://doi.org/10.1386/jac_00050_1","url":null,"abstract":"This article argues that Rider Haggard’s 1885 novel King Solomon’s Mines and filmed versions of it were a major influence on Ryan Coogler’s 2018 hit film Black Panther. It examines ways in which the modern film in reversing some of the plot and colonial tropes of the original nonetheless remains indebted to it and that this source helps explain some of the weaknesses and inconsistencies of the plot of Black Panther.\u0000","PeriodicalId":41188,"journal":{"name":"Journal of African Cinemas","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49114123","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}
In this article, I investigate how Zulu Love Letter makes grief visible and visceral. I focus on how the visual and aural shape of the film might be said to follow a structure of mourning. I argue that the film, based on its visual grammar of loss and grief, can be said to belong to the genre of ‘mourning films’. Therefore, the kinesic, haptic and even proxemic moments in the film can be said to have strong mournful undercurrents. In all, I argue that Zulu Love Letter does not only lay out a cinematic cartography of mourning; it also provides inklings on how the question of mourning is equally a question of memory and haunting in post-apartheid South Africa.
{"title":"Living in a permanent wake: The cinematic and affective prisms of mourning in Zulu Love Letter","authors":"S. Adebayo","doi":"10.1386/jac_00044_1","DOIUrl":"https://doi.org/10.1386/jac_00044_1","url":null,"abstract":"In this article, I investigate how Zulu Love Letter makes grief visible and visceral. I focus on how the visual and aural shape of the film might be said to follow a structure of mourning. I argue that the film, based on its visual grammar of loss and grief, can be said to belong\u0000 to the genre of ‘mourning films’. Therefore, the kinesic, haptic and even proxemic moments in the film can be said to have strong mournful undercurrents. In all, I argue that Zulu Love Letter does not only lay out a cinematic cartography of mourning; it also provides inklings\u0000 on how the question of mourning is equally a question of memory and haunting in post-apartheid South Africa.","PeriodicalId":41188,"journal":{"name":"Journal of African Cinemas","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66722243","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}
For Moussa Sène Absa, music does not merely complement a film’s narration; it is an integral part of it. A careful analysis of his feature length films Tableau Ferraille (1997) and Madame Brouette (2002) reveals his unique use of music to convey commentaries on the difficulties of constricted daily social life in postcolonial Senegalese urban society. Though both films tackle gritty social issues and denounce corruption and injustices, they are beautiful and melodious, built around bright colours and positive, vibrant and cheerful music. In this article, I examine in detail the links between the songs’ lyrics and the films’ narration and social messages. In particular, I demonstrate how the messages of the films appear through the emancipatory hopes of the two female protagonists.
{"title":"Musical, textual and visual interplays in Moussa Sène Absa’s Tableau Ferraille and Madame Brouette","authors":"Thérèse De Raedt","doi":"10.1386/jac_00052_1","DOIUrl":"https://doi.org/10.1386/jac_00052_1","url":null,"abstract":"For Moussa Sène Absa, music does not merely complement a film’s narration; it is an integral part of it. A careful analysis of his feature length films Tableau Ferraille (1997) and Madame Brouette (2002) reveals his unique use of music to convey commentaries on the difficulties of constricted daily social life in postcolonial Senegalese urban society. Though both films tackle gritty social issues and denounce corruption and injustices, they are beautiful and melodious, built around bright colours and positive, vibrant and cheerful music. In this article, I examine in detail the links between the songs’ lyrics and the films’ narration and social messages. In particular, I demonstrate how the messages of the films appear through the emancipatory hopes of the two female protagonists.","PeriodicalId":41188,"journal":{"name":"Journal of African Cinemas","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49041081","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}
At the first Third World Filmmakers Meeting held in Algiers in 1973, participants resolved that the cinema they envisioned could conscientize audiences and continue Indigenous and African storytelling traditions. Today, there is a robust canon of Black diaspora cinema, which should be preserved, archived and analysed. Yet when coupled with filmmaking practice, it can become living history as a tool in the application of critical pedagogy. This article considers Black diaspora film and filmmaking practice as mechanisms for the radical transformation of education. It examines how oppositional cinematic representations can spark critical consciousness and how filmmaking practice can put emotional intelligence at the centre of learning.
{"title":"Transforming education with Black diaspora film and filmmaking practice","authors":"Ashley D. Ellis","doi":"10.1386/jac_00042_1","DOIUrl":"https://doi.org/10.1386/jac_00042_1","url":null,"abstract":"At the first Third World Filmmakers Meeting held in Algiers in 1973, participants resolved that the cinema they envisioned could conscientize audiences and continue Indigenous and African storytelling traditions. Today, there is a robust canon of Black diaspora cinema, which\u0000 should be preserved, archived and analysed. Yet when coupled with filmmaking practice, it can become living history as a tool in the application of critical pedagogy. This article considers Black diaspora film and filmmaking practice as mechanisms for the radical transformation of education.\u0000 It examines how oppositional cinematic representations can spark critical consciousness and how filmmaking practice can put emotional intelligence at the centre of learning.","PeriodicalId":41188,"journal":{"name":"Journal of African Cinemas","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42311606","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 text studies three contemporary African films that look at the westernized patriarchal societies in Burkina Faso, Nigeria and Senegal. The female main characters in the Senegalese Madame Brouette (2002), by Moussa Sène Absa, the Burkinabe Frontières (Borders) (2017), by Apolline Traoré, and the Nigerian The Ghost and the House of Truth (2019), by Akin Omotoso, all face economic and gender subalternization and end up being involved in violence in order to confront it. So as to use an appropriate methodology, we first argue that African film is multilingual, as much linguistically as in terms of cinematic grammar. In order to understand how the female characters navigate their subalternized roles in narratives that look at their subjugation, we then analyse each film regarding the ways how they try, mostly unsuccessfully, to affirm their subjectivity and which multilingual cinematographic grammars are used for this.
{"title":"The grammar of violence of subalternized women: Three examples of contemporary African films","authors":"Carolin Overhoff Ferreira, José Lingna Nafafé","doi":"10.1386/jac_00048_1","DOIUrl":"https://doi.org/10.1386/jac_00048_1","url":null,"abstract":"This text studies three contemporary African films that look at the westernized patriarchal societies in Burkina Faso, Nigeria and Senegal. The female main characters in the Senegalese Madame Brouette (2002), by Moussa Sène Absa, the Burkinabe Frontières (Borders) (2017), by Apolline Traoré, and the Nigerian The Ghost and the House of Truth (2019), by Akin Omotoso, all face economic and gender subalternization and end up being involved in violence in order to confront it. So as to use an appropriate methodology, we first argue that African film is multilingual, as much linguistically as in terms of cinematic grammar. In order to understand how the female characters navigate their subalternized roles in narratives that look at their subjugation, we then analyse each film regarding the ways how they try, mostly unsuccessfully, to affirm their subjectivity and which multilingual cinematographic grammars are used for this.","PeriodicalId":41188,"journal":{"name":"Journal of African Cinemas","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48917771","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}
An appreciation of a brief but intense and productive friendship and dialogue.
欣赏短暂但热烈而富有成效的友谊和对话。
{"title":"In memory: Prof. Ntongela Masilela1","authors":"Bridget Thompson","doi":"10.1386/jac_00056_7","DOIUrl":"https://doi.org/10.1386/jac_00056_7","url":null,"abstract":"An appreciation of a brief but intense and productive friendship and dialogue.","PeriodicalId":41188,"journal":{"name":"Journal of African Cinemas","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44030272","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}
Achievements marked by the tenth anniversary of the Journal of African Cinemas is the focus of this retrospective on the origins and development of the publication. The key question addressed is how to ensure that the inclusion of films and film theory by resident Africans can be made integral to the re-envisioning of the whole field. In answering this question, the overview examines the journal’s initial objectives and how they have been met. Editorial board members and guest editors were canvassed for their impressions, and a numerical analysis of author locations is plotted. The findings reveal a significant African presence now in studies of African films and in the composition of the journal’s authorship and editorial boards. The geographical spread of national and regional studies across the entire continent, sometimes in translation, from Arabic northern Africa to multilingual southern Africa is a key feature of the journal’s success. The conclusions reached are that the journal has successfully integrated African-based scholarship onto the world’s stage, has enabled the study of African film to link from its previous African studies’ epistemological location to now also be considered as film studies per se and new electronic distribution facilities have catalysed post-theory approaches that transcend the Cold War binaries of ‘Third Cinema’, national cinema’, ‘national culture’ and other twentieth-century categories.
{"title":"Africa, film theory and globalization: Reflections on the first ten years of the Journal of African Cinemas","authors":"K. Tomaselli","doi":"10.1386/jac_00041_1","DOIUrl":"https://doi.org/10.1386/jac_00041_1","url":null,"abstract":"Achievements marked by the tenth anniversary of the Journal of African Cinemas is the focus of this retrospective on the origins and development of the publication. The key question addressed is how to ensure that the inclusion of films and film theory by resident Africans can\u0000 be made integral to the re-envisioning of the whole field. In answering this question, the overview examines the journal’s initial objectives and how they have been met. Editorial board members and guest editors were canvassed for their impressions, and a numerical analysis of author\u0000 locations is plotted. The findings reveal a significant African presence now in studies of African films and in the composition of the journal’s authorship and editorial boards. The geographical spread of national and regional studies across the entire continent, sometimes in translation,\u0000 from Arabic northern Africa to multilingual southern Africa is a key feature of the journal’s success. The conclusions reached are that the journal has successfully integrated African-based scholarship onto the world’s stage, has enabled the study of African film to link from its\u0000 previous African studies’ epistemological location to now also be considered as film studies per se and new electronic distribution facilities have catalysed post-theory approaches that transcend the Cold War binaries of ‘Third Cinema’, national cinema’, ‘national\u0000 culture’ and other twentieth-century categories.","PeriodicalId":41188,"journal":{"name":"Journal of African Cinemas","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46756209","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: Spectacle and Diversity: Transnational Media and Global Culture, Lee Artz (2022) London and New York: Routledge, 260 pp., ISBN 978-0-36775-417-4, e-book, £31.49
{"title":"Spectacle and Diversity: Transnational Media and Global Culture, Lee Artz (2022)","authors":"A. Mututa","doi":"10.1386/jac_00055_5","DOIUrl":"https://doi.org/10.1386/jac_00055_5","url":null,"abstract":"Review of: Spectacle and Diversity: Transnational Media and Global Culture, Lee Artz (2022)\u0000London and New York: Routledge, 260 pp.,\u0000ISBN 978-0-36775-417-4, e-book, £31.49","PeriodicalId":41188,"journal":{"name":"Journal of African Cinemas","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44923347","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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