Twenty five Black African Filmmakers

"An invaluable work on black African cinema has at last appeared in English. Francoise Pfaff's volume. . . offers enormous insight along with valuable data heretofore unavailable." Cineaste

Twenty five Black African Filmmakers

"An invaluable work on black African cinema has at last appeared in English. Francoise Pfaff's volume. . . offers enormous insight along with valuable data heretofore unavailable." Cineaste

Conversations with Maryse Cond

This book is an exploration of the life and art of Maryse Condi, who first won international acclaim for Segu, a novel about West African experience and the slave trade.

Conversations with Maryse Cond

This book is an exploration of the life and art of Maryse Condi, who first won international acclaim for Segu, a novel about West African experience and the slave trade. Born in Guadeloupe in 1937, Condi lived in Guinea after it won its independence from France. Later she lived in Ghana and Senegal during turbulent, decisive moments in the histories of these countries. Her writings-novels, plays, essays, stories, and children's books-have led her to an increasingly important role within Africa and throughout the world. Frangoise Pfaff met Maryse Condi in 1981, when she first interviewed her. Their friendship grew quickly. In 1991 the two women continued recording conversations about Condi's geographical sojourns and literary paths, her personality, and her thoughts. Their conversations reveal connections between Condi's vivid art and her eventful, passionate life. In her encounters with historical and literary figures, and in her opinions on politics and culture, Condi appears as an engaging witness to her time. The conversations frequently sparkle with humor; at other moments they are infused with profound seriousness. Maryse Condi is the recipient of the French literary awards Le Grand Prix Littiraire de la Femme and Le Prix de l'Acadimie Frangaise. She currently teaches at Columbia University and her most recent works include Tree of Life and Crossing the Mangrove. Born and educated in Paris, Frangoise Pfaff is a professor of French at Howard University. The translator of this book, she is also the author of Twenty-five Black African Filmmakers: A Critical Study, with Filmography and Bio-Bibliography and The Cinema of Ousmane Sembene, A Pioneer of African Cinema. Entretiens avecMaryse Condi was first published in France in 1993.

The Devil You Dance With

Compiled and edited by Audrey Thomas McCluskey, this extraordinary volume presents twenty-five in-depth interviews with established and emerging South African filmmakers such as Zola Maseko, Teboho Mahlatsi, Ntshaveni wa Luruli, and many ...

The Devil You Dance With

South African film culture, like so much of its public life, has undergone a tremendous transformation during its first decade of democracy. Filmmakers, once in exile, banned, or severely restricted, have returned home; subjects once outlawed by the apparatchiks of apartheid are now fair game; and a new crop of insurgent filmmakers are coming to the fore. Compiled and edited by Audrey Thomas McCluskey, this extraordinary volume presents twenty-five in-depth interviews with established and emerging South African filmmakers such as Zola Maseko, Teboho Mahlatsi, Ntshaveni wa Luruli, and many more. The interviews capture the filmmakers’ spirit, energy, and ambition as they attempt to give birth to a film culture that reflects the heart and aspirations of their diverse and emergent nation.

Twenty five Black African Filmmakers

( First Mogadishu PanAfrican Film Symposium , 1983 , pp . 16-17 ) As he looks back over some ... While studying , he 294 Twenty - five Black African Filmmakers.

Twenty five Black African Filmmakers

"An invaluable work on black African cinema has at last appeared in English. Francoise Pfaff's volume. . . offers enormous insight along with valuable data heretofore unavailable." Cineaste

Africa Today

A weakness of much of the criticism cited and summarized in Twenty - five Black African Filmmakers is that it is irrelevant . This is because the majority ...

Africa Today


Black African Cinema

Pierre Haffner as quoted in Françoise Pfaff, Twenty-five Black African Filmmakers (Westport, Conn.; Greenwood Press, 1988), 233. 5.

Black African Cinema

From the proselytizing lantern slides of early Christian missionaries to contemporary films that look at Africa through an African lens, N. Frank Ukadike explores the development of black African cinema. He examines the impact of culture and history, and of technology and co-production, on filmmaking throughout Africa. Every aspect of African contact with and contribution to cinematic practices receives attention: British colonial cinema; the thematic and stylistic diversity of the pioneering "francophone" films; the effects of television on the motion picture industry; and patterns of television documentary filmmaking in "anglophone" regions. Ukadike gives special attention to the growth of independent production in Ghana and Nigeria, the unique Yoruba theater-film tradition, and the militant liberationist tendencies of "lusophone" filmmakers. He offers a lucid discussion of oral tradition as a creative matrix and the relationship between cinema and other forms of popular culture. And, by contrasting "new" African films with those based on the traditional paradigm, he explores the trends emerging from the eighties and nineties. Clearly written and accessible to specialist and general reader alike, Black African Cinema's analysis of key films and issues—the most comprehensive in English—is unique. The book's pan-Africanist vision heralds important new strategies for appraising a cinema that increasingly attracts the attention of film students and Africanists.

Viewing African Cinema in the Twenty First Century

Art Films and the Nollywood Video Revolution Mahir Saul, Ralph A. Austen ... Françoise Pfaff, Twenty-five Black African Filmmakers (Westport, CT: Greenwood, ...

Viewing African Cinema in the Twenty First Century

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. Viewing African Cinema in the Twenty-first Century is the first book to bring together a set of essays offering a unique comparison of these two main African cinema modes.

Cinema Today

... Arab and African Film - making ( London : Zed Books , 1991 ) - Françoise Pfaff , Twenty - five Black African Filmmakers : A Critical Study ( Westport ...

Cinema Today

Fully illustrated with over 700 images including film stills, posters and behind-the-scenes shots, this book also features in-depth case studies on a wide range of films. Cinema Today provides an unparalleled insight into the heart of the film industry.

The Documentary Film Book

Nonfiction African Cinema', Social Identities vol. 6 no. ... Françoise Pfaff, Twenty-five Black African Filmmakers (New York: Greenwood Press, 1988), p. 72.

The Documentary Film Book

Powerfully posing questions of ethics, ideology, authorship and form, documentary film has never been more popular than it is today. Edited by one of the leading British authorities in the field, The Documentary Film Book is an essential guide to current thinking on documentary film. In a series of fascinating essays, key international experts discuss the theory of documentary, outline current understandings of its history (from pre-Flaherty to the post-Griersonian world of digital 'i-Docs'), survey documentary production (from Africa to Europe, and from the Americas to Asia), consider documentaries by marginalised minority communities, and assess its contribution to other disciplines and arts. Brought together here in one volume, these scholars offer compelling evidence as to why, over the last few decades, documentary has come to the centre of screen studies.

A History of Film

PPAPP , FRANÇOISE , Twenty - Five Black African Filmmakers : A Critical Study , with Filmography and BioThird World Bibliography . Westport , Conn .

A History of Film


Women Filmmakers of the African Asian Diaspora

Twenty - Five Black African Filmmakers : A Critical Study with Filmography and Biobibliography . Westport CT : Greenwood Press , 1988 . Phillips , Julie .

Women Filmmakers of the African   Asian Diaspora

An examination of the works of six contemporary black and Asian women filmmakers, including Zeinabue Irene Davis, Ngozi Onwurah, Julie Dash, Pratibha Parmar, Minh-ha and Mira Nair. It also includes a detailed introduction and a chapter entitled "Other Voices", documenting the work of other black and asian filmmakers.

Locating the Voice in Film

Françoise Pfaff, Twenty Five Black African Filmmakers (Westport, CT: Greenwood Press, 1988), 237–238. 4. Ousmane Sembene, 'Commentary', in Symbolic ...

Locating the Voice in Film

Where is the place of the voice in film? Where others have focused on Hollywood film, this volume aims to extend the field to other cinemas from around the world, encompassing Latin America, Asia and Africa amongst others. Traditional theoretical accounts, based on classical narrative cinema, examine the importance of the voice in terms of a desired perfect match between visuals and sonic effects. But, as the chapters of this volume illustrate, what is normative in one film industry may not apply in another. The widespread practices of dubbing, postsynch sound and "playback singing" in some countries, for instance, provide an alternative means of understanding the location of the voice in the soundtrack. Through seventeen original chapters, this volume situates the voice in film across a range of diverse national, transnational and cultural contexts, presenting readings which challenge traditional readings of the voice in film in exciting new ways. By taking a comparative view, this volume posits that the voice may be best understood as a mobile object, one whose trajectory follows a broader network of global flows. The various chapters explore the cultural transformations the voice undergoes as it moves from one industry to another. In doing so, the volume addresses sound practices which have been long been neglected, such as dubbing and non-synch sound, as well the ways in which sound technologies have shaped nationally specific styles of vocal performance. In addressing the place of the voice in film, the book intends to nuance existing theoretical writing on the voice while applying these critical insights in a global context.

Cinema Colonialism Postcolonialism

5. Cf. Maryse Condé, quoted in Pfaff, Twenty-five Black African Filmmakers, 1 60. 6. In Marcel Martin, "Brève rencontre avec . . . Med Hondo," Ecran 79 81 ...

Cinema  Colonialism  Postcolonialism

In this first major study of French colonial and postcolonial cinema, Dina Sherzer compiles essays by some of the foremost scholars on the subject who interrogate and analyze the realities behind the images of the nation’s past and present. Through an examination of France and its colonies, multiethnic contemporary France, and cinematic discourses which have been and are being produced about France’s colonial past, these authors explore how the images relay underlying assumptions and their relation to historical and political facts. A variety of subjects and viewpoints inform these studies, which cover the entire range of films on that topic. The authors expound upon the role French and Francophone films are currently playing in reconstructing and imagining France’s colonial past. Not only do the essays examine how French cinema has represented the encounter of French citizens with individuals from former colonies during the colonial era; they examine how French cinema has portrayed and has come to terms with the cohabitation of former colonial subjects with the French in France. In addition, the book features another postcolonial facet by analyzing films of directors from the former colonies who give their own representation of colonialism and presentation of their culture. This study is a major contribution to postcolonial research. Race, gender, and geography are central themes throughout this book that presents innovative material that contributes to the history of French cinema and emphasizes how cinema participates in and is a part of national culture.

Black Women Film and Video Artists

20. 2 22. 24. 26. 27. . Margaret Tiberio, “An Interview with Salem Meku ria," ... Francoise Pfaff, Twenty-Five Black African Filmmakers: A Critical Study ...

Black Women Film and Video Artists

First published in 1998. Routledge is an imprint of Taylor & Francis, an informa company.

African Cinema

In addition to the presentation of women filmmakers and their filmographies , this directory contains the ... Twenty - Five Black African Filmmakers .

African Cinema

Although there were film-making practices in Africa dating back to the colonial period, the films generally discussed in this collection are those made after independence in the early 1960s.

Dictionary of African Biography

Twenty-five Black African Filmmakers: A Critical Study, with Filmography and Biobibliography. New York: Greenwood Press, 1988. See pp. 173–183. Şaul, Mahir.

Dictionary of African Biography


Black and White in Colour

5. Françoise Pfaff , ' Gaston G. Kaboré , in Françoise Pfaff ( ed . ) , Twenty - five Black African Filmmakers : A Critical Study , with Filmography and Bio ...

Black and White in Colour

Examines how African history has been represented on film.

With Open Eyes

Women and African Cinema Kenneth W. Harrow. eral years in a variety of roles and ... 1995 , p.4 ; Françoise Pfaff : Twenty - five Black African Filmmakers .

With Open Eyes

Bibliografie : p. 193-218 Survey of some projects by female African filmmakers from different countries ; the problematic encounter between Western feminism and African feminist filmmaking practice; the representation of women in African film.

Cinemas of the Black Diaspora

Early landmark films of the Institute include ; They Dare Cross Our Borders ( 1981 BW 25 min . , 16mm or 35mm ) , South Africa's attacks on Mozambique and ...

Cinemas of the Black Diaspora

This is a study of the cinematic traditions and film practices in the black Diaspora. With contributions by film scholars, film critics, and film-makers from Europe, North America and the Third World, this diverse collection provides a critical reading of film-making in the black Diaspora that challenges the assumptions of colonialist and ethnocentrist discourses about Third World, Hollywood and European cinemas. Cinemas of the Black Diaspora examines the impact on film-making of Western culture, capitalist production and distribution methods, and colonialism and the continuing neo-colonial status of the people and countries in which film-making is practiced. Organized in three parts, the study first explores cinema in the black Diaspora along cultural and political lines, analyzing the works of a radical and aesthetically alternative cinema. The book proceeds to group black cinemas by geographical sites, including Africa, the Caribbean and South America, Europe, and North America, to provide global context for comparative and case study analyses. Finally, three important manifestoes document the political and economic concerns and counter-hegemonic institutional organizing efforts of black and Third World film-makers from the 1970s to the early 1990s. Cinemas of the Black Diaspora should serve as a valuable basic reference and research tool for the study of world cinema. While celebrating the diversity, innovativeness, and fecundity of film-making in different regions of the world, this important collection also explicates the historical importance of film-making as a cultural form and political practice.