Appendix 1 Film Festivals in Africa

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Appendix 1

Film Festivals in Africa 182 APPENDIX 1 Website http://afifdok.org/ http://www.amakula.com/ festival.com/ http://www.africanbamba.org/ pages/Aluta-Film-Festival/ 165889343444084/ .org/ .org/ http://www.africafilmfest.org/ http://www.abujafilmfestival http://www.abujafilmfestival Period festival); festival); year throughout (cinema caravan) March-July Jan http://www.africanstudentfilm Oct/Nov https://www.facebook.com/ All films (main Nov Films by African by Films students rights Human socialand issues documentaries films diasporan Documentary March/AprilDocumentary http://www.addisfilmfestival Nov African films Nov All films Sep Current Current Director Type Alice Smits & Alice Smits Lee Ellickson Obiegboi Gaye Ghenna Bouchaib Dr. El Massaoudi (Artistic Director) Motheo SelekeMotheo Seleke Motheo African and & Lee Alice Smits Ellickson Kebour GhennaKebour Kebour El Bouchaib Dr. Massaoudi UdeChioma Shiri Keith Thiaroye, SenegalThiaroye, AfricanBamba Abdoulaye Abuja, NigeriaAbuja, Fidelis Duker Fidelis Duker Different cities in cities Different Kimberley, South Kimberley, Africa & throughout & throughout Uganda Khouribga, Khouribga, Morocco Nigeria Ethiopia Addis Ababa, Ababa, Addis Galeshewe, Galeshewe, Ended/ Suspended Location Founder 2012 2004 2012 Uganda Kampala, 2009 2011 2012 2013 Lagos, Nigeria Obiegboi Adaobi Adaobi 2004 2007 AfricanBamba Human Human AfricanBamba Arts Film and Rights Festival Film FestivalAluta 2003 Amakula Kampala Film International Festival Afifdok (Festival (Festival Afifdok film du international de documentaire Khouribga) Africa International (AFRIFF) Film Festival Film African Student Festival Abuja International International Abuja Film Festival International Addis Film Festival Film Festivals in Africa Film Festivals Festival Name Founded APPENDIX 1 183 (Continued) .co.za/ http://www.bojanala.gov.za/ http://www.bojanala.gov.za/ 3rd-annual-bojanala-film- festival/ http://www.ananseman.com/ festival.com/ https://www.facebook.com/ pages/Benindocs-festival- international-du-premier- film-documentaire/204509486 267687/ http://arushaafricanfilm http://arushaafricanfilm http://www.films-for-africa http://www.films-for-africa http://www.ciff.org.eg/ March March/June March/June (thirteen months on screenings of Ghana-TV before in late awards June) Nov All films Nov Films & Films for workshops out-of-school youth Films by by Films Ghanaian students African films Sep Documentaries, by particularly Africans Leon van der Leon van Merwe Bojanala Bojanala District Municipality FaridSamir All films Nov Wakefield Wakefield Ackuaku Hakika Entertainment Farah Clémentine & Dramani Issifou Leon van der Leon van Merwe Bojanala District District Bojanala Municipality & others Mallakh Ackuaku & Mary Birdi, Adjovi Roland Clémentine Farah & Dramani Issifou Cairo, EgyptCairo, El Kamal and Town Cape Bojanala, Bojanala, Accra, GhanaAccra, Wakefield Stellenbosch, Stellenbosch, Africa South Rustenburg, Rustenburg, Africa South Porto Novo & Novo Porto Benin, Cotonou, France & Paris, Arusha, Tanzania Otebele, Akpor 2011 1976 2008 2012 2011 Cairo International International Cairo Film Festival Town & Cape Winelands Film International Festival Arusha African Film Festival BeninDocs Festival (International Documentary First of Film) Film FestivalBojanala 2014 Anansefest 184 APPENDIX 1 Website http://www.encounters.co.za/ http://www.afrifestnet.org/en/ node/117/ index.php/diff-home/ http://www.ambafrance-cm .org/Festival-Ecrans-Noirs/ .com/ .net/ http://festivalcinedroitlibre http://festivalcinedroitlibre .blogspot.co.uk/ http://www.coloursofthenile http://www.coloursofthenile http://www.cca.ukzn.ac.za/ http://www.ekoiff.org/ Period June/July http://www.effaccra.org/ July Nov/Dec http://www.cinemanachia June (and other other (and June times) All films Nov Documentary June films diaspora films diaspora Films by young young by Films & Moroccans Africans African films March rights films films rights by (particularly Africans) Current Current Director Type Hope Obioma Obioma Hope Opara Lesedi Oluko Moshe Simohamed Fettaka Givanni June (Artistic Director) Ros SarkinBassek ba Kobhio Machen Peter Épée Marcel All films African & Communications July Limited & Murphy Nodi Markovitz Steven Pedro PimentaPedro Pimenta Pedro Documentary Sep Semfilms Luc Damiba Human Fettaka Haile Abraham Biru Ouagadougou, Ouagadougou, Durban, South South Durban, Cape Town & Town Cape Johannesburg, Johannesburg, Africa South Africa Cameroon Lagos, Nigeria Supple Mozambique Ethiopia Burkina Faso, Faso, Burkina & seven other (including cities Ivory Abidjan, Coast & Dakar, Senegal) Addis Ababa, Ababa, Addis Accra, GhanaAccra, D’Andrea Claudia Owusu Kwesi Environmental Tanger, MoroccoTanger, Simohamed Yaoundé, Yaoundé, Ended/ Suspended Location Founder 2006 2013 Maputo, 1999 2002 1979 2010 2013 Encounters (South (South Encounters African International Documentary Festival) Film Environmental Accra of Festival Durban International International Durban Film Festival NoirsÉcrans Film International Eko Festival 1997 Colours of the Nile film the Nile of Colours festival Dockanema Festival Name LibreCiné Droit Founded 2004 Cinéma Nachia 2007 APPENDIX 1 185 (Continued) gabon.com/index.php/prog gabon.com/index.php/prog ramme-culturel/cinema/252- escales-documentaires-de- libreville-8eme-edition/ http://www.festivaldemasuku http://www.festivaldemasuku .com/ maintenance) undergoing .com/ http://www.ethioiff.com/ http://www.imagetvie.org/ http://www.dangbecinema http://www.dangbecinema May/June http://www.festimaj.fr/ Aug April/May/June (site http://www.festicab.org/ Documentary Nov/Dec http://www.institutfrancais- All filmsAfrican films Nov Feb/March http://www.fespaco-bf.net/ Films by students students by Films 30 of age to up All films June Nature & Nature environment films Africa; African productions or co-productions All films Dec Imunga Imunga Ivanga Yirgashewa Teshome Michel Ouédraogo Gilles Gilles Lemounaud Groupe Le et Vie Image Otsobogo Tchiakpe Charles Mensah Mensah Charles support with of l’Institut (Gabon) Français & l’Institut de Gabonais Son et du l’Image (IGIS) Linkage Arts Center Resource Alimata & Salembéré others Lemounaud & Lemounaud Anne-Claude Lumet et Vie NgaboLéonce Ngabo Léonce made in Films Nadine OtsobogoNadine Nadine Rabat, MoroccoRabat, Gilles Libreville, GabonLibreville, by Initiated Libreville and and Libreville Ouagadougou, Ouagadougou, Ethiopia Faso Burkina Addis Ababa, Ababa, Addis Bujumbura, Bujumbura, Burundi other parts of of parts other Gabon Cotonou, BeninCotonou, Cinema Dangbe Polycarpe Dakar, SenegalDakar, Image Le Groupe 2004 2006 1969 2006 2001 2013 2009 2010 Ethiopian International International Ethiopian Film Festival (Festival FESPACO Cinéma du Panafricain de Ouagadougou) Escales Documentaire Escales Documentaire de Libreville Festimaj Festival de Cinéma Festival et Vie Image Festival du Film de du Festival & (Nature Masuku Environment) International Festival Cinéma et de du du l’Audiovisuel Burundi (Festicab) International Festival Cinéma Numérique du (FICN) de Cotonou 186 APPENDIX 1 Website p://www.festival-ouidah.org/ http://www.fifdh.blogspot http://www.fifdh.blogspot http://www.festivalfilmafri http://www.festivalfilmafri queiles.fr/ .co.uk/ https://www.facebook.com/ pages/Festival-International- du-Film-Amateur-de-K%C3% A9libia-FIFAK-TUNISIE/138 494026232281?ref=ts&fref=ts/ http://www.imsff.co.za/ htt Period Oct Aug June & especially the African “islands” filmsShort June Tunisian and and Tunisian international films films Current Current Director Type Alain Alain Gili Africa from Films de Jong Jarrod & Jacques Brand María CarriónMaría All films April/May http://www.festivalsahara.org/ Ghassen Jemaia (ILOI) & de Jong Jarrod Brand Jacques Sahrawi Arab Arab Sahrawi Democratic Republic with (SADR) Corcuera, Javier Guillermo José Toledo, Taboada Tunisienne Tunisienne des Cinéastes Amateurs (FTCA) Ouidah, Benin Odoutan Jean Odoutan Jean All films Jan Dakhla, Algeria Reunion IslandReunion Titan Village Pretoria, South South Pretoria, Kelibia, TunisiaKelibia, Fédération Africa (Sahrawi refugee refugee (Sahrawi camp) Rabat, MoroccoRabat, Louzi Omar Louzi Omar rights Human Ended/ Suspended Location Founder 2003 2003 2014 2008 1964 2004 Festival International International Festival Film de Ouidah du (Quintessence) Festival Name International Festival et des Film d’Afrique du Iles (FIFAI) Founded Independent Mzansi Mzansi Independent Film Festival Short (IMSFF) Festival International International Festival Film sur les Droits du Humains (Festival FIFAK Film du International de Kelibia) Amateur (Festival FiSahara de Cine) Internacional APPENDIX 1 187 (Continued) http://irepfilmfestival.com/ http://www.wcoz.org/typo http://www.wcoz.org/typo graphy/126-women-filmakers- of-zimbawe-profile.html/ .co.za/ .org/ http://www.jccarthage.com/ eng/ http://www.jozifilmfestival http://www.jozifilmfestival Aug (biannual)March N/A Dec (biannual) http://associationlagunimages Nov Films about about Films & women, male role positive models (in “New section) Man” Documentary March women All films Feb Documentary & television African & Arab African & Arab films Tsitsi Tsitsi Dangarembga Femi Odugbemi Baba Hama & about by Films Brendon Burmester, Shareen & Anderson, Lisa Henry Noudeou Noelie Houngnihin Mediouni Women Women of Filmmakers Zimbabwe Femi Anikulapo, & Odugbemi, Soyinka Makin & Baba Hama Edouard Alain Traoré Brendon Burmester, Shareen & LisaAnderson, Henry Phoba Tunis, TunisiaTunis, Cheriaa Tahar Mohamed & Ouagadougou Lagos, Nigeria Jahman Africa South Harare & Harare Bulawayo, Zimbabwe Banfora, Burkina Burkina Banfora, Faso Cotonou, BeninCotonou, Mbeka Monique Johannesburg, Johannesburg, 2011 2006 20122000 Kenya Nairobi, Asiba Charles Asiba Charles All films Oct/Nov N/A 2002 1966 2012 I-Represent I-Represent International Documentary Film Festival Film FestivalJozi 2012 International Kenya Film Festival Lagunimages (Festival Lagunimages (Festival de Film, International et de documentaires Bénin) du télévision International Images Images International for Film Festival Women Journées Journées de Cinématographiques (JCC) Carthage Journées de Cinématographiques Africaine de la Femme (JCFA) l'image 188 APPENDIX 1 Website .info/ http://www.lolakenyascreen http://www.lolakenyascreen .org/ luxorafricanfilmfestival.com/ biennale.org/ http://www. Period Aug (annual (annual Aug festival), 6-day also monthly but forum, film weekly school & skill- outreach development & program, fortnightly community cinema mobile & media literacy programs Feb/March http://www.marrakech All films Nov/Dec http://en.festivalmarrakech Films for for Films children African films Sep/Oct http://www.lifmf.com/ cinema, & literature, arts other Current Current Director Type Mélita Toscan Toscan Mélita Plantier du Odengo Maruta FouadSayed films African March Vanessa BransonVanessa Alia Radman arts, Visual Moulay Prince Rachid under His the will of King Majesty VI Mohammed the Independent the Independent Shabab Foundation Marrakech, Marrakech, Marrakech, Marrakech, Lusaka, ZambiaLusaka, Maruta Charity Charity Luxor, EgyptLuxor, & Fouad Sayed Morocco Morocco Nairobi, KenyaNairobi, Odengo Ogova Ogova Ended/ Suspended Location Founder 2012 2001 2011 Lusaka International International Lusaka Festival Music Film and BiennaleMarrakech 2005 Marrakech Film International Festival Luxor African Film Luxor Festival Lola Kenya ScreenLola Kenya 2006 Festival Name Founded APPENDIX 1 189 (Continued) pages/12emes-Rencontres- cin%C3%A9matographiques- de-Bejaia-Alg%C3%A9rie/ 705533829465694/ recitel-2013.html/ wordpress.com/lydie- diakhate-professional- activities/ http://www.rencontresdufilm court.com/en/ pages/Festival-Mis-Me- Binga/159011200775879/ https://www.facebook.com/ https://www.facebook.com/ http://www.cinetogo.com/ May/June http://www.oia.co.za/ All films June Documentary dates Different http://kayelemaproductions. filmsMalagasy May All films Dec Films by women by Films March people LGBT Association Association Abdenour Abdenour Hochiche (President); Samir Ardjoum (Artistic Director) Diakhaté the Short of Film Festival, the French Institute of & Madagascar, Rozifilm Do Jacques Kokou Wandji Project'heurts Laza Nodi MurphyNodi Murphy Nodi about Films International Film Encounters and Festival du Télévision Togo Narcisse Wandji Narcisse Béjaia, Algeria L’Association Madagascar Cape Town & Town Cape Johannesburg, Africa South Cameroon Lomé, TogoLomé, The L’APCAL, Yaoundé, Yaoundé, Antananarivo, Antananarivo, 2006 2003 2008 2006 2011 Ghana Accra, Diakhaté Lydie Lydie 2010 Rencontres du Film du Rencontres Court Madagascar Rencontres Rencontres Cinématographiques de Béjaia Rencontres du Internationales Cinéma et de la (RECITEL) Télévision Out in AfricaOut Documentary Life Real 1994 Film Festival Mis Me Binga (Festival (Festival Binga Me Mis de Films International de Femmes) 190 APPENDIX 1 Website http://www.viloleimages.com/ SLIFFestival/ SIFF.Official/ http://www.festival-tazama .org/ http://www.3continentsfestival .co.za/ N/A http://rwandafilmfestival.net/ https://www.facebook.com/ Period Aug Aug/Sep http://slumfilmfestival.net/ Jan Sep All filmsAll films July social on Films April issues about Films & by “slums” dwellers “slum” focusedFilms on African women films Current Current Director Type Umulisa Mohamed Idoumou Catherine Musola Kaseketi Sun Hot The & Foundation Slum-TV AfifiTalal films All Haidara-Yoka Jan KhannaAnita rights Human Layna FisherLayna Layna Fisher All films Oct/Nov https://www.facebook.com/ Eric Kabera Romeo des La Maison Cinéastes Musola Catherine Kaseketi Sun Hot The Foundation, & the Slum-TV, Spain of Embassy (Kenya) Film Sudan Factory Clapcongo Claudia Uhuru Productions, for Lawyers Rights, Human SACOD and Brazzaville, Brazzaville, Freetown, Sierra Sierra Freetown, Leone Mathare, Nairobi, Nairobi, Mathare, Kenya Khartoum, Sudan areas of Rwanda Zambia Congo- Brazzaville & Town Cape South Pretoria, Africa Mauritania Kibera & Kibera Johannesburg, Johannesburg, Livingstone, Livingstone, Kigali & other & other Kigali Ended/ Suspended Location Founder 2012 2014 2014 2003 2006 20112006 Nouakchott, Sierra Leone Sierra Leone Film International Festival Film FestivalSlum 2011 Independent Sudan Film Festival African Tazama Film Festival Women Film Continental Tri Festival Festival Namefestival film Rwanda 2005 Founded Semaine Nationale du du Semaine Nationale Film Namutitima Shungu Thunders) that (Smoke Film International Festival of Zambia APPENDIX 1 191 http://www.zumafilmfest http://www.zumafilmfest .gov.ng/ http://tropfest.com/africa/ http://www.ziff.or.tz/ http://www.zifft.org/ May All films June that All films the fall within annual festival's theme All films Dec Professor Professor Martin Mhando Dr Danjuma Dadu Wurim Nigel Munyati Munyati Nigel (Acting Director) ys_tid=All&field_discipline_tid=6/ Emerson Emerson Annalisa Skeens, & Anderson, others Corporation John PolsonJohn Polson John films Short March & Munyati Nigel others Zanzibar, Zanzibar, NigeriaAbuja, Film Nigerian Cape Town & Town Cape Tanzania Harare, Harare, Zimbabwe Johannesburg, Johannesburg, Africa South et.org/en/liste-festival?field_pa 1998 1999 2008 2014 : my own research and http://www.afrifestn and research own : my Zanzibar International International Zanzibar (ZIFF) Film Festival Zimbabwe Film International Festival International Zuma Film Festival Tropfest Short Film Short Tropfest Africa (South Festival version) Sources Appendix 2

African Film Festivals Outside of Africa 194 APPENDIX 2 Website festival.de/ motion.org.uk/ http://www. africainthepicture.nl/ en/welcome/ filmfestival.com/ http://www.africala.org/ web/templates/index .php?page=17/ http://nyadiff.org/ .com.au/ times March/Oct http://www.africaworld times times documentary films African filmsAfrican Various Reinaldo Barroso- & Diarah Spech N’Daw-Spech Founder Director Current Type Period Kitty VinckeKitty Gikas Natascha African films Jan/Feb http://www.africa-alive- Lizelle BisschoffBisschoff Lizelle films African Oct/Nov http://www.africa-in- Mariët BakkerMariët Lobato Heidi African films Various Niyi Coker, Jr. Coker, Niyi Jr. Coker, Niyi African Flavio FlorencioFlavio Florencio Flavio African films Various Reinaldo Barroso- & Diarah Spech N’Daw-Spech Samira FarahSamira Farah Samira African films April/May http://africanfilmfestival Frankfurt am Main, Main, am Frankfurt Germany other parts of Scotland) of parts other cities in Netherlands) cities Lawrence, USA; Lawrence, USA; Birmingham, USA; Philadelphia, Barbados; Hill, Cave Barbados; Bridgetown, Cameroon; Yaounde, Nigeria; & Lagos, Ibadan UK; Bellville, London, South Africa; Kingston Jamaica Saint Louis, USA; Louis, Saint American countries American Washington D.C. & Paris, & Paris, D.C. Washington France) Edinburgh (and travels to to travels (and Edinburgh New York (also in Chicago, (also in Chicago, York New Australia regional Amsterdam (and other other (and Amsterdam Mexico and various South South various and Mexico Melbourne, Sydney, 2007 1993 2012 2007 Africa Alive 1994 African Film Festivals Outside of Africa of Outside African Film Festivals NameFestival Founded Ended Location Africa in Motion 2006 Africa in the Picture 1987 Africa World Africa World Documentary Film Festival Africala African Diaspora Film International Festival African Film Festival African Film Festival Australia APPENDIX 2 195 (Continued) afrikafilmfestival.be/ .de/ connection.com/ projects/mediatheory/ mediatheory-2013/ afrikanischefilmtage/ .pl/ blicke-afrika.de/ African films March/April http://www. African films Nov http://www.afrikamera African films Oct/Nov http://www.xmlab.org/ African films April http://www.afrykamera African films Oct/Nov http://www.augen- African films Oct N/A Sinclair & BrightSinclair African films Nov http://afrikaeye.org.uk/ Guido Huysmans Huysmans Guido & Guido Convents Sawadogo Academy Academy Fine Artsof Saarland Saar, University Przemek Stepien Stepien Przemek (Artistic Director) Burkhard Ingrid Leber, Hans- Wernich, Heinrich Jörg & Alexandra Antwi-Boasiako N/A Ingrid Sinclair & Sinclair Ingrid Simon Bright Simon Guido Convents Guido Academy of Fine of Academy Saarland Arts Saar, University Filmgramm Filmgramm & the Foundation for Foundation Somalia Ingrid Wernich, Wernich, Ingrid Heinrich Hans-Jörg & Alexandra Antwi-Boasiako Jane Bryce Jane Berlin, Germany e.V. toucouler Alex Moussa Bristol, UK Bristol, Leuven, BelgiumLeuven, & Huysmans Guido GermanyMunich, - Connection Jokko Leni Senger films African Oct/Nov http://www.jokko- Saarbrücken, Germany and and Germany Saarbrücken, region greater Warsaw, Poland and other other and Poland Warsaw, the country around cities Hamburg, GermanyHamburg, Leber, Burkhard 2011 2001 2006 2002 2007 Barbados Afrika Eye 2007 Afrika Filmfestival 1996 Afrikamera 2008 Afrikanische Filmtage Afrikanische Filmtage/Journees Cinema Africain/ du African Cinema Festival AfryKamera African Film Festival Augen Blicke Afrika Blicke Augen 2012 Barbados Festival Festival Barbados African and of Caribbean Film 196 APPENDIX 2 Website cambridgeafricanfilm cambridgeafricanfilm festival.org.uk/ africanfilmfestival.com/ http://www.africanfilm http://www.africanfilm festival.org/ AsurB/index.html/ http://www .cinemaafrica.com/ dafrique.ch/ pleinsud.com/ March times Feb http://www.festival African films Jan/Feb/ African films Aug http://www.cinemas Short African Short films Ade OkeAde African films May/June http://www.carlow Estrella SendraEstrella African films Nov http://www. Tara Foster with with Foster Tara the committee Dina Afkhampour African films March http://cinemafrica.se/ Alain Bottarelli & Bottarelli Alain Samb Boubacar Marion Tessier & Tessier Marion others Founder Director Current Type Period Yoshida Yoshida Miho African films Various Ade Oke Ade Rachel Giraudo, Rachel Giraudo, Horrell, Georgina & Mathuray, Mark Suzman James Lindiwe Dovey, Dovey, Lindiwe Mary Linda Elegant, Michael Holmström, & Joseph Dembrow, Smith-Buani Miho & others Afrique Cinémas in the with partnership Suisse Cinémathèque Festival Plein Sud Plein Sud Festival association Cambridge, UK Cambridge, Japan Tokyo, Portland, USA Portland, Carlow, Ireland Carlow, Lausanne, SwitzerlandLausanne, L’Association Val de Bièvre, France de Bièvre, Val Afrique sur Bièvre Lise Doussin African films Nov http://www.asurb.com/ Cozes, France Stockholm, SwedenStockholm, Bushell-Mingo Josette 2002 2005 1991 2007 2000 Festival NameFestival African Cambridge Film Festival Founded Ended Location Carlow African Film Carlow Festival Cascade Festival of of Cascade Festival African Films Ciné Regards Ciné Regards Africains Cinema Africa Tokyo 2006 CinemAfrica 1998 Cinémas d’Afrique 2006 CinéSud Festival Festival CinéSud court métrage du africain APPENDIX 2 197 (Continued) cinemaafricano.org/ .cfwb.be/index.php? .cfwb.be/index.php? id=6911/ festival.fr/ .altervista.org/ dufilmpanafricain.org/ African films Oct http://www.fcat.es/ African films April/May http://www.festival African films April http://www.audiovisuel African films Nov http://festivalafricano African films April http://www.festival African films Sep http://fifda.org/ Mane Cisneros Cisneros Mane Manrique Rosella Scandella & Gabriella Rigamonti N/A Vanessa Lanari, Vanessa & Buemi, Giusy Stefano Gaiga Eitel Basile Eitel Ebelle Ngangue Reinaldo Barroso- & Diarah Spech N’Daw-Spech Mane Cisneros Cisneros Mane Manrique Orientamento Educativo Various organizationsVarious Clemm Marie African films Nov http://www.africapt- Eitel Basile Ngangue Basile Ngangue Eitel others Three organizations organizations Three (Centro Missionario Missionario (Centro Progetto Diocesano, MLAL, Mondo Nigrizia) Fondazione Reinaldo Barroso- Ebelle Spech & Diarah & Diarah Spech N’Daw-Spech Associazione Centro Centro Associazione travels to other parts other to travels through Spain of Cinenómada) Italy Milan, Cordoba, Spain (and (and Spain Cordoba, Apt, France Apt, Verona, Italy Verona, Cannes, France Paris, France Paris, 2004 1991 2005 2012 Brussels, Belgium & Engelen Aurore 2003 1982 2004 2011 FCAT - Festival - Festival FCAT de Cine Africano Cordoba Festival Cinema Festival e Asia Africano, America di Latina Milano Festival des Cinémas Festival de Africains Bruxelles Festival des Cinémas Festival Pays du d’Afrique d’Apt Festival di Cinema Festival Africano di Verona Festival International International Festival Film Panafricain du FIFDA (Festival (Festival FIFDA des International de la Diaspora Films Paris Africaine) [The ADIFF] leg of 198 APPENDIX 2 Website .org/ festival.org/ 2013/en/ .com/globaleff/ films.fr/ frique.com/ ground.org/profile/ african-culture- foundation-maine- african-film-festival/ Monthly http://www.maghrebdes African films Nov http://www.filmafrica African films May http://galwayafricanfilm African films N/A http://www.creative films wa Ngugi films African May http://www.haff.fi/ Royal African Royal Society Heike Vornhagen Vornhagen Heike Trisha and Buddin Youssef SolimanYoussef films Egyptian Sep https://en-gb.facebook Gérard MarionGérard African films Nov http://www.lumieresda Founder Director Current Type Period Sarah Clancy, Galway Galway Clancy, Sarah Kazeem LawalKazeem N/A Namvula Rennie & Namvula African the Royal Society One World Centre, Centre, One World Film Society, Galway School of & Huston Media Film & Digital Global Egyptian Film Global Egyptian Lindiwe Dovey, Dovey, Lindiwe Festival (GEFF) Festival Le Maghreb des FilmsLe Maghreb Bachir Hadjadj African North pour la Promotion des la Promotion pour Arts et des Cultures d’Afrique) Galway, Ireland Galway, Helsinki, FinlandHelsinki, wa Ngugi Wanjiku Wanjiku Hong Kong Hong Paris, France Paris, London, UK London, Besançon, France (Association APACA 2008 2011 2012 2009 2009 2010 Maine Portland, Festival NameFestival Film Africa Founded Ended 2011 Location Galway African Film Galway Festival Helsinki African Helsinki Film Festival Hong Kong Egyptian Kong Hong Film Festival Le Maghreb des Le Maghreb Films Lumières d’AfriqueLumières 1996 Maine African Film Maine Festival APPENDIX 2 199 (Continued) malembe.ceart.udesc .br/apresent.htm/ silver/films/2013/v10i1/ naff2013.aspx/ filmny.org/ week.com/ afrika.de/index.php? afrika.de/index.php? id=309&L=1/ .com/welcome.html/ May/June http://www.nollywood Jan-Feb http://en.menarfest African films Oct http://malembe African films Oct N/A films African films Sep http://www.filme-aus- films Group of of Group and professors at students UFSC & UDESC in (universities Catarina, Santa Brazil) Todd HitchcockTodd African films March http://www.afi.com/ Karl RösselKarl Ayuko BabuAyuko African films Feb http://www.paff.org/ Zdravko GrigorovZdravko African North Serge NoukouéSerge Noukoué Serge Nollywood Group of professors at students and UFSC & UDESC in Santa (universities Brazil) Catarina, TransAfrica, afrikafe afrikafe TransAfrica, Film & the American Institute Mahen BonettiMahen Bonetti Mahen African films April/May http://www.african DuBois, & Ayuko DuBois, & Ayuko Babu (Zdravko Grigorov & Grigorov (Zdravko Hadzhiyski) Angel Pozor Company Company Pozor Paris, France Paris, Brazil Silver Springs, Maryland, Maryland, Springs, Silver USA USA) Silicon Valley, USA Valley, Silicon C. Nwoffiah Chike Nwoffiah C. Chike African films Oct http://www.svaff.org/ New York (and across across (and York New Cologne, Germany FilmInitiativ & Christa Aretz Sofia, Bulgaria Sofia, Los Angeles, USALos Angeles, Ja'net Glover, Danny 2007 2009 Manaus, and Florianópolis 2005 1993 2013 1992 1992 2010 2009 2007 2008 Canada Vancouver, Johnson Ebony N/A Malembe Malembe: Malembe: Malembe de Cinema Mostra Africano New African Films African Films New Festival New York African York New Film Festival Nollywood Film Nollywood Week “Out of Europe” African Film Festival Pan African Film Pan (PAFF) Festival Silicon Valley Valley Silicon African Film Festival Sofia Middle Sofia & East Africa Film North Festival Vancouver Pan Pan Vancouver African Film and Arts Festival 200 APPENDIX 2 Website afrique.com/ africa.co.uk/ N/A http://wocaf.org/ Films by and/ by Films or about about or of women color Gérard Le ChêneGérard African films April/May http://www.vuesd N/A Founder Director Current Type Period and http://film.britishcouncil.org/festivals-directory/ and Fadhili MaghiyaFadhili Maghiya Fadhili films African Nov/Dec http://www.watch- Iyàlódè productions productions Iyàlódè others and Auburn Avenue Avenue Auburn and Research Library Montreal, CanadaMontreal, & Wera Françoise Cardiff, Wales Cardiff, 2013 2005 2012 US Atlanta, : my own research; http://www.filme-aus-afrika.de/index.php?id=312&L=1/; http://www.filme-aus-afrika.de/index.php?id=312&L=1/; research; own : my Festival NameFestival d’AfriqueVues Founded 1984 Ended Location Sources Watch Africa: Wales Africa: Wales Watch African Film Festival WOCAF (Women of of (Women WOCAF Film) ArtsColor and Festival Appendix 3

Major International Film Festivals that Support African Filmmaking 202 APPENDIX 3 African Filmmakers Of Special to Interest World Cinema Fund World This is the only FIAPF- This is the festival film accredited in Africa Cinémas du Monde Monde Cinémas du its and pavilion programs; related the South at events African, Nigerian, North and Kenyan, African pavilions AsiaAfrica Program & AsiaAfrica Program Awards Produire au sud au Produire (see http://www .3continents.com/fr/ produire-au-sud/), program a training and workshop berlinale.de/en/ HomePage.html/ eg/ (note: there are are there eg/ (note: problems currently the website) with .festival-cannes .festival-cannes .com/en.html/ filmfest.com/ 3continents.com/ Dec http://www.dubai Nov/Dec http://www. All films Feb http://www. All films, All films, focus on but cinema Arab Africa, Asia & Latin America Current Current Curator ofCurator African FilmAfrican Type Period Website Dorothee Dorothee Wenner N/A All films Nov/Dec http://www.ciff.org. N/A All films May http://www Nashen Nashen Moodley Jérôme Baron Films from Current Current director(s) Kosslick Dr Ezzat Dr Ezzat Ouf Abou (President) Thierry Frémaux Abdulhamid Abdulhamid Juma Jérôme Baron Oscar MartayOscar Dieter Mallakh & Mallakh others Jean Zay, then French for Minister and Education Fine Arts Dubai Dubai Entertainment & Media Organization Alain & Alain Philippe Jalladeau Dubai, Dubai, Cairo, EgyptCairo, El Kamal Germany Berlin, France Cannes, United Arab Emirates Nantes, Nantes, France Ended/ Ended/ Suspended Location Founder 1951 1976 1946 2004 1979 Berlin Film Festival Cairo Cairo International Film Festival Cannes film festival Dubai Dubai International Film Festival Major International Film Festivals that Support African Filmmaking Support that Film Festivals International Major Festival Name Founded Festival des 3 Festival Continents APPENDIX 3 203 (Continued) (six issues a year) Les Fonds de Les Fonds Dévélopment Scénario (a du award); screenwriting Le Film the journal Africain et Le Film du Sud festamiens.org/ bruxelles.be/ .facebook.com/ cinemadumonde/ http://www.fiff. https:// OR ch/en/ en-gb.facebook. com/Fribourg InternationalFilm Festival/ Nov http://www.film Oct http://www.fiff.be/ Nov http://www.fifi- Jan https://en-gb March/ April All films, All films, focus but African, on Asian, & Latin American film films cinema cinema Asian, Asian, African & Latin American films Fabien Gaffez Gaffez Fabien & Jean-Pierre García N/A World N/A World N/A on Focus Fabien Fabien Gaffez Nicole GilletNicole N/A Francophone Nabila Belkacem (Artistic Director) Camille Camille Jouhair Thierry Jobin Jean-Pierre Jean-Pierre García Olivier Olivier Gourmet Robert Robert Malengreau Camille Camille Jouhair Martial Knaebel, Bossy Magda Stern & Yvan France Rouen, Rouen, Amiens, Amiens, Namur, Namur, France Belgium France Switzerland Brussels, Fribourg, Fribourg, 1980 1986 1972 1996 1985 Festival international film du d’Amiens Festival International Film du Francophone du Namur Festival International Film du Independent de Bruxelles Festival sur Regards le cinéma du monde Fribourg International Film Festival 204 APPENDIX 3 African Filmmakers Of Special to Interest Göteborg International International Göteborg Fund, Film Festival 1998- from which ran 2011 (http://www.giff .se/en/film-fund/) Blue Ice program program Ice Blue training) and (funding African filmmakers for (http://www.hotdocs .ca/funds/hot_docs_ blue_ice_group_ documentary_fund/) The BerthaFund (http://www.idfa. nl/industry/idfa- bertha-fund.aspx/), funding production from filmmakers for countries’ ‘developing .se/en/ .ca/ nl.aspx/ April/May http://www.hotdocs Nov http://www.idfa.nl/ Documentary Documentary films films Current Current Curator ofCurator African FilmAfrican Type Period Website N/A All films Jan/Feb http://www.giff Elizabeth Radshaw (Co-ordinator Ice Blue of program) Current Current director(s) Jonas Jonas Holmberg (Artistic Director) Brett Brett Hendrie (Executive Director) Göran Göran Bjelkendahl & Gunnar Carlsson Documentary Documentary Organization of Canada Ally DerksAlly Derks Ally N/A Documentary Göteborg, Göteborg, Sweden Toronto, Toronto, Canada Holland Amsterdam, Amsterdam, Ended/ Ended/ Suspended Location Founder 1978 1993 1988 Festival Name Göteborg Founded International Film Festival Hot Docs Film Hot Festival IDFA IDFA (International Documentary Film Festival Amsterdam) APPENDIX 3 205 (Continued) Hubert Bals Fund Fund Bals Hubert other and (funding filmmakers for support ‘developing from (http:// countries’) www.filmfestivalrotter dam.com/ professionals/ hubert_bals_fund/) which sometimes which sometimes for funding provides African filmmakers Open (a Doors training and screening which program), focusessometimes on African filmmakers festivalrotterdam festivalrotterdam .com/nl/ .pardolive.ch/en/ May/June http://www.iffi.at/ All films Jan http://www.film Africa, Latin America, Asia, Central & Eastern Europe All films Aug http://www Gertjan Gertjan & Zuilhof Carels Edwin N/A from Films Alex Moussa Alex Moussa Sawadogo (African film advisor) Wolfson Groschup Ko Suk-manKo N/A All films May http://eng.jiff.or.kr/Project, Digital Jeonju Carlo Chatrian (Artistic Director) Hubert BalsHubert Rutger N/A Helmut Soyoung Kim Kim Soyoung & others Cinephiles Cinephiles in Locarno, over who took the state- organized “Rassagna del italiano” film in Lugano, Switzerland Rotterdam, Rotterdam, Holland Innsbruck, Innsbruck, Austria Jeonju, Jeonju, Korea South Switzerland Locarno, Locarno, 1972 1992 (as America Film Festival; changed in name 1999) 2000 1946 International International Film Festival Rotterdam (IFFR) Internationales Internationales Film Festival Innsbruck Jeonju International Film Festival Locarno Locarno International Film Festival 206 APPENDIX 3 African Filmmakers Of Special to Interest Program (initiated in (initiated Program 2013) Middle East and EastMiddle and program African film Rasha Salti by curated Final Cut program for for program Final Cut African filmmakers, the 2013 at which ran the festival of edition (http://www.labiennale .org/en/cinema/ archive/70th-festival/ final-cut/) .uk/lff/ festivals/thefestival/ .labiennale.org/en/ cinema/ lude North African but not sub-Saharan films and filmmakers and films sub-Saharan not African but North lude All films May/June http://www.siff.net/ Pictures African Current Current Curator ofCurator African FilmAfrican Type Period Website Keith ShiriKeith All films Oct http://www.bfi.org Kaspar Rasha Salti All films Sep http://tiff.net/ N/A All films Aug/Sep http://www Current Current director(s) Clare Clare Stewart Carl Spence Dustin Piers Piers Handling & Cameron Bailey (Artistic Director) Alberto Alberto Barbera James Quinn James & others & Darryl & MacDonald William William Marshall, der Van Henk & Dusty Kolk, Cohl Mussolini the list above, since they generally inc since they generally in the list above, cinema” “Arab focused on festivals film London, UKLondon, Powell, Dilys Seattle, USASeattle, Ireland Dan Venice, ItalyVenice, Benito Toronto, Toronto, Canada Ended/ Ended/ Suspended Location Founder 1957 1976 1976 1932 : I have not included Arab film festivals, or festivals, film Arab included not : I have : my own research and http://www.filme-aus-afrika.de/index.php?id=312&L=1/ and research own : my Festival Name Film London Founded Festival Please note Sources Seattle Seattle International Film Festival Toronto International Film Festival Venice Film Venice Festival Appendix 4

Black Film Festivals 208 APPENDIX 4 Website http://www.affrm.com/ .html/ pages/BFM-International- Film-Festival/147334403183/ .org/blackharvest2013/ cinema.com/ Throughout year films filmsBlack May http://black-international- Nadia DentonNadia films Black ScharresBarbara films Black Nov Aug https://www.facebook.com/ Muldrow Donald Griffith http://www.siskelfilmcenter Ava DuVernayAva DuVernay Ava African American Shabazz of Film Center the School of the Art Institute Chicago of Muldrow Griffith AlexanderDean Dean Alexander films Black Oct/Nov http://www.biffestival.co.uk/ Throughout Throughout USA USA York, New Renee Terra Lemmons Kasi films Black USA York, New Friday Jeff Nov Friday Jeff http://aawic.org/Home_Page films Black Berlin, Germany Donald http://www.abff.com/ June Birmingham, UK Chicago, USAChicago, Gene Siskel Ended/ Suspended Location Founder director(s) Current Type Period 2013 1998 1997 1998 20091995 UK London, Menelik 1986 2007 African Film American Releasing Festival Movement African American in Women Cinema Film Festival Black American Film Festival BFM International Harvest Black Film Festival Black International Cinema, Berlin Black International Film Festival Black Film Festivals Black Festival Name Founded APPENDIX 4 209 (Continued) festival.com/ Garyblackfilmfest/ women.com/ .org/film-festival/ Jan/Feb http://blackmovie.ch/ April/May http://www.langstoninstitute Black filmsBlack Aug http://www.capcitybff.com/ Emerging talents talents Emerging established and mostly filmmakers Africa, Asia, from America& Latin films Harrell D. Williams Williams D. Harrell G. & Winston Williams Kate Reidy & Maria & Maria Reidy Kate Watzlawick Adrienne AndersonAdrienne films Black MoscouJacqueline Oct African American http://www.ibwff.com/ Harrell D. D. Harrell & Williams G. Winston Williams Tommy NicholsTommy Nichols Tommy films Black Feb/March http://charlotteblackfilm Atharina von von Atharina Flotow Karen ToeringKaren Toering Karen films Black Oct https://www.facebook.com/ Tanya KerseyTanya Kersey Tanya films Black Adrienne Anderson Oct Hughes http://www.hbff.org/ Performing Arts Institute Hollywood, LA, Hollywood, Charlotte, North North Charlotte, Gary, Indiana, Indiana, Gary, USA Carolina, USA Carolina, Switzerland USA USA USA Austin, Texas, Texas, Austin, London, UKLondon, Rano Sylviane Rano Sylviane Francisco, San films Black April/May http://www.imagesofblack Geneva, Seattle, USASeattle, Langston 2013 2011 1991 2010 2001 2005 2002 2004 Capital City City Capital Film Black Festival Charlotte Black Black Charlotte Film Festival Black Festival Movie Gary International Film Black Festival Black Hollywood Film Festival Images of Black Black of Images Film Women Festival International Women's Black Film Festival Langston African Hughes film American festival 210 APPENDIX 4 Website .com/ pages/North-Carolina- Black-Film-Festival/ 152972808069183/ https://en-gb.facebook.com/ ParisBlackFilmFestival/ portland-black-film-festival-2/ .org/ .html/ festival.com/ times Black filmsBlack Different filmsBlack June http://www.sfbff.org/ Emile Castonguay films Black Sep http://www.montrealblackfilm Charlon TurnerCharlon films Black & Diop Paméla Marchothers https://www.facebook.com/ Lisa Simmons films Black Huff-WillisKaren films Black June Jan/Feb http://www.roxburyfilmfestival Crossley http://www.sdbff.com/index Colas and the Colas and Colas Fabienne Foundation Rhonda Rhonda Bellamy others WalkerDavid Walker David The Color Film of films Black Collaborative Feb Historical Society San of Diego http://hollywoodtheatre.org/ MontegueAve & Katera O’Ray Kali SmallDavid Small David films Black Feb http://www.texasblackfilm Roxbury, Roxbury, Dallas, Texas, Dallas, Texas, Quebec, Canada Fabienne Boston, USA Wilmington, Wilmington, USA USA Oregon, USA USA Paris, FranceParis, & Diop Paméla Portland, USA Diego, San Black The Francisco, San Ended/ Suspended Location Founder director(s) Current Type Period 2005 2002 2014 2013 1999 2002 1998 2008 Festival Name Founded Montreal International Film Black Festival North Carolina Carolina North Film Black Festival Film Black Paris Festival Black Portland Film Festival Roxbury International Film Festival Black Diego San Film Festival Francisco San Film Black Festival Film Black Texas Festival APPENDIX 4 211 festival.org/about-tcbff/ N/A http://wocaf.org/ Films by and/or and/or by Films about women of of women about colour Emile Castongauy films Black Feb http://torontoblackfilm.com/ N/A & GLOBAL & GLOBAL Toronto Natalie MorrowNatalie Morrow Natalie films Black & productions Oct Avenue Auburn Research Library on http://twincitiesblackfilm African American and Culture History New York, USA York, New Stacy Spikes Glore Gabrielle films Black Sep http://urbanworld.com/ Toronto, CanadaToronto, Colas Fabienne USA Minneapolis, Minneapolis, 2013 2002 2005 2012 USA Atlanta, Iyàlódè : own research : own Toronto Black Black Toronto Film Festival Sources Twin Cities Black Black Cities Twin Film Festival Urban WorldUrban WOCAF 1997 Color of (Women Film) Arts and Festival Notes

Prelims

1. By “guerilla researchers” I mean people who are not bound by academic hierarchies of prestige (from student to professor), and who are unafraid to create their own uncon- ventional sources of knowledge, through attending events, conducting interviews, and pursuing unusual avenues of thought and action.

Introduction

1. For a constantly updated bibliography of scholarship on film festivals, see Skadi Loist and Marijke De Valck’s Film Festival Research Network Bibliography: http://www .filmfestivalresearch.org/index.php/ffrn-bibliography/. Dina Iordanova has also been a pioneer in this field, and her series of (co)edited books on film festivals published by St Andrews Film Studies is an important resource. 2. De Valck (2007), Wong (2011), and Cousins (2013) all seem to concur on this point, as do many of the filmmakers from Africa I interviewed in the course of my research. 3. In this sense, the way Adesokan (2011) speaks of the “shuttling” that occurs between cultural and economic spheres in the global art market is important, but does not ad- equately recognize how imbricated these spheres in fact are. 4. For a fascinating study of how symbolic and long-term financial value accrue to visual art works (rather than film), see Thornton (2009). 5. Grayson Perry expressed these views in the third of his four BBC Reith Lectures, titled “Nice Rebellion: Welcome In,” which was first broadcast on BBC Radio 4 on October 29, 2013. The lecture series was called “Playing to the Gallery.” 6. See, however, Goerg (1999), Apter (2005), Belghazi (2006), Vincent (2008), Boum (2012), Gibbs (2012), Olaniyan (2012), Andrieu (2013), Barka and Barka (2013), Coquery-Vidrovitch (2013), and Djebbari (2013). It is perhaps symptomatic of historical relationships between Europe and Africa that the discipline that has produced the most scholarly research on festivals in Africa is that of Anthropology (see, e.g., Ranger 1975, Lentz 2001). Recently, the field of African art studies has paid increasing attention to festivals and exhibitions and, in particular, the work of the Nigerian-born curator Okwui Enwezor (see, e.g., “The Twenty-First Century and the Mega Shows: A Curators’ Roundtable” in Nka: Journal of Contemporary African Art [Spring/Summer 2008]: 152–88; and Ogbechie 2010). 7. Loist and De Valck’s film festival bibliography lists most of the work previously published on film festivals and Africa here: http://www.filmfestivalresearch.org/index.php/ ffrn-bibliography/6-transnational-cinemas/6-3-africa/. Beyond these works, see Vieyra (1969), Tomaselli (1981 and 1984), Diawara (1992a and 2010), Ouedraogo (1995), Gi- vanni (2004), McCain (2011), Caillé (2012), and Dupré (2012). 214 NOTES

8. The 2013 Durban InternationalFilm Festival held one of the first panel discussions that included reflection on the role film festivalsplay in the success of films. This panel, held on July 22, 2013, was called “Window to the World—An Insight into World Trends,” and panelists included Stephanie McArthur (HotDocs), Christine Troestrum (Berlin Film Festival), Iwana Chronis (International Film Festival of Rotterdam), Melanie de Vogt (International Documentary Festival of Amsterdam), and Ayuko Babu (Pan Afri- can Film Festival of Los Angeles). 9. One might assume that if Film Africa had access to the only print, the illegal copying of the film could have occurred at our screening. This would not seem to be the case, however, as the subtitling was not identical. 10. See Lobato (2012: 69–92) for an illuminating discussion of different ways of thinking about piracy. 11. See Wakefield (1962), Preuss (2004), Richards (2006), Hooker (2008), Karpińska– Krakowiak (2009), Abrahams and Wishart (2010), Rasmussen (2010), Roche (2011), Horning (2011), Dorsch (2011), Federici et al (2012), Wynn and Yetis-Bayraktar (2012), Getz (2012), Boum (2012), and Vilenica (nd). 12. De Valck puts the figure much lower, at between 1,200 and 1,900 annually (2007: 105); WithoutaBox, a festival submission platform for filmmakers, claims to work with 5,000 festivals (https://www.withoutabox.com/); Ruoff says there are “several thousand” throughout the world (2012a: 1). 13. Translations from Goerg (1999a) are my own. 14. See the film Édouard Glissant: One World in Relation (2010). 15. This quotation is found on the Cannes film festival’s website, in the section that describes the festival’s history (see http://www.festival-cannes.com/en/about/aboutFesti- valHistory.html/). 16. I have conducted approximately 100 interviews with “experts” as well as with “ordinary” festival participants. For a list of the interviews cited in the book, see the Bibliog- raphy. 17. I conducted the following surveys in the course of my research: an electronic survey of directors of African film festivals outside of Africa, in 2010 (13 respondents); a paper- based survey of audiences at the 2010 Tarifa African Film Festival (129 respondents), co-conducted with Federico Olivieri; a paper-based survey of audiences at the 2010 Kenya International Film Festival (168 respondents); a paper-based survey of audiences at the 2010 Amakula Kampala International Film Festival in Uganda (66 respondents); a paper-based survey of audiences at the 2013 Rwanda Film Festival (results still being collated); a paper-based survey of audiences at the 2013 Durban International Film Festival (352 respondents); and an electronic survey of “festival” filmmakers from Africa in 2013 (37 respondents). 18. I conducted the following control-group discussions: a two-hour discussion with 20 young women from the Kibera Girls Soccer Academy after a screening of Soul Boy (2010) at the 2010 Kenya International Film Festival (KIFF); a two-hour discussion with approximately 30 local participants at the 2010 KIFF about their views on the festival; and a two-hour discussion with approximately 30 local participants at the 2010 Amakula Kampala International Film Festival about their views on the festival.

Chapter 1

1. Before the advent of the digital era, one might have argued that film had an “aura” in the form of its original print on celluloid. Today, however, the ubiquity of digital copying NOTES 215

means that an “aura” no longer holds in any meaningful way, except perhaps in the rare case of a film existing as a sole copy in archives or through the work of film restoration. 2. See Apter (2013) for a related argument about “world literature.” 3. This is not unlike the impulses of some early ethnographic filmmakers, who instructed “indigenous” subjects to keep all signs of their modern lives out of the frame (Heider 1994). 4. A recent, controversial “restaging” of a world fair in Norway has reignited debate on this topic (Mwesigire 2014). 5. Along with introducing a film festival to complement the visual arts–focused Biennale, the Fascist government initiated a music festival, a drama festival, and poetry competition in the early 1930s (Stone 1999: 190). 6. All three of these films are on YouTube, although without English subtitles: http://www.youtube.com/watch?v=6jjZ9U-4nN4/, https://www.youtube.com/watch?v= Kd8Rt3rHvks/, http://www.youtube.com/watch?v=tnZUMMxfJQ4/ 7. It was only in North African countries where colonial control was not as overwhelming that Africans were able to make films in the years prior to this; for example, in Egypt, where a flourishing film industry began in the 1930s, following the country’s 1922 declaration of independence from British military occupation (Shafik 2007). There are a few examples of Africans making films elsewhere as well; for example, the Sudanese filmmaker Gadalla Gubara’s Song of Khartoum in 1955 (see also the documentary about Gubara, Cinema in Sudan [2008]), and Chief William Wilberforce Kajiumbula Nadi- ope’s films circa the 1930s in East Africa (see Sanogo 2011: 241). 8. Several books emphasize that the production and exhibition of such films continues today (see, for example, Higgins 2012 and Eltringham 2013). 9. Since 2008, film festivals globally have been regulated and accredited (or not) by FIAPF (the International Federation of Film Producers Associations), based in Paris. Festivals accredited by FIAPF are the ones generally known as being part of the “A list”; there is only one “A-list” festival in Africa: the Cairo International Film Festival (founded 1976). As FIAPF says, “Accredited festivals are expected to implement quality and reli- ability standards that meet industry expectations.” These expectations include strong, year-round resources and structures; international film programming and constitution of juries; professional standards in terms of the printed festival materials; and copyright protection of selected films. The FIAPF does note, however, that it also sees its role as to “support some festivals’ efforts in achieving higher standards over time, despite economic or programming challenges which often stem from a combination of un- favourable geopolitical location, budgets, and a difficult place in the annual festivals’ calendar. This is particularly relevant in the context of the unequal levels of resources and opportunities between film festivals in the Southern and Northern hemispheres.” I am not aware, however, of an African film festival that receives FIAPF support. (See http://www.fiapf.org/intfilmfestivals.asp/.) 10. I had 37 responses to my survey, from filmmakers based all over Africa and in the diaspora, including: Kenya, Morocco, Burkina Faso, South Africa, Senegal, Ethiopia, Ghana, Namibia, Cameroon, Egypt, Mali, Ivory Coast, and Equatorial Guinea. Since the survey focused on African filmmakers’ experiences of film festivals, I circulated it particularly among those filmmakers whose work had recently been screened and lauded at festivals. The survey was created through Free Online Surveys, and a copy is available on request. 11. The relevant question was “Which festival(s) would you be most thrilled to have your film screened at?” The collated response was, in order of preference: Cannes (11); Sundance (10); Berlin (10); Toronto (6); FESPACO (4); Venice (3); Karlovy Vary (1); 216 NOTES

IDFA (1); Durban (1); Milano African Film Festival (1); Film Africa (1); Tribeca (1). Several respondents left this answer blank, perhaps registering their disenchantment with festivals. 12. It was not until 1972, however, that Cannes transformed its programming proto- col from accepting national submissions to active curation (see Gilles Jacob in Latil 2005: 3). 13. For example, one can consider the way the “A-list” film festivals have self-consciously aligned themselves within an annual calendar so as not to clash with one another. The success of the London Film Festival under former director Sandra Hebron, for example, has been partly credited to Hebron’s changing the date of the festival from November to October to better integrate it within the international film calendar (Calhoun nd). 14. Translations from Latil (2005) from French to English are my own throughout this chapter. 15. See http://www.festival-cannes.com/en/archives/cms/55891.html/. 16. The best chance for someone who does not work in the film industry to attend the festival is through applying for a “cinéphile” accreditation. Nevertheless, the festival would remain prohibitively expensive to most, with the cost of hotel rooms increasing dramatically during the 12 days of the festival. I have attended the festival not in my capacity as an academic but as a film professional, thus gaining access to a “market” badge, which provides entry to all the screenings (including industry screenings) as well as the Marché du Cinéma. 17. See http://www.festival-cannes.com/en/archives/cms/55891.html/. 18. See http://tiff.net/festivals/thefestival/theprogrammers/. 19. The “Big Five Festivals” are Venice, Cannes, Locarno, Berlin, and Rotterdam. This label is somewhat of a misnomer now, however, since there are equally important festivals elsewhere, such as the Toronto International Film Festival in Canada, Sundance in the US, and the Busan International Film Festival (formerly called the Pusan International Film Festival) in South Korea.

Chapter 2

1. Loredana Latil says it was the Prix du 50ème anniversaire (2005: 297). 2. See http://www.festival-cannes.fr/en/about/whoWeAre.html/. 3. See http://www.quinzaine-realisateurs.com/presentation-h68.html/. 4. See http://www.semainedelacritique.com/EN/historique.php/. 5. The main awards given at Cannes are: the Palme d’Or (for the best film); the Grand Prix; the Best Director; the Best Screenplay Award; the Camera d’Or (for best first film); the Jury Prize; the Best Actress and Actor Awards; the Palme d’Or for best Short Film; the Jury Prize for Short Film; and the Un Certain Regard Award. 6. Bangré is correct that Le Vent des Aures won an award, but it was in 1967, not in 1969; the prize was the Prix de la Première Oeuvre (Prize for First Film). 7. This was the nature of the discussion about Sembene’s film after a screening of it at the conference “Racism, Migration and the Power of Images: African and diasporic cinema in Naples,” held at the University of Naples l’Orientale, Rettorato, October 14–16, 2010. 8. Camp de Thiaroye (1989), for example, won the prize for best film at the Venice Film Festival (Pfaff 1993: 16). 9. Latil (2005: 293) fails to name Cissé and mentions only Mikuni. 10. Diao (2011) notes that nine Africans have been on the Competition jury since the festival’s origins. NOTES 217

11. For example, neither De Valck (2007) nor Wong (2011) mention the controversy of Cannes 1975 in their otherwise thorough studies of the festival. 12. Translations from Latil from French to English are my own throughout the chapter. 13. The jury was headed by the French actress Jeanne Moreau, and was comprised of: Anthony Burgess (an American writer); André Delvaux (a Belgian editor); Gérard Ducaux-Rupp (a French producer); Léa Massari (an Italian actress); Pierre Mazars (a French journalist); Fernando Rey (a Spanish actor); Georges Roy Hill (an American editor); Pierre Salinger (an American writer); and Youlia Solntzeva (a Soviet director and actress) (Latil 2005: 193). 14. It is important to point out that this pavilion is not just a meeting and networking place for “world filmmakers,” but also a production space. In 2013, of the nine young filmmakers selected for the Fabrique des Cinémas du Monde (a professional program that supports young directors and their producers to “develop and finance their projects”), four were from Africa. These projects have a reasonably high chance of getting made into films, given that 15 percent of the projects workshopped in the past have gone on to be produced. This track record also seems to be improving over time, with 80 percent of the projects in 2012 finding coproduction partners within half a year. See Diao (2011) for further discussion of the pavilion and its work with African filmmakers. It is also vital to contextualize “Les Cinémas du Monde” pavilion within the history of changing French administrations and attitudes to the “support” of filmmakers from Africa. As Andrade-Watkins points out, “The rise of the Socialist government of Fran- çois Mitterand in 1981 resulted in a shift of emphasis of the French state from technical and financial assistance to individual countries, to a broader focus which would work through the regional grouping of francophone African states as represented by OCAM (Organisation Commune Africaine et Mauricienne). . . . The Film Bureau [that had operated from 1963] came under closer scrutiny by the French government and was increasingly perceived as a political liability, particularly because it provided technical and financial assistance to individual filmmakers, which at times created political problems between France and disgruntled African governments angered by the content of some of the films” (1993: 35). Such political problems continue today, most recently in the case of the banning of Jean-Pierre Bekolo’s film Le President (2013) not only by the Cameroonian government, but also through the refusal of the French Ambassa- dor in Cameroon to screen it. The Ambassador’s letter can be found on Bekolo’s blog: http://bekolopress.wordpress.com/2013/06/28/lettre-de-censure-du-film-le-president- de-lambassadeur-de-france-au-cameroun/. 15. For example, Cameroonian filmmaker Jean-Pierre Bekolo says that he was “born” as a filmmaker at Cannes (pers. comm.); the Kenyan filmmaker Bob Nyanja says that the Angers Film Festival is one of his favorites to attend (survey response); and the South African filmmaker Ramadan Suleman speaks highly of the work of the Festival Inter- national du Films d’Amiens (survey response). 16. Some of these funds include: the World Cinema Fund at the Berlin Film Festival (https://www.berlinale.de/en/branche/world_cinema_fund/wcf_profil/index.html/); the Hubert Bals Fund at the International Film Festival of Rotterdam (http://www.film festivalrotterdam.com/professionals/hubert_bals_fund/); the Göteborg International Film Festival Fund, which ran from 1998–2011 (http://www.giff.se/en/film-fund/); the Bertha Fund (formerly the Jan Vrijman Fund) at the International Documentary Film Festival Amsterdam (IDFA) (http://www.idfa.nl/industry/idfa-bertha-fund.aspx/); Final Cut at the Venice Film Festival, which was open to filmmakers from Africa in 2013 and 2014 (http://www.labiennale.org/en/cinema/archive/70th-festival/final-cut/); Open Doors at the Locarno Film Festival (http://www.pardolive.ch/en/Open-Doors/ 218 NOTES

Presentation;jsessionid=B10E11112EDA60C5F80291D1B43061B3#.U2jKgscSGMc/); the Blue Ice program at the Hot Docs Film Festival (http://www.hotdocs.ca/funds/ hot_docs_blue_ice_group_documentary_fund/); and the Jeonju Digital Project at the Jeonju International Film Festival (http://eng.jiff.or.kr/c00_news/c10_notice_detail.asp ?idx=68&nowpage=9&objpage=0&search_genre=&search_str=/). Other funds specifically for African filmmakers also exist outside of film festivals, such as US-based production company Focus Features’ “Africa First” project (http://www.focusfeatures.com/ africafirst/). See also Domarkaite (2013), a Masters thesis that explores the European Union’s programs of support for African filmmakers.

Chapter 3

1. The only major showcase devoted to African film prior to the 2010 IFFR’s program occurred in 1986 at the Havana Film Festival (founded 1979), when it held the “Largest Retrospective on African Films in the World” (Wong 2011: 12). 2. See https://www.filmfestivalrotterdam.com/en/cinemart/ for an explanation of the work of the CineMart. 3. See http://www.filmfestivalrotterdam.com/professionals/hubert_bals_fund/ for an explanation of the work of the Hubert Bals Fund, and see Ross (2011) for an analysis of the relationship between the fund and the production of Latin American cinema. 4. See Qing (1993); Farahmand (2002, 2010); Wong (2011: 17, 118–19, 121–22, 147, 156–58). 5. Founded in Kampala in 2004, the Amakula Kampala International Film Festival is today experiencing difficulties (see Chapter 6). 6. As Wong points out, the IFFR “pioneered European interest in Asian cinema and films of the global South, and it was also the first festival to promote global coproduction” (2011: 12). Zuilhof was one of the programmers who pioneered this interest; it is thus interesting in terms of our broader understandings of film festivals to see that his initial motivation was not to “discover” films per se, but rather people. 7. One of these 22 films,African Tales (2008), consisted of several short films, produced by Tanzanian filmmaker Imruh Bakari, which were screened together. 8. See Slavin (2001), Dovey (2009: 27–29, 34–45), Higgins (2012), and Eltringham (2013). 9. See http://www.worldconnectors.nl/en/over/. 10. Manthia Diawara describes a similar moment at a screening of Clouds Over Conakry (dir. Cheick Fantamady Camara, 2006) on a Midwestern university campus in the Unit- ed States (2010: 74–75). 11. There is currently no published version of this interview. The author can be contacted with requests for an audio copy of this interview from Neal MacInnes. 12. Smits and Ellickson also attempted to show Song of Khartoum (1955), an 18-minute color film by Sudanese filmmaker Gadalla Gubara (1920–2008), but there were problems with the arrival of the print. It is worth noting here that this curatorial approach of (re)writing film history is one of three in a typology suggested by Jeffrey Ruoff; the other two approaches involve storytelling and montage (2012a: 7–10). 13. One African filmmaker, who wishes to remain anonymous, reports that at the Tokyo African Film Festival she found herself physically locked in the cinema in which her film was screening (most filmmakers, havingwatched their films hundreds of times during editing, do not want to watch them again at festivals). When she complained about it later, she was told by the festival organizers that it was “a precaution since Africans are always late!” (survey response) NOTES 219

14. The previous night, Momar Thiam had spoken for long periods in French. At one point, the translator remarked to the audience in English: “He’s just given you his whole life story.” 15. This award was initiated in 2002 within theQuinzaine des Réalisateurs—the Directors’ Fortnight—and the winner is selected by the filmmakers themselves. 16. Afolayan has 26,400 Twitter followers, most of them Nigerian. 17. Many “A-list” festivals make a distinction between “public screenings” (to which all festival attendees have access) and “industry screenings” (which are reserved for film professionals such as film distributors and sales agents). 18. See http://www.bamart.be/persons/detail/en/730/. 19. See http://www.bamart.be/persons/detail/en/730/. 20. See also http://dubaifilmfest.com/en/industry/submissions/awards/muhr-emirati/. 21. See http://en.wikipedia.org/wiki/Jeonju_International_Film_Festival#Jeonju_Digital_ Project/. 22. See http://www.idfa.nl/industry/idfa-bertha-fund/cinema-mondial-tour-2012-2013 .aspx/. 23. Druids are magicians or fortune-tellers of an ancient Celtic religion. 24. See http://gathr.us/. 25. See also Balzer (2014) for an exploration of the various uses of the word “curate.” 26. See http://www.ariselive.com/articles/arise-100-women-kerryn-greenberg/132148/. 27. João Ribas, for example, points out that “Empirical histories of modern art exhibitions—as cultural forms central to the public presentation of art since the 18th century, including critical assessments of how such forms directly affected modes of artistic production—only began to be written in the early 1980s” (2013: 96). 28. See http://www.filmfestivalresearch.org/index.php/ffrn-bibliography/7-programming/. 29. See Issue 18 of ONCURATING.org: http://www.on-curating.org/index.php/issue-18. html#.U2ql2McSGMc/. 30. See http://www.manifestajournal.org/.

Chapter 4

1. See the relatively short list of publications on film festival audiences at http://www .filmfestivalresearch.org/index.php/ffrn-bibliography/8-reception-audiences-commu nities-and-cinephiles/. 2. See, however, the groundbreaking work of Matthias Krings on veejay performances and audience reception at video halls in East Africa (2010, 2013). See also the documentary film Veejays in Daressalaam (2010). 3. This research has included surveys ofaudiences at four festivals in Africa: Amakula Kampala in Uganda (2010); the Kenya International Film Festival (2010); the Durban International Film Festival (2013); and the Rwanda Film Festival (2013). It has also involved conducting many one-on-one interviews with individual spectators at festivals across the continent. 4. A total of 352 audience surveys were completed, across four of the festival’s five main venues: the Suncoast cinemas (the main festival screening venue), the Elizabeth Sned- don theatre at the University of KwaZulu-Natal (the original home of the festival), the Blue Waters Hotel (the festival headquarters), and the Ekhaya Multi-Arts Centre in the township of KwaMashu (the festival’s main “outreach” venue). The fifth main venue of the festival (not covered by my survey) is the Musgrave shopping center’s cinemas. At 220 NOTES

each screening at the four venues, across seven of the festival’s 11 days, 10 spectators were randomly selected to complete surveys. 5. The question asked was “Why did you come to the screening today?,” followed by a blank space rather than a list of possible answers for respondents to choose from. 6. The question asked was “What do you hope to get out of the festival?,” followed by a blank space rather than a list of possible answers for respondents to choose from. 7. Two French distribution and exhibition companies, COMACICO (created in the early 1920s) and SECMA (created in 1939) largely controlled distribution and exhibition in the West African territory well into the postcolonial period. 8. See the documentary films Afrique Cannes (2013) and Sacred Places (2009). 9. My translation from the French. 10. “Tricontinentalism” is the term generally used to describe the rise of a connected anti- imperialist movement among the continents of Asia, Africa, and Latin America. While many attribute its formal origins to the 1966 First Tricontinental Conference in Ha- vana, Cuba, some suggest that the idea of Tricontinentalism began in the 1920s (Pitman and Stafford 2009). See Adesokan (2011) for the importance of understanding cultural production in Africa through the lens of Tricontinentalism. 11. Ethnographic French filmmaker Jean Rouch even said that “video is the AIDS of the film industry” (quoted in Barrot 2008: 3). 12. Scholarly work on film festivals that adopts a postcolonial focus includes Falicov (2010), Iordanova and Cheung (2010, 2011), Ross (2011), Wong (2011), Iordanova and Torchin (2012), Ahn (2012), and Nornes (2013). 13. As Patricia Caillé (2014) notes, the Festival International du Film Amateur de Kelibia (FIFAK) is, in fact, the “oldest film festival in Tunisia” and thus the oldest film festival in Africa that has paid attention to African films. Created by the Fédération Tunisienne des Cinéastes Amateurs (FTCA), it has held 28 editions between 1964 and 2013, so is not as regularly held or as well known as JCC. 14. I have found a reference to a film festival that existed for several years during this early independence period in Mogadishu, Somalia, but no further information about it (Tomaselli 1984: 7). 15. I do not have the space in this book, focused as it is on film festivals, to analyze the 1966 Dakar and the 1969 Algiers festivals. Further analysis of these festivals—and, in particular, their respective relationships to their audiences—is forthcoming in future work. 16. Translation from French to English from Dupré is my own throughout this chapter. 17. As many have noted, the festivals should be further spaced apart. FESPACO takes place in February/March, just a few months after JCC in October/November, making it difficult for filmmakers to attend both. 18. It is worth noting here that more recently founded African film festivals on the continent, such as the Luxor African Film Festival (founded 2012), make a similar distinction between North and sub-Saharan Africa. For example, in a press release during its 2014 edition, the Luxor African Film Festival refers to a film workshop in which “20 Egyptians and 20 Africans” will participate. Several scholars have done important work on the relationship between “African” and “Arab” identities in relation to festivals (see Barka and Barka 2013, Apter 2014). 19. The African Movie Academy Awards (AMAA) were founded in 2005 by Nigerian filmmaker Peace Anyiam-Osigwe, and are held annually in Yenagoa, Nigeria. The Awards aim to be the “Oscars” of Africa, and have accrued significant influence in film taste-making both within and beyond Africa. See http://www.ama-awards. com/. NOTES 221

20. Loist notes that “[e]very city that wants to compete in the global creative/cultural market and in the tourist arena . . . now runs an IFF or city festival” (2011: 269). There is, accordingly, a large body of scholarship about the relationships between festivals and cities (see, for example, Stringer 2001). The decision to make Ouagadougou the un- likely capital of “African Cinema” was a strategic one on the part of those who founded FESPACO. In the late 1960s, the sub-Saharan African countries most engaged in film production were Senegal, Niger, and Ivory Coast. This was largely due to aid provided by the French Bureau of African Cinema, created in 1963 (see Chapter 2). Ouagadou- gou seems to have been chosen for its neutrality, as a way of sidestepping French control, and also avoiding rivalry amongst powerful African nations, such as Nigeria and Senegal. The Burkinabé government was delighted to be elected the host of FESPACO by vote and, in this way, to find what would become the main source of existence for this resource-poor nation in the eyes of the world. After the first festival, Sembene wrote to FESPACO treasurer Hamidou Ouédraogo with the resonant commitment: “mon Coeur est voltaïque” (“my heart is Voltaïque”) (a copy of the full letter can be found in Ouédraogo 1995: 111). 21. Burkina Faso gained its full independence from France (still under the name “Upper Volta”) on August 5, 1960, with its first president being Maurice Yaméogo, who established a one-party state under his Voltaic Democratic Union (UDV) party. A military-led coup d’état in 1966 brought Lt. Col. Sangoulé Lamizana to the presidency, and he remained in power until 1980, when Col. Saye Zerbo seized control in another coup d’état. The Council of Popular Salvation (CSP) overthrew Zerbo’s government in 1982, under the leadership of Jean-Baptiste Ouédraogo, but was hampered by internal conflicts between moderates (such as Ouédraogo) and leftist radicals (such as Captain Thomas Sankara). This conflict led to another coup d’état in 1982, after which Sankara became president. Blaise Compaoré orchestrated a coup d’état in 1987 that involved the murder of Sankara; Compaoré was in power from this time until October 2014, when he was forced to resign after a popular uprising (see Kaboré 2002). 22. Many filmmakers boycotted several editions of FESPACO after the assassination of Sankara (Dupré 2012: 166); certain filmmakers, such as Haile Gerima (from Ethiopia), have refused to attend the festival ever since. The Senegalese filmmaker Amadou Saal- um Seck also notes that he encountered problems screening his film Saaraba, which was among several dedicated to Sankara, at FESPACO 1989; he was refused the typical press conference for the film the day following the screening, and he says that “no commentary was made about [the] film by journalists” (survey response). More recently, some African filmmakers have begun boycotting the festival on account of what they see as a drastic fall in the quality of its organization since the arrival of Michel Ouédrao- go as Secretary General in 2008, succeeding Baba Hama. For example, Cannes-award- winning Chadian filmmaker Mahamat-Saleh Haroun made an explicit decision not to return to the festival after the 2011 edition (see film Afrique Cannes). My 2013 survey of African filmmakers reveals divergent opinions on the historical and contemporary value of FESPACO. Cameroonian filmmaker Victor Viyuoh responded: “FESPACO 2013. A disaster! Two screenings [of my film] and a total audience of less than 15 people!!!” Another filmmaker, who wished to remain anonymous, described FESPACO 2013 as follows: “Incredible level of amateurism from the very beginning. . . . Eve- rything is wrong: incoherent and poor programming, technical issues, exceptionally incompetent staff.” Other filmmakers have had very positive experiences at FESPACO, however. For example, the Burkinabé filmmaker Elénore Yaméogo says that FESPACO has been most useful to her career of all film festivals and attributes the international success of her filmParis mon paradis to its selection in the official documentary section 222 NOTES

at FESPACO 2011. Despite all its challenges, strong loyalty to FESPACO remains. As festival organizer and curator Katarina Hedrén puts it, “There are still problems to be solved [at FESPACO], like the need to bridge existing language gaps and the appallingly bad organization. However, as is the case in families held together by love or just shared interest, none of these problems seems serious enough to discourage the members to attend the next reunion” (2013a). 23. One recalls here Sembene’s much-quoted reference to cinema as a “night school” for his people. 24. Translation from French to English is my own. 25. It is important to note here, however, that this Africanized perspective had, and continues to have, its own blind spots, particularly in terms of gender. African filmmaking has been dominated by men, and very few African women have had the opportunity to direct films, especially feature fiction films. Women have mostly taken on roles in the industry as actresses, the makers of low-budget documentary films, and film festival organizers and curators (of which Salembéré is an example). The paradoxical combination of the “feminization” of, and the sexism displayed within, the sphere of film festivals (one of the few industry realms to which women have had access, but within which they are often treated as sex objects by men) requires a great deal of further research and exploration. Unfortunately, a complete gender analysis is beyond the scope of this project. However, in Chapter 6, my analysis of the curatorial approaches of festival directors in South Africa, Tanzania, Zimbabwe, and Algeria includes a gendered angle. See also Dovey (2012), in which I discuss some of the relationships between film festivals and women filmmakers from Africa, and Caillé (2012). 26. This film school operated from 1977 to 1987 and was largely funded by the government of Burkina Faso, with assistance from the Mitterand administration in France (Andrade-Watkins 1993: 35); Burkinabé director Fanta Régina Nacro received her pri- mary training there. 27. One of the most fascinating examples of this is how FESPACO used quotes from children saying how much they liked African films in their marketing and publicity materials (Dupré 2012: 189). 28. As De Valck points out, “Festivals have organized official markets since the 1950s, of which Le Marché International du Cinéma, founded in Cannes in 1959, is undoubtedly the most famous and influential” (2014: 45). There have been several attempts within Africa to establish serious film markets. The creation of SITHENGI (the Southern Af- rican International Film and Television Market) in Cape Town in 1996, which initiated a parallel festival called the Cape Town World Cinema Festival in 2002, was perhaps the most promising of these, but it collapsed after CEO Michael Auret was forced to step down after the 2005 edition. Today, the Durban FilmMart, founded in 2010 at the Dur- ban International Film Festival, and a new film market inaugurated at the 2014 Luxor African Film Festival in Egypt, carry the hopes of those who seek to professionalize the sector more. 29. The festival brochures started to be translated into English from 1985, and in 1987 French and English were made the officiallanguages of business for FESPACO (Dupré 2012: 175). 30. CODESRIA is the Council for the Development of Social Science Research in Africa and is based in Dakar, Senegal. See http://www.codesria.org/. 31. During a panel discussion at the 2013 Cordoba African Film Festival in Spain, Russell Southwood pointed to a recent market research survey conducted in Nigeria that re- corded that: 17 percent of people surveyed would like improvement to the quality of the acting in Nollywood films, 19 percent would like production quality improvement, and 48 percent would like improvement in the storylines. NOTES 223

Chapter 5

1. This program was curated by Silvia Voser, the producer of several of Senegalese filmmaker Djibril Diop Mambety’s films. 2. Some scholars argue that these festival “partnerships” have not necessarily been benefi- cial to FESPACO, in that they have deprived the latter of the world premieres of films and the attendant prestige that accompanies such premieres (see, for example, Diawara 1993; Bikales 1997: 273–4). One cannot ignore the fact, however, that it is ultimately a filmmaker’s choice where he or she will premiere the film, as when Malian filmmaker Souleymane Cissé chose not to present his filmYeelen in competition at FESPACO 1987. His official reason was that he wanted to give space to other African filmmakers, having already won the top prize at FESPACO twice, for Baara (1979) and Finyé (1983). Some suggest, however, that he wanted to be able to screen the film in competition at Cannes (something he would not have been able to do had it screened in competition at FESPACO) (Dupré 2012: 186). Yeelen went on to share the 1987 Jury Prize at Cannes (see Chapter 2). 3. See http://www.3continents.com/en/le-festival/histoire/. 4. Comments made at the 2011 African Film Distribution Forum at Film Africa. 5. See http://news.bbc.co.uk/1/hi/world/europe/6228236.stm/. 6. My thanks to Fadhili Maghiya, founder and director of Watch Africa, the Wales African film festival, for undertaking this research. The International Organization for Migra- tion has a fascinating app that allows one to see the number of immigrants from different countries to each country in the world: see http://www.iom.int/cms/en/sites/iom/ home/about-migration/world-migration.html/. 7. Until the end of its 1999 edition, the festival focused only on African film; from 2000 onwards, it broadened its geographical remit to screen films from Africa, Asia, and Latin America. This can be interpreted as expedient (having a greater pool of films from which to program) and also part of the general global movement towards the institutionalization of “world cinema” (see Chapters 1 and 2). The festival is one of the founders and supporters of a Wikipedia project to make knowledge about African film freely available: see http://en.wikipedia.org/wiki/Wikipedia:WikiAfrica/Cinema/. 8. Thirteen surveys were completed, and were used as the basis of my analysis of African film festivals outside of Africa in Dovey (2010). A copy of the survey is available upon request. 9. See http://www.3continents.com/en/le-festival/histoire/. 10. The 2012 Film Africa audience also grew to 3,600 from 2,000 people in 2011. At Film Africa 2011, 553 audience feedback forms were completed, whereas at Film Africa 2012, 941 audience feedback forms were returned. 11. The term “Third World” went out of vogue in the 1980s, overtaken by terms such as “Global South” and “developing countries.” See Tomlinson (2003) for a history and critique of the term. 12. There has also been a significant increase in African film festivals in Brazil in recent years (Bamba 2014). 13. Some of the research presented here was co-conducted with Federico Olivieri, to whom I want to extend my gratitude for a mutually enriching collaboration. Without the contributions of Olivieri, who partly grew up in Tarifa and who has been involved in FCAT since its origins, the research presented here would not have been able to access, to the same extent, the details of the historical and material context in which FCAT takes place. This signals the necessity of collaboration in film festival research, as I have argued elsewhere (see Dovey, McNamara, and Olivieri 2013; and Dovey and Olivieri 2015). 224 NOTES

14. My translation from French. 15. For example, in her written welcome in the catalogue for FCAT 2011, Mane Cisneros Manrique clearly states that the “true protagonists” of the festival are African filmmakers (p. 16–17). 16. Prizes awarded in this fourth edition included 20,000 euros for the best fiction feature film (in addition to an acquisition deal offered by TVE, the main public television broadcaster in Spain); 10,000 euros for the best director of a fiction feature film; and 10,000 euros for the best documentary. While there were several roundtables at this edition, it was only in 2009 that FCAT inaugurated the Jornadas profesionales (Profes- sional meetings), which included the first coproduction forum between African filmmakers and Spanish film producers. 17. See http://www.filmfestamiens.org/?Entry-form-and-the-regulations&lang=en/. 18. My translation from French. 19. For further background on the Festival International du Films d’Amiens, which has quite distinct origins from the Festival des 3 Continents in Nantes, see Tomaselli (1984). For a critical analysis of its 13th edition, see Kaboré (1993). 20. Translation from Spanish was done by Federico Olivieri. 21. Most of this funding came from the Cordoba City Hall. 22. See http://www.enar-eu.org. 23. See http://africasacountry.com/africa-and-the-future-an-interview-with-achille-mbembe/. 24. The film was an official selection at Berlin, Cannes, Toronto, and Busan. 25. See the AFRICALA Festival de Cine Africano page on Facebook for more information. 26. Africa’s relationships with countries beyond Europe and North America are nothing new, of course, and at Film Africa 2012 we devised a program strand called “Continen- tal Crossings” to trace out the rich and complicated relationships that have long existed between African nations and countries such as Cuba, Vietnam, Burma, the former So- viet Union, Ukraine, and India. 27. One non-profit organization that is specifically aiming to redress this problem is Art Moves Africa (AMA), founded in 2005, which provides funding for artists to travel to meet one another in Africa (see http://www.artmovesafrica.org/). 28. See http://www.ama-awards.com/news/amaa-roundtable-toronto-film-festival-challen ges-african-leaders/. 29. In Sweden, Hedrén was a co-organizer of the CinemAfrica Film Festival in Stockholm. Now living in South Africa, she co-organizes the monthly First Wednesday Film Club at Atlas Studios in Johannesburg (http://www.atlasstudios.co.za/filmclub.php/), and is also involved with the organization and curating of the Encounters Documentary Film Festival and the Tri Continental Film Festival.

Chapter 6

1. ARTerial Network is a “dynamic network of individuals, organizations, donors, companies and institutions engaged in the African creative and cultural sector” (http://www. arterialnetwork.org/). It is currently helmed by Peter Rorvik, formerly director of the Durban International Film Festival. 2. See http://www.afrifestnet.org/en/node/10/. 3. See http://www.afrifestnet.org/en/liste-festival/. 4. See the Africa Vision Exchange page on Facebook. 5. My translation from French. NOTES 225

6. See http://www.nadirbouhmouch.com/1/post/2013/12/scorsese-more-at-home-in- morocco-than-a-moroccan.html/ for a critique of the Marrakech International Film Festival by Moroccan filmmaker Nadir Bouhmouch. 7. These were not the only festivals founded in the region around this time. Others include: the Johannesburg and Cape Town film festivals (founded 1976); and several student and ethnographic film festivals in South Africa, such as the First National Student Film and Video Festival, at Rhodes University’s Department of Journalism and Media Studies, July 15–18, 1981, and the first Ethnographic Film Festival, held at the School of Dramatic Art at the University of Witwatersrand, July 21–26, 1980 (see Hayman 1981, Tomaselli 1981, and Grove 1981 for analysis of some of these festivals). 8. Late-night debates at film festivals I have attended often feature conversations about the relative value of FESPACO and DIFF. Most tend to agree that while FESPACO remains important because of its unusual heritage (based as it is in one of the poorest countries in Africa) and the historic support it has given African filmmakers, DIFF is today a superior festival in terms of the provision of professional and practical opportunities, and its position within the mainstream international film festival circuit. 9. eThekwini is a metropolitan municipality created in 2000 that includes the city of Durban and surrounding towns. 10. I was not able to interview Ros Sarkin in my research because she is very ill. Much of my analysis of the early editions of the festival thus relies on archival research of newspapers, conducted at the Killie Campbell Archives in Durban, as well as some contemporary interviews, reports, and debates about the festival recommended by Professor Keyan Tomaselli. 11. Television channels at the time were also segregated, with specified “black” television channels offering a diet of particularly inane programming, from documentaries about the manufacturing of furniture to etiquette shows for teenage girls. International boycotts against South Africa, which meant that foreign television channels refused to sell content to the country, were part of the reason for this myopic programming. 12. It is interesting to note that this film includes a sequence in which Brocka focuses on then-president Ferdinand Marcos’s exploitation of construction workers in the build- ing of a site for his own film festival (Malcolm 2001). 13. Lynne Kelly, “Three Films Highlight Same Theme,” in Natal Mercury, Tuesday, June 10. 14. The release was not successful, however, and distributor Ster-Kinekor noted that the film did not even recoup its publicity costs (Tomaselli 1988: 173). 15. Lynne Kelly, “Society through another set of eyes,” Natal Mercury, Monday, June 9, 1980, p. 6. 16. No author, “Film gamble paid off,” Natal Mercury, Wednesday, June 18, 1980, p. 13. 17. Lynne Kelly, “Glimpse of an alien lifestyle,” Natal Mercury, Monday, May 10, 1982, p. 8. 18. Ibid. 19. Lynne Kelly, “German film gets green light for Durban festival,”Natal Mercury, Friday, May 14, 1982, p. 5. 20. No author, “Film gamble paid off,” Natal Mercury, Wednesday, June 18, 1980, p. 13. 21. No author, “Festive fare,” Natal Mercury, Town & Around Supplement, Friday, June 13, 1980, p. 8. 22. No author, “Film gamble paid off,” Natal Mercury, Wednesday, June 18, 1980, p. 13. 23. Derek Malcolm, “What’s the Point of Film Festivals?,” Natal Mercury, Town & Around Supplement, Friday, May 14, 1982, p. 7. 24. Lynne Kelly, “Film festival for blacks urges visiting British critic,” The Natal Mercury, Monday, May 24, 1982, p. 6. 226 NOTES

25. See http://www.anc.org.za/show.php?id=6869&t=Boycotts/. 26. Sara Blecher, today one of South Africa’s leading filmmakers, says that the festival played a hugely formative role in her personal and professional life as she grew up in Durban (pers. comm.). 27. See http://www.cca.ukzn.ac.za/. 28. South Africa today has myriad film festivals, which include: the Encounters documentary film festival; the Tri Continental FilmFestival; the significant film festival that takes place within the Grahamstown National Arts Festival, curated by Trevor Steele Taylor; the Jozi Film Festival; the Cape Town and Winelands International Film Fes- tival; and Out in Africa, the only film festival in Africa dedicated to LGBT rights and identities. 29. DIFF’s diverse range of local and global funders and partners can be seen here: http:// www.durbanfilmfest.co.za/2013/funders-partners/. 30. The Berlin Film Festival has pioneered similar programs at festivals in Guadalajara, Buenos Aires, Beirut, Sarajevo, and Tokyo (see http://www.berlinale-talents.de/channel/109.html/). 31. See http://www.durbanfilmmart.com/About-DFM/What-is-DFM/. 32. See http://www.afford-uk.org/. 33. See http://africasacountry.com/africa-and-the-future-an-interview-with-achille-mbembe/. 34. This story—of the closure of formal cinemas, and their conversion into supermarkets as well as mosques and churches—is a common one across the African continent (Barlet 2000, McClune 2010). There are only a few places on the continent where a vibrant, formal cinema-going culture survives: to some extent in Nigeria, where the Silverbird cinema chain is reviving this culture (there are 14 multiplex cinemas in Nigeria, and approximately 70 screens, according to a 2014 press release from distribution company Talking Drum Entertainment; see also Haynes 2014); in Egypt, where there has long been a strong film culture (Shafik 2007); and in South Africa, but mostly among the white, Afrikaans community. At the same time, there are many examples across Af- rica of what Ramon Lobato (2012) calls the “shadow economies of cinema,” of people viewing films collectively outside of their homes in small video halls or parlors. As Fuglesang recounts (1994), there are also many instances of people gathering in the homes or courtyards of others to watch a film, in what becomes a mixture of a domestic and public screening. Notably, Nigerian entrepreneur Dayo Ogunyemi is attempting to make public cinema-going more affordable through his Cinemart project, which aims to construct 10,000 cinema screens across Africa in the period 2013-2023. The cinemas will be set up inside tents, with digital projection facilities and tickets that cost the local equivalent of 20 cents. The project is to be initiated in Kenya, where Ogunyemi says that electricity infrastructure is better than in Nigeria, and where the government has created an environment conducive to ICT business. Part of the plan is to dub films into Swahili for the 150 million Swahili speakers across East Africa, thereby reaching a potentially vast audience (see also Overbergh 2014). 35. For further historical and contemporary background on filmmaking and film-viewing cultures in Tanzania, see Smyth (1989), Bryce (2010), Fair (2009, 2010a, 2010b), Böhme (2013), and Krings (2013). 36. Skeens still runs a hotel and restaurant in Zanzibar (Emerson Spice), although he is no longer involved with ZIFF. 37. As noted above, much of the funding for this advocacy work comes from European and North American embassies, development aid organizations, and other groups. For example, the Danish Film Institute has been instrumental to ZIFF’s film programs for children, called “Children’s Panorama.” NOTES 227

38. Zanzibar is made up of two large islands—Unguja Island (where Stone Town is located) and Pemba—as well as several smaller islands. 39. Scholarship on the relationship between film festivals and tourism can be found at: http://www.filmfestivalresearch.org/index.php/ffrn-bibliography/3-festival-space- cities-tourism-and-publics/. 40. The anger that has arisen on account of this tourism, and the lack of respect for local customs, is perhaps one way to interpret the August 7, 2013 “acid” attack on two young British volunteer teachers in Zanzibar (see Karim, Albagir, and Smith-Spark 2013). 41. For further analysis on how locals negotiate tourism in Tanzania, see Salazar (2006). 42. Mhando has had a fascinating life. His filmmaking career began in his second year of university, when the first Japanese crew came to Africa to make a film called Asante Sana (1972) and hired Mhando as assistant director. This led to Mhando’s appren- ticeship in Japan under the filmmaker Senkichi Taniguchi. Later, from 1976 to 1979, Mhando studied filmmaking in Romania on a scholarship granted to him because of Tanzania’s socialist status (pers. comm.). 43. I attended some of the Children Panorama screenings in 2013 and they were very well run, unlike many “outreach” programs at film festivals on the continent. 44. My translation from French. 45. Ellickson and Smits were also the curators of the “Where is Africa?” program at the 2010 International Film Festival of Rotterdam, discussed in Chapter 3. 46. The festival nevertheless continues today, run by the AECID centers, as the South- South Itinerant Film Festival, a traveling film event in which African and South Ameri- can films are taken to different parts of Equatorial Guinea over 10 days. Thanks to Federico Olivieri for providing this information. 47. Audience research that I conducted at AKIFF 2010 revealed that 80 percent of the surveyed audience was aged 19–34 with 64 percent working in the film industry or studying filmmaking (66 surveys were completed). The results from an identical audience survey I conducted at the 2010 edition of the Kenya International Film Festival revealed very similar results, with 82 percent of the surveyed audience aged 19–34 and 59 percent working in the film industry or studying filmmaking (168 surveys were completed). 48. The festival had five main sections: The African Panorama; The Regional Focus on the East (including Ugandan films) and Regional Visions (including international films about Uganda); Contemporary World Cinema; Landmarks (Western cinema classics); and Highlights and Tributes (retrospectives). Each year it also held a three-day Con- gress on East African Cinema, and many training workshops and master-classes for filmmakers. 49. See http://kampala1ne.wordpress.com/tag/amakula-kampala-international-film-festival/. 50. It is still rare for film festivals, anywhere in the world, to use extensive audience feedback forms. Most film festivals invite the audience’s feedback solely through presenting an Audience Award for the film that gains the most public votes. 51. For more about the RFF, see Cieplak (2010) and the documentary Finding Hillywood (2013). 52. For further background, see Journal of African Cinemas 3.2 (2012), a special issue on Lusophone filmmaking and industries in Africa. 53. Diao maintains an interesting and important blog on African film: http://weloveafri- canfilms.blogs.courrierinternational.com/. 54. Balancing Act is a consultancy and research organization that provides regular updates and reports on the broadcast and telecommunications industries in Africa (see http:// www.balancingact-africa.com/). 228 NOTES

Chapter 7

1. For a history of DIFF, see Chapter 6. 2. The Suncoast cinemas, although an unabashedly commercial enterprise, have had an interesting and complex history that has led to their support for DIFF. AB Moosa, the Managing Director of Avalon Group—the owner of the cinemas and South Africa’s largest and oldest independent cinema exhibition company—explains as follows: “South Africa’s history was very inextricably linked, from a business and economic point of view, to the political scenario that we contended with. . . . My late grandfather, AB sen- ior after whom I’m named, as a young boy used to firstly sell newspapers to earn pocket money, and . . . he used to use that pocket money to go and watch movies because that was his passion and his love and he had a dream that one day he’d own his own cinema so he could go in for free and that is how the dream started. So in 1939 he co-founded the first Avalon theatre. At the time there were not really any sufficient or appropriate facilities for the majority of South Africans so it became the first decent non bug-house cinema that catered for all peoples. . . . And then he built a chain of cinemas, the largest independent at that time. And that spanned the length and breadth of South Africa from Cape Town to Paarl, Worcester, Kimberley, Johannesburg. . . . Flowing from the unfortunate dynamic that unfolded a decade later when apartheid came into effect in 1948 . . . unfortunately most of the cinemas were directly or indirectly expropriated to the legislation of the apartheid system” (pers. comm.). By the 1990s, Avalon had only one cinema screen, and it has taken two decades for AB Moosa and his father, Moosa Moosa, to rebuild the company. 3. See http://www.unesco.org/new/fileadmin/MULTIMEDIA/HQ/CI/WPFD2009/pdf/ Films%20and%20Publications%20Act%202009.pdf/ for the latest version of the Film and Publications Act, with the 2009 amendments underlined. This clearly shows the government’s increased focus on what it calls “child pornography.” 4. While the literary reference to “Lolita” is clear, it is also important to note that Nolitha is a popular Xhosa name in South Africa, from the Eastern Cape region where Qubeka was raised. 5. The meeting was organized by the IPO (Independent Producers Organization), SAS- FED (South African Screen Federation), Cosatu (Congress of South African Trade Un- ions), and other groups, and was held on July 21, 2013 at the Blue Waters Hotel, the festival’s then-headquarters. 6. This meeting was held on July 24, 2013 at the Blue Waters Hotel; notably, it had been scheduled into the festival program as a panel discussion with the FPB before any of the controversy around Of Good Report occurred. A full account of the meeting can be found in Blignaut (2013). 7. Festival press release; see http://versfeld.co.za/versfeld-associates/2013/6/7/the-34th- durban-international-film-festival-announces-its-opening-night-film/. 8. Festival press release; see http://versfeld.co.za/versfeld-associates/2013/6/7/the-34th- durban-international-film-festival-announces-its-opening-night-film/. 9. Interview in the documentary Afrique Cannes. 10. See page 20 of the Act. 11. De Valck notes that controversies have long been used by film festivals to market films, and points to the example of Michael Moore’s documentary Fahrenheit 9/11 which “shows that political interests and managerial restrictions for distribution can, in fact, go hand in hand creating a controversy that enabled Moore to win the Golden Palm of the world’s most prestigious festival and subsequently proceed to score a box office hit in commercial theatres and the DVD market” (2007: 87). Modisane (2012) also NOTES 229

provides ample and fascinating evidence of how the banning of films during apartheid aided interest in them abroad. 12. See http://www.telegraph.co.uk/news/worldnews/europe/spain/8957996/Spain-demands- EU-payments-to-cover-loss-of-Moroccan-fishing-rights.html/. 13. Morocco’s aggressive behavior towards Western Sahara was punished by its exclusion from the African Union as far back as 1984. The UN has also recognized Western Sa- hara’s right to independence, although France’s veto on the UN Security Council has continuously prevented a much-needed referendum on Sahrawi sovereignty going ahead since it was first mandated in 1991. In October 2013 at the UN General As- sembly, current South African president Jacob Zuma put the cause of the Palestinian and Sahrawi people on the same level of urgency in calling for their self-determination. Strong support for the Sahrawi cause from South Africa was fully in evidence at FiSa- hara 2013, with ANC representatives announcing, at the festival, a R1 million (roughly £60,000) donation to the Sahrawi people. Young South African filmmaker Milly Moabi also won first prize at FiSahara 2013 for her documentary Mayibuye i-Western Sahara! (Come Back, Western Sahara!), named after the first anti-apartheid film ever made, Come Back, Africa (1959). 14. Useful information and eyewitness accounts can be found in the documentary films El Problema, Sons of the Clouds, and The Runner. 15. Of the eight human rights-oriented film festivals “related to (involuntary) migration” listed by Beatriz Tadeo Fuica in Iordanova and Torchin (2012: 297), FiSahara is the only festival that takes place within the space of that involuntary migration. The table provided by Fuica also calls FiSahara a “mobile” film festival, but it should be noted that since 2006, the festival no longer travels to a different wilaya each year, but is always held only in Dakhla. According to FiSahara cofounder Javier Corcuera this is because “Dakhla is the furthest of the camps” from Tindouf, and so most in need of solidarity (pers. comm.; my translation from Spanish to English here and throughout chapter). The Sahrawi refugees based in other wilayas do not resent that FiSahara is now held annually in Dakhla because they see it as one of a number of Sahrawi Arab Democratic Republic (SADR) celebrations held across the year in different wilayas (Lehbib pers. comm.). 16. While one might assume that this “Hispanophone” connection is the result of postcolonial ties between Western Sahara and its former colonizer Spain, Pablo San Martín points out that “the process of Hispanisation [of the Western Sahara] is a new and ongoing process that has to do, more than with the poor Spanish colonial legacy, with postcolonial connections with Latin America. A significant part of the emerging Sa- harawi elites have been educated in Cuba. As a result, the Cubarawis are a new ‘tribe’ that is contributing to the definition of the new Saharawi society—and also generating tensions” (2009: 249). There were not to my knowledge, however, any Cubans present at FiSahara 2013. 17. See the tables of human rights and activist film festivals in Iordanova and Torchin (2012: 281–301); the majority of these festivals are not located in the places where people are suffering from the human rights abuses shown in the films screened. 18. Thank you to Christine Singer for bringing this proverb to my attention. 19. Noam Chomsky has suggested that the Gdeim Izik protest was the beginning of the “Arab Spring” in North Africa (see http://www.youtube.com/watch?v=JTjOt0Pz0BQ/). 20. My translation from Spanish. Bibliography

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List of Interviews (cited in book)

Absa, Moussa Sene (2010). Personal communication (audio interview). Tarifa African Film Festival. May 25. Afolayan, Kunle (2010). Personal communication (audio interview). Tarifa African Film Festival, May 23. Bailey, Cameron (2011). Personal communication (audio interview). Toronto International Film Festival. September 17. Baron, Jérôme (2013). Personal communication (filmed interview). Cannes film festival. May 20. Bekolo, Jean-Pierre (2013). Personal communication (filmed interview). Durban Interna- tional Film Festival. July 26. Blecher, Sara (2013). Personal communication (filmed interview). Johannesburg. December 23. Brouwer, Wim (2013). Personal communication (audio interview). FiSahara film festival. October 13. Carels, Edwin (2010). Personal communication (filmed interview). International Film Festival of Rotterdam. February 5. Corcuera, Javier (2013). Personal communication (filmed interview). Cordoba African Film Festival. October 19. Davidi, Guy (2013). Personal communication (audio interview). FiSahara film festival. October 13. Diao, Claire (2013). Personal communication (filmed interview). Cordoba African Film Festival. October 18. Ebdadi, Galia (2013). Personal communication (filmed interview). FiSahara film festival. October 10. el-Tahri, Jihan (2011). Personal communication (audio interview). FESPACO. March 2. Essuman, Hawa (2010). Personal communication (audio interview). Tarifa African Film Festival. May 27. García, Jean-Pierre (2009). Personal communication (filmed interview). Cannes film festival. May 20. García Benito, Nieves (2010). Personal communication (audio interview). Co-conducted with Federico Olivieri. Tarifa African Film Festival. May 24. Hedrén, Katarina (2013). Personal communication (filmed interview). Johannesburg. December 4. Jones, Sarah Ping Nie and Jean Meeran (2013). Personal communication (unrecorded discussion). Cape Town. December 17. Kanyinda, Balufu-Bakupa (2013). Personal communication (filmed interview). Cannes film festival. May 19. Lehbib, Safia Abderahman (2013). Personal communication (unrecorded discussion). FiSa- hara film festival. October 10. Luali, Takiyo (2013). Personal communication (filmed interview). FiSahara film festival. October 10. Manrique, Mane Cisneros (2013). Personal communication (audio interview). FESPACO. March 2. BIBLIOGRAPHY 251

Mhando, Martin (2014). Personal communication (audio interview by Skype). London/ Perth. February 28. Moodley, Nashen (2013). Personal communication (filmed interview). Sydney. September 25. Pimenta, Pedro (2013). Personal communication (audio interview). FESPACO. March 1. Radshaw, Elizabeth (2013). Personal communication (audio interview by Skype). London/ Toronto. August 20. Rorvik, Peter (2013). Personal communication (filmed interview). Cape Town. December 18. Salembéré, Alimata (2013). Personal communication (audio interview). FESPACO. Febru- ary 26. Salti, Rasha (2011). Personal communication (audio interview). Toronto International Film Festival. September 16. Sissoko, Cheick Oumar (2013). Personal communication (audio interview). Cannes film festival. May 22. Smits, Alice (2010). Personal communication (filmed interview). International Film Festi- val of Rotterdam. February 4. Teno, Jean-Marie (2013). Personal communication (audio interview). FESPACO. March 1. Thiam, Momar (2010). Personal communication (filmed interview). International Film Festival of Rotterdam. February 3. Umulisa, Romeo (2013). Personal communication (audio interview). FESPACO. March 3. Wenner, Dorothee (2013). Personal communication (audio interview). Durban Interna- tional Film Festival. July 20. Zuilhof, Gertjan (2010). Personal communication (filmed interview). International Film Festival of Rotterdam. January 28.

Filmography

12 Years a Slave (2013). Dir. Steve McQueen. US/UK. 134min. Available from Amazon. Abouna (2002). Dir. Mahamat-Saleh Haroun. France/Chad/Netherlands. 84min. Available from Amazon. African Rhythms (1966). Dir. I. Venzher and L. Mahnach. USSR (Second Creative Union of Moscow). 69min. Held in the reserves of the Russian state cinematic and photographic archive. Afrique Cannes (2013). Dir. Dave Calhoun and Don Boyd. UK. 82min. Distributed by The Festival Agency. Alhambrista! (1977). Dir. Robert M. Young. US. 110min. Available from The Criterion Collection. All That Jazz(1979). Dir. Bob Fosse. US. 123min. Available from Amazon. Anchor Baby (2010). Dir. Lonzo Nzekwe. Nigeria. 95min. Available on iROKOtv and http:// www.anchorbabymovie.com/ Aristotle’s Plot (1997). Dir. Jean-Pierre Bekolo. France/UK/Zimbabwe. 70min. Distributed by JBA Production. Asante Sana (Waga Itoshino Tanzania) (1972). Dir. Senkichi Taniguchi. Japan/Tanzania. No further information available. L’Av v e nt u r a (1960). Dir. Michelangelo Antonioni. Italy/France. 143min. Available from Amazon. Awake from Mourning (1981). Dir. Chris Austin. UK. 50min. Rights held by Channel 4. Baara (Work) (1978). Dir. Souleymane Cissé. Mali. 90min. Available from the Ciné- mathèque Afrique in Paris. 252 BIBLIOGRAPHY

Bad Timing (1980). Dir. Nicholas Roeg. UK. 122min. Available from Amazon and The Cri- terion Collection. The Battle of Algiers(1966). Dir. Gillo Pontecorvo. Italy/Algeria. 121min. Available from Amazon and The Criterion Collection. Beauty (2011). Dir. Oliver Hermanus. South Africa. 98min. Distributed by Peccadillo Pictures. Bengasi (1942). Dir. Augusto Genina. Italy. 90min. Available on YouTube (without English subtitles): http://www.youtube.com/watch?v=tnZUMMxfJQ4/. Black Wax (1982). Dir. Robert Mugge. UK. 79min. Available from Amazon. Bona (1980). Dir. Lino Brocka. Philippines. 85min. Print available through MoMA Collection. Bon Voyage Sim (1966). Dir. Moustapha Alassane. Niger. 5min. Distributed by POM Films. Borom Sarret (1963). Dir. Ousmane Sembene. Senegal. 22min. Print available from New Yorker Films and BFI. DVD available from Amazon and (in French) from Médiathèque des Trois Mondes. The Boy Kumasenu(1952). Dir. Sean Graham. Gold Coast (Ghana). 63min. Available to view free online at: http://www.colonialfilm.org.uk/node/332/. Bronco Billy (1980). Dir. Clint Eastwood. US. 116min. Available from Amazon. Bye Bye Africa (1999). Dir. Mahamat-Saleh Haroun. Chad/France. 86min. Available from filmmaker. Bye Bye Brasil (1978). Dir. Carlos Diegues. Brazil. 100min. Available from Amazon. Call Me Kuchu (2012). Dir. Malika Zouhali-Worrall and Katherine Fairfax Wright. Uganda/ US. 87min. Available from Amazon. Camp de Thiaroye(1989). Dir. Ousmane Sembene. Senegal. 157min. Will be available on MNet African Film Library. Cane/Cain (2011). Dir. Jordache Ellapen. South Africa. 15min. Available from filmmaker. The Chess Players(1978). Dir. Satyajit Ray. India. 125min. Available from Amazon. The Children of Troumaron(2012). Dir. Harrikrisna Anenden and Sharvan Anenden. Mau- ritius. 90min. Available from filmmaker. Chroniques des années de braise (1975). Dir. Mohammed Lakhdar-Hamina. Algeria. 177min. Available on YouTube: http://www.youtube.com/watch?v=EZeoLKJtHbU/. Cinema in Sudan: Conversations with Gadalla Gubara (2008). Dir. Frederique Cifuentes. Sudan/UK. 52min. Available from filmmaker. Clouds Over Conakry (2006). Dir. Cheick Fantamady Camara. Guinea/France. 97min. Available from filmmaker. Come Back, Africa (1959). Dir. Lionel Rogosin. US/South Africa. 95min. Distributed by Villon Films and the Cineteca di Bologna. The Couple in the Cage (1993). Dir. Coco Fusco and Paula Heredia. 34min. Available on vimeo: http://vimeo.com/79363320/. Daratt (2006). Dir. Mahamat-Saleh Haroun. Chad/France. 96min. Available from Amazon. Dear Mandela (2012). Dir. Dara Kell and Christopher Nizza. South Africa/US. 93min. Available on iTunes. Debbie (1965). Dir. Elmo de Witt. South Africa. 85min. Not currently available. Difficult Love(2010). Dir. Zanele Muholi. South Africa. 48min. Distributed by SABC. Drama Consult (2012). Dir. Dorothee Wenner. Germany/Nigeria. 80min. Available from filmmaker. Drum (2005). Dir. Zola Maseko. South Africa. 97min. Available from filmmaker. Édouard Glissant: One World in Relation (2010). Dir. Manthia Diawara. US. 50min. Avail- able from Third World Newsreel. BIBLIOGRAPHY 253

The Education of Auma Obama (2011). Dir. Branwen Okpako. Germany/Kenya. 79min. Distributed by Filmkantine. Eldridge Cleaver Black Panther (1969). Dir. William Klein. Algeria. 70min. Available on YouTube: http://www.youtube.com/watch?v=oveOiKSj7Jo/. El Problema (2010). Dir. Jordi Ferrer Cortijo and Pablo Vidal Santos. Western Sahara/Spain. 82min. Available from filmmakers. Emitaï (1971). Dir. Ousmane Sembene. Senegal. 106min. Will be available on MNet African Film Library. La Espalda del Mundo (The Back of the World) (2000). Dir. Javier Corcuera. Spain. 105min. Available from Amazon. Ezra (2007). Dir. Newton Aduaka. France/Nigeria/US/UK/Austria. 103min. Available from Amazon. Faso Furie (2012). Dir. Michael Kamuanga. Burkina Faso. 100min. Available from TV5Monde+Afrique (in France only). La femme au couteau (1969). Dir. Timité Bassori. Ivory Coast. 90min. Available from the Cinémathèque Afrique in Paris. The Figurine(2009). Dir. Kunle Afolayan. Nigeria. 120min. Available from IbakaTV: http:// www.youtube.com/watch?v=0DpXrwUAsUQ/. Finding Hillywood (2013). Dir. Chris Towey and Leah Warshawski. US/Rwanda. 58min. Available from The Cinema Guild. Finyé (The Wind) (1983). Dir. Souleymane Cissé. Mali. 100min. Available from Trigon Film. First World Festival of Negro Arts (1966). Dir. William Greaves. US/Senegal. 40min. Distrib- uted by William Greaves Productions. Five Broken Cameras (2012). Dir. Guy Davidi and Emad Burnat. Palestine/Israel. 94min. Available from Amazon. From Carthage to Carthage (2009). Dir. Khaled Barsaoui. Tunisia. 27min. Available from the Mediateca de Casa Árabe in Spain. Fuelling Poverty (2012). Dir. Ishaya Bako. Nigeria. 28min. Available on YouTube: http:// www.youtube.com/watch?v=LVq10BwzQoI/. Grand Magal à Touba (1960). Dir. Blaise Senghor. Senegal. 25min. Available from the Ciné- mathèque Afrique in Paris. Grey Matter (2011). Dir. Kivu Ruhorahoza. Rwanda. 110min. Distributed by Camera Club. Grisgris (2013). Dir. Mahamat-Saleh Haroun. Chad/France. 101min. Distributed by Les Films du Losange. Guerilla Grannies (2013). Dir. Ike Bertels. Mozambique. 80min. Available from Icarus Films. Handsworth Songs (1986). Dir. John Akomfrah. UK. 61min. Distributed by Smoking Dogs Films. Heritage Africa (1989). Dir. Kwaw Ansah. Ghana. 126min. Will be available on MNet Afri- can Film Library. La Hora de Los Hornos (1968). Dir. Fernando Solanas and Octavio Getino. Argen- tina. 260min. Available on YouTube (in Spanish): http://www.youtube.com/ watch?v=jQOXKoMHOE0 and http://www.youtube.com/watch?v=OqaHNU03aag/. The Hunters(1957). Dir. John Marshall. US. 72min. Distributed by Documentary Educa- tional Resources. Indochine: Traces of a Mother (2010). Dir. Idrissou Mora Kpai. Benin/Vietnam/France. 71min. Distributed by MKJ films. Irapada (2007). Dir. Kunle Afolayan. Nigeria. 110min. Available from IbakaTV: http:// www.youtube.com/watch?v=OSRzvDSn36c/. Julie et Romeo (2011). Dir. Boubacar Diallo. Burkina Faso. 92min. Available from Films du Dromadaire. 254 BIBLIOGRAPHY

Just Tell Me What you Want (1980). Dir. Sidney Lumet. US. 112min. Available from Amazon. Kaka yo (1966). Dir. Sebastien Kamba. Congo-Brazzaville. 28min. Available from the Ciné- mathèque Afrique in Paris. Karim (1970). Dir. Momar Thiam. Senegal. 69min. Available from the Cinémathèque Afrique in Paris. Kibera Kid (2006). Dir. Nathan Collett. Kenya. 12min. Available on vimeo: http://vimeo. com/75762619/. King Naki and the Thundering Hooves(2011). Dir. Tim Wege. South Africa. 80min. Avail- able from Plexus Films and Miki Redelinghuys. Kuxa Kanema: The Birth of Cinema( Kuxa Kanema: O Nascimento do Cinema) (2003). Dir. Margarida Cardoso. Available on YouTube (in Portuguese): http://www.youtube.com/ watch?v=0H400osWpm0/. Last Flight to Abuja (2012). Dir. Obi Emelonye. Nigeria/UK. 81min. Available from IbakaTV: http://www.youtube.com/watch?v=7Y6SxDkJgH8&feature=kp/. Last Grave at Dimbaza (1973). Dir. Chris Curling and Pascoe Macfarlane. South Africa/UK. 55min. Distributed by Icarus Films. Laurence Anyways (2012). Dir. Xavier Dolan. Canada/France. 168min. Available from Amazon. Let Joy Reign Supreme (1975). Dir. Bertrand Tavernier. France. 114min. Available from Amazon. Lezare (For Today) (2009). Dir. Zelalem Woldemariam. Ethiopia. 14min. Available on Ethiotube: http://www.ethiotube.net/video/18231/Lezare--Short-Ethiopian-Film/. Life, Above All (2010). Dir. Oliver Schmitz. South Africa/Germany. 105min. Available from Amazon. Luciano Serra Pilota (1938). Dir. Goffredo Alessandrini. Italy. 100min. Available on You- Tube: https://www.youtube.com/watch?v=Kd8Rt3rHvks/. Mah Saah-Sah (2007). Dir. Daniel Kamwa. Cameroon. 92min. Available from the Ciné- mathèque Afrique in Paris. Manila: in the Claws of Darkness (1975). Dir. Lino Brocka. Philippines. 124min. Print available from the Cineteca di Bologna. Marigolds in August (1980). Dir. Ross Devenish. South Africa. 87min. Will be available on MNet African Film Library. Mayibuye i-Western Sahara! (Come Back, Western Sahara!) (2013). Dir. Milly Moabi. South Africa/Western Sahara. 75min. Available from filmmakers. The Messenger( Onye Ozi) (2013). Dir. Obi Emelonye. UK. 89min. Available on iROKOtv. Microphone (2010). Dir. Ahmad Abdalla. Egypt. 120min. Distributed by Pacha Pictures. Miners Shot Down (2014). Dir. Rehad Desai. South Africa. 85min. Available from filmmakers. The Mirror Boy(2011). Dir. Obi Emelonye. UK. 120min. Available on iROKOtv and You- Tube: http://www.youtube.com/watch?v=okv7vqIja64/. Moi et Mon Blanc (2003). Dir. Pierre Yaméogo. Burkina Faso/France. 97min. Available from filmmaker. Moi Zaphira (2013). Dir. Appoline Traoré. Burkina Faso. 102min. Available from filmmaker. Montenegro (1981). Dir. Dušan Makavejev. Sweden/UK. 96min. Available on YouTube: http://www.youtube.com/watch?v=976dTUmgiRs/. Munyurangabo (2007). Dir. Lee Isaac Chung. South Korea/Rwanda/US. 97min. Available from Amazon. Mwansa the Great (2011). Dir. Rungano Nyoni. Zambia/UK. 23min. Available on Hulu (only in US). BIBLIOGRAPHY 255

My Makhzen and Me (2012). Dir. Nadir Bouhmouch. Morocco. 42min. Available on vimeo: http://vimeo.com/36997532/. Nairobi Half Life (2012). Dir. David Tosh Gitonga. Kenya/Germany/UK. 96min. Distrib- uted by The Festival Agency. Naked Weapon (2002). Dir. Siu-Tung Ching. Hong Kong. 92min. Available from Amazon. Ndoto za Elibidi (Dreams of Elibidi) (2010). Dir. Kamau wa Ndungu and Nick Reding. Kenya. 90min. Distributed by The Festival Agency. La Noire de . . . (1966). Dir. Ousmane Sembene. Senegal. 60min. Print available from New Yorker Films and BFI. DVD available from Amazon and (in French) from Médiathèque des Trois Mondes. Nollywood Lady (2008). Dir. Dorothee Wenner. Germany/Nigeria. 52min. Available from Women Make Movies. No Mercy, No Future (1981). Dir. Helma Sanders-Brahms. Germany. 110min. Available from Amazon. Nostalgia de la luz (Nostalgia for the Light) (2010). Dir. Patricio Guzmán. Chile/France/ Germany/Spain/US. 90min. Available from Amazon. Of Good Report (2013). Dir. Jahmil X.T. Qubeka. South Africa. 109min. Distributed by Spier Films. Otelo Burning (2012). Dir. Sara Blecher. South Africa. 105min. Available on iTunes. Othello (1952). Dir. Orson Welles. US/Italy/Morocco/France. 90min. Available from Amazon. Out of Africa (1985). Dir. Sydney Pollack. US. 161min. Available from Amazon. The Pan-African Cultural Festival of Algiers(1969). Dir. William Klein. Algeria. 120min. Distributed by ARTE. Paris mon paradis (Paris my paradise) (2011). Dir. Elénore Yaméogo. Burkina Faso/ France. 70min. Available (in French) on YouTube: http://www.youtube.com/ watch?v=5BDj0ow5hnA/. Le Petit Soldat (1960). Dir. Jean-Luc Godard. France. 88min. Available from Amazon. Phone Swap (2012). Dir. Kunle Afolayan. Nigeria. 111min. Will be available on IbakaTV. La Pirogue (2012). Dir. Moussa Touré. Senegal/France/Germany. 87min. Distributed by Rezo Films. Le President (2013). Dir. Jean-Pierre Bekolo. Cameroon/Germany. 64min. Available at http://president.weltfilm.com/. Quartier Mozart (1992). Dir. Jean-Pierre Bekolo. Cameroon/France. 79min. Distributed by AK Video. Rebelle (War Witch) (2012). Dir. Kim Nguyen. Canada. 90min. Available from Amazon. Le retour d’un aventurier (Return of an Adventurer) (1967). Dir. Moustapha Alassane. Niger/ France. 34min. Available from the Cinémathèque Afrique in Paris. The Runner(2012). Dir. Saeed T. Farouky. UK/Ireland/France. 94min. Available from filmmaker. Saaraba (1989). Dir. Amadou Saalum Seck. Senegal. 86min. Available from filmmaker. Sacred Places (Lieux Saints) (2009). Dir. Jean-Marie Teno. Cameroon/France. 70min. Avail- able at http://shop.jmteno.us/main.sc/. Les Saignantes (2005). Dir. Jean-Pierre Bekolo. Cameroon. 92min. Will be available on MNet African film library. Sambizanga (1972). Dir. Sarah Maldoror. Angola/France. 103min. Available on YouTube: http://www.youtube.com/watch?v=TVXWIBmjkSg&feature=youtu.be/. Sarzan (1963). Dir. Momar Thiam. Senegal/France. 29min. Available from the Ciné- mathèque Afrique in Paris. Adapted from a Birago Diop story. 256 BIBLIOGRAPHY

Scipione L’Africano (1937). Dir. Carmine Gallone. Italy. 108min. Available on YouTube (with no English subtitles): http://www.youtube.com/watch?v=6jjZ9U-4nN4/. A Screaming Man (2010). Dir. Mahamat-Saleh Haroun. Chad/France. 92min. Print distributed by Soda Pictures and DVD available on Amazon. Sex, Okra and Salted Butter (2008). Dir. Mahamat-Saleh Haroun. Chad/France. 81min. Dis- tributed by Doc and Film International. Something Necessary (2013). Dir. Judy Kibinge. Kenya/Germany. 85min. Distributed by One Fine Day Films. Song of Khartoum (1955). Dir. Gadalla Gubara. Sudan. 18min. Not currently available. Sons of the Clouds: The Last Colony(2012). Dir. Álvaro Longoria. Spain. 78min. Distributed by Wild Bunch. Soul Boy (2010). Dir. Hawa Essuman. Kenya/Germany. 60min. Distributed by One Fine Day Films. The Stuart Hall Project(2013). Dir. John Akomfrah. UK. 103min. Available from Amazon. Submission (2004). Dir. Theo van Gogh and Ayaan Hirsi Ali. The Netherlands. 12min. Available on YouTube (in Arabic with Dutch subtitles): http://www.youtube.com/ watch?v=aGtQvGGY4S4&feature=kp/. Surfing Soweto (2010). Dir. Sara Blecher. South Africa. 84min. Available from filmmaker. Sur la dune de la solitude (1966) Dir. Timité Bassori. Ivory Coast. 32min. Available from the Cinémathèque Afrique in Paris. Tango With Me (2010). Dir. Mahmood Ali-Balogun. Nigeria. 104min. Available on iROKOtv. Tey (Today) (2013). Dir. Alain Gomis. Senegal/France. 86min. Distributed by Wide Management. There’s Something in the Air—Cannes 1968, Part 1 (nd). Written and edited by Scout Tafoya. 7min. Available on YouTube: http://www.youtube.com/watch?v=PU3ej6LxhtE/. There’s Something in the Air—Cannes 1968, Part 2 (nd). Written and edited by Scout Tafoya. 6min. Available on YouTube: http://www.youtube.com/watch?v=96XqVJ8tk8k/. Tilaï (The Law) (1990). Dir. Idrissa Ouédraogo. Burkina Faso/Switzerland/UK/France/ Germany. 81min. Available on Amazon. Tinye So (The House of Truth) (2011). Dir. Daouda Coulibaly. Mali/France. 25min. Available from filmmaker. Togetherness Supreme (2010). Dir. Nathan Collett. Kenya/Venezuela. 94min. Available from filmmaker. Le Troisième Jour (1967). Dir. Edouard Sailly. Chad. 15min. Available from the Ciné- mathèque Afrique in Paris. Tsotsi (2005). Dir. Gavin Hood. South Africa/UK. 94min. Available on Amazon. Uhlanga: The Mark (2012). Dir. Ndaba Ka Ngwane. South Africa. 88min. Available from filmmakers. Une Nation est née (1961). Dir. Paulin Soumanou Vieyra and Mamadou Sarr. Senegal/ France/Tunisia. 20min. Available from the French Ministry of Cooperation. Veejays in Daressalaam (2010). Dir. Andres Carvajal and Sandra Gross. Tanzania. 53 min. Available from filmmakers. Le Vent des Aurès (1967). Dir. Mohammed Lakhdar-Hamina. Algeria. 95min. VHS available from FNAC. The Video Crusades: Tugenda Mumaso! (2010). Dir. Alice Smits. Uganda. 90min. Available from filmmaker. Virgin Margarida (2012). Dir. Licinio Azevedo. Mozambique/France/Portugal. 90min. Available from filmmaker. Vita Nova (2009). Dir. Vincent Meessen. Belgium. 26min. Available from filmmaker. BIBLIOGRAPHY 257

Viva Riva! (2010). Dir. Djo Tunda Wa Munga. DRC/France/Belgium. 98min. Available from Amazon. Waiting for Happiness (Heremakono). Dir. Abderrahmane Sissako. France/Mauritania. 90min. Distributed by Artificial Eye. Where are you taking me? (2010). Dir. Kimi Takesue. US/Uganda. 71min. Available at http:// www.kimitakesue.com/. Yaaba (1989). Dir. Idrissa Ouedraogo. Burkina Faso/Switzerland/France. 90min. Available from Amazon. Yeelen (Brightness) (1987). Dir. Souleymane Cissé. Mali/Burkina Faso/France/West Germany/Japan. 105min. Available from Amazon. Index

NOTE: Page references in italics refer to photos.

A African Movie Academy Awards Abdalla, Ahmad, 21 (AMAAs), 72, 130, 220n19 Abdelaziz, Mohammed, 175 “Africanness,” 113, 125 Abouna (Haroun), 54 African Pictures Program, 79, 206 Absa, Moussa Sene, 3, 98, 122 African Theatre Festivals (Gibbs), 104, 124 Abt, Jeffrey, 29, 30 African Union, 121–22 Abu-Lughod, Lila, 11 African Video Movies and Global Desires Achebe, Chinua, 16 (Garritano), 11 activism “Africapitalism,” 144 antiracist activism and film, 127–28 Africa Remix (Njami), 97 “citizen journalism” and film, 21 AfricAvenir, 166 “festive excitement” and film festival Africa Vision Exchange (AVE), 131 activism, 159, 161, 166–67, 168, 174, Africultures (journal), 131–32 176 (see also “festive excitement”) AFRIFESTNET (ARTerial Network), 131 Film Festivals and Activism (Iordanova, “age of directors,” 103 Torchin), 171 “age of the programmer,” 39, 42, 98 see also sensus communis Ahmed, Sara, 22, 67–68, 77 actor network theory (ANT), 39 Ahn, SooJeong, 33 Adejunmobi, Moradewun, 26, 74 Akomfrah, John, 49, 118 Adesokan, Akin, 213n3 Alassane, Moustapha, 69–70 AFFORD (African Foundation for Alessandrini, Goffredo, 34 Development), 144 Alhambrista, 134 Afolayan, Adeyemi “Ade Love,” 72, 105 “A-list” film festivals Afolayan, Kunle, 7–8, 72–75 African film festivals outside of Africa Africa at the Pictures, 111 and, 111–13 Africa Explores (Vogel), 97 Bailey as first black director of, 67 AfricaFilms.tv, 178 Berlin Film Festival, 1, 37, 42, 56, 166 Africa International Film Festival, 166 Edinburgh Film Festival, 1, 37, 39, 57 Africa in the Picture, 111, 114, 118–19, historical perspective, 37–44, 41 126–27 new attitude of, 79–85 Africa is a Country (blog), 144 “public screenings” and “industry Africa (journal), 10 screenings” of, 219n17 African Cinema (Diawara), 52 see also Cannes film festival; African Commission on Human and International Film Festival of Peoples’ Rights (ACHPR) (African Rotterdam (IFFR) Union), 121–22 Allix, André, 142 260 INDEX

Allouache, Merzak, 47 Austen, Ralph, 104 All That Jazz (Fosse), 134 Avventura, L’ (Antonioni), 4 Almesberger, Christian, 66 Awake from Mourning, 135 Amakula Kampala International Film AZAPO (Azanian Peoples Festival, 99, 151–53, 177 Organization), 138 Ameidan, Saleh, 174 Azevedo, Licinio, 105 Amnesty International, 173 Azonto (dance form), 14 Anderson, Annalisa, 145–46 Antonioni, Michelangelo, 4 B Anyiam-Osigwe, Peace, 130 Babatope, Moses, 73 Appadurai, Arjun, 3 Bachmann, Gideon, 96 Apter, Andrew, 74 Bad Timing (Roeg), 135 Arendt, Hannah, 78 Bailey, Cameron, 67, 79–80, 85 Aristotle, 29 Baker, Léandre-Alain, 73 Armah, Ayi Kwei, 104, 148 Bakker, Mariët, 112, 118 art Bako, Ishaya, 21 “art cinema,” 4–5, 53 Bakupa-Kanyinda, Balufu, 55 auratic objects compared to, 30 Bals, Hubert, 43, 44, 157, 161 creating African audiences for African Bangré, Sambolgo, 9, 48, 123 films, 97–104 (see also audience) Barber, Karin, 10, 16, 88 “international” film festivals in Africa Bardón, Xavier García, 75 and, 141–45 Barlet, Olivier, 53–54 terminology for, 90 Baron, Jérôme, 40, 80, 81, 82, 83 ARTerial Network, 129–30, 131 Barthes, Roland, 76 Art Moves Africa (AMA), 224n27 Bassolet, François, 97 AsiaAfrica program (Dubai International Bassori, Timité, 69–70 Film Festival), 79, 129, 202 Battle of Algiers, The (Pontecorvo), 52 Asterix and Obelix, 174 Bayart, Jean-François, 132 audience, 87–109 Bekolo, Jean-Pierre, 5, 21, 82, 165 arts festivals in era of decolonization, Belghazi, Taieb, 158 94–95 Benga, Ota, 32 FESPACO and filmmaking technology, Bengasi (Genina), 34, 35 104–6, 108 Bergman, Ingmar, 57 FESPACO and Nollywood, 106–9 Berlin Film Festival, 1, 37, 42, 56, 166, FESPACO inception and goals, 202, 217n16 97–104, 98 Bertha Fund, 204, 217n16 festivals dedicated to films by Africans, Betz, Mark, 53 95–96 Bhabha, Homi, 123 film festivals defined by, 159 (see also Bikales, Thomas, 95, 103, 178 “festive excitement”) Biko, Steve, 137 financial issues of cinemagoing and, 9 Binger, Louis Gustave, 76–77 generally, 87–92 Bird, Elizabeth, 106 “international” film festivals in Africa “black” film festivals, 119, 207–11 and curating practices, 153–58 Black Girl (La Noire de . . .) (Sembene), liberating and politicizing of African 48–49, 95 audiences, 92–94 Blecher, Sara, 5–6, 21, 113, 129 as “publics,” 22 Blue Ice Group, 69, 204, 217–18n16 study of, 11–12, 177–80 Blue is the Warmest Colour (Kechiche), 50 “aura,” of films, 12, 214–15n1 “Bollywood,” popularity of, 11 Auslander, Philip, 15, 178 Bona, 134 INDEX 261

Bonetti, Mahen, 56, 84, 112, 115 French funding for African film Bongowood, 148 production, 45–48, 57 Bonsu, Henry, 118 historical perspective, 1, 33, 35–36, Bon Voyage Sim (Alassane), 69 40–41, 41 Bordwell, David, 4, 53 main awards of, 216n5 Borom Sarret (Sembene), 45, 70, 95 programs of, 46–47 Bottai, Giuseppe, 34 Transatlantic Trade and Investment Bouchareb, Rachid, 50 Partnership and, 36 Bouhmouch, Nadir, 21 “Village International,” 55, 56 Bourdieu, Pierre, 3–4, 5 “world cinema” perceived as genre, 52–57 Bouzid, Nouri, 96 Cape Town World Cinema Film Festival, 139 Boy Kumasenu, The, 45 Carels, Edwin, 63, 75 Braidotti, Rosi, 80, 83, 123 Carrión, María, 172, 173 Brecht, Bertolt, 93 Casa África, 124 British Educational Kinema Experiment Centre for Creative Arts (University of (BEKE), 88–89, 91, 92 KwaZulu-Natal), 139 Bronco Billy (Eastwood), 134 Centro Orientamento Educativo (COE), 114 Broomfield, Nick, 148 Chahine,Youssef, 45, 50 Brouwer, Wim, 173, 175 Chama Cha Mapinduzi party (Tanzania), Buck-Morss, Susan, 77 146 Bulbulia, Firdoze, 167 Cheriaa, Tahar, 92, 96 BuniTV, 13, 82 Chess Players, The (Ray), 112 Bureau of African Cinema (Ministry of Chomsky, Noam, 49 Cooperation, France), 45–46, 49 Chroniques des années de braise (Lakhdar- Burkina Faso Hamina), 50, 51–52, 57 Ciné Burkina, 98, 99 Chung, Lee Isaac, 129 FESPACO inception and, 98 Ciment, Michel, 71 filmmaking in, 101 Cine Afrique (Stone Town, Zanzibar), 150 Mossi nation of, 96 Cinéfondation (Cannes film festival), 47 name of, 99 cinemagoing. see audience see also Festival Pan-Africain du Cinéma Cinema Mondial Tour, 79 et de la Télévision de Ouagadougou Cinéma Numérique Ambulant (CNA), 99 (FESPACO) Cinémas du Monde, Les, 56, 202 Burnat, Emad, 170, 175 Cinémathèque Française, 40, 42 Burton, Julianne, 10 Cinematograph Act, 36 Bye Bye Africa (Haroun), 54 Cissé, Souleymane, 53–54 Bye Bye Brasil (Diegues), 112 “citizen journalism,” films as, 21 Cocteau, Jean, 23 C colonialism Cairo International Film Festival, 1, 140 audience and arts festivals in era of “calabash cinema,” 54 decolonization, 94–95 Cameroon, Mbororo people of, 122 filmmaking goals and, 90–92 Campion, Jane, 71 French funding for African film Cannes film festival, 45–57 production and, 45–48, 57 African films recognized by, 48–50, 51 historical perspective of film festivals, audience of, 87 33–37 Les Cinémas du Monde, 56, 202 “international” film festivals in Africa controversies surrounding African films, and, 142 50–53 international perspective of African filmmaking technology and, 105 films and, 50 262 INDEX

Colours of the Nile Film Festival, 129 Diawara, Manthia, 46, 53, 55, 56, 62, 97, Coming Soon to a Festival Near You, 84 103, 123 Committee on African Advance Dicks, Bella, 158 (Kenya), 91 Diegues, Carlos, 112 Compaoré, Blaise, 103, 221n21 Dingley Bill, 36 Congo Love (Bardón), 75 Diop, Birago, 71 Conklin, Alice, 35 Diouana (film character), 48–49 Consortium Interafricain de Distribution distribution, of films, 9–12, 92, 97, 136 Cinématographique (CIDC), 106–7 see also audience “Continental Crossings” program, 224n26 Dockanema Film Festival, 153–58 Corcuera, Javier, 171, 172 Dozo, Marie-Hélene, 55 Cornut-Gentille, Bernard, 51 Drama Consult (Wenner), 73 Couldry, Nick, 15 Dubai International Film Festival, 79, 129 Couple in the Cage, The (Fusco and Duggan, Mark, 118 Heredia), 32 Dupré, Colin, 95, 178 Cousins, Mark, 17, 57 Durban International Film Festival (DIFF) Criticism and Ideology (Eagleton), 93 audience and, 89 curating Of Good Report (Qubeka), 159–67 audience and “international” film historical perspective of film festivals, festivals in Africa, 153–58 1, 24 as career, 79–85 “international” film festivals in Africa historical perspective, 29–32 and, 132, 133–41, 150 of “indigeneity” at “international” film “Window to the World,” 214n8 festivals in Africa, 151–53 “liveness” of festivals and, 17 E Curzon Cinemas, 13–14 Eagleton, Terry, 19, 93, 175 Ebdadi, Galia, 174 D Ebelle, Eitel Basile Ngangue, 69 Daney, Serge, 53–54, 63 Écrans d’Abondance (Cheriaa), 92 Dangarembga, Tsitsi, 6, 149 Edinburgh Film Festival, 1, 37, 39, 57 Daratt (Haroun), 54, 105 Education of Auma Obama, The Davidi, Guy, 170, 172, 173, 175–76 (Okpako), 112 Debbie, 162 Edwards, Zena, 118 De Groot, Rindert, 65–67, 68 Elizabeth Sneddon theatre (University of Delwende (Yaméogo), 50 KwaZulu-Natal), 135 Demos, T. J., 76–77 Ellickson, Lee, 60, 63–64, 69, 70–71, 151, Derrida, Jacques, 77 153, 177 Desai, Rehad, 6 Elumelu, Tony, 144 Destin, Le (Chahine), 50 Enwezor, Okwui, 84, 97, 127, 213n6 De Valck, Marijke Espalda del Mundo, La (The Back of the film festivals as media events, 15 World) (Corcuera), 169 film festivals as “trade fairs,” 141 Essuman, Hawa, 64–69, 105 financial issues of film festivals, 3, 5, 57 European Network Against Racism, historical perspective of film festivals, 127–28 36–37, 38–39, 41, 42, 43 “phases” of film festivals, 39, 42, 98, 103 F Devenish, Ross, 134 Fair, Laura, 11, 148 Diallo, Boubacar, 101, 105 Falicov, Tamara, 4 Diana (Princess of Wales), 15 Farrell, Laurie Ann, 84 Diao, Claire, 7, 46, 156 Femme au couteau, La (Bassori), 70 INDEX 263

FEPACI (Pan-African Federation of Film and Publications Board (FPB) (South Filmmakers), 20, 102 Africa), 159–67 FESPACO. see Festival Pan-Africain film festivals, 1–27 du Cinéma et de la Télévision de “A-list” film festival history, 37–44, 41 Ouagadougou (FESPACO) book structure and, 22–27 Festival Cinema Africano Milano, 111, 114 early film festival history, 33–37 Festival de Cinema Africano, Asia, and as heuristic device, 20–21 America Latina, 112 historical perspective of curating and, Festival des 3 Continents, 1, 63, 111, 112, 29–32 116–17 “liveness” of, 12–19 Festival International du Film Amateur de rise of, 1–2 Kelibia (FIFAK), 1, 220n13 study of, 2–12, 142, 177–80 Festival International du Film Panafricain, see also audience; curating; film 69 festivals (held outside of Africa); Festival International du Films d’Amiens, film production; financial issues; 111–12, 124 individual names of festivals “festivalization,” 13 Film Festivals and Activism (Iordanova, Festival Pan-Africain du Cinéma et Torchin), 171 de la Télévision de Ouagadougou film festivals (held outside of Africa), (FESPACO) 111–30 “African films for Africans” motto of, 130 rise of, 111–20 Bailey and, 67 Tarifa/Cordoba African Film Festival boycott of, 221–22n22 and, 120–26, 121 filmmaking technology and, 104–6, 108 transnational trajectories for African historical perspective, 1, 39 film and filmmakers, 126–30 inception and goals of, 92–95, 97–109, 98 film production influence of, 111–12 audience role and, 177 (see also JCC compared to, 95–96 audience) location of, 221n20 FESPACO and filmmaking technology, Nollywood and, 106–9 104–6, 108 (see also audience) study of, 179 FESPACO goals and, 99–100 ZIFF compared to, 147 major international film festivals that “festive excitement,” 159–76 support African filmmaking, 202–6 defined, 17, 19 transnational trajectories for African film festivals defined by audiences film and filmmakers, 126–30 and, 159 Final Cut program, 206, 217n16 FiSahara Film Festival and, 167–76 financial issues Of Good Report (Qubeka) and DIFF, box office income and film festivals, 159–67 150–51 FIAPF (International Federation of Film encouraging African filmmaking and, Producers Associations), 140, 202, 60, 64–69, 71, 79 215n9 festival ticket affordability and, 99 Figurine, The (Afolayan), 8, 72–75, 105 of film festivals outside of Africa, 124 Film Africa, 113, 114, 117–18, 118, 166 filmmaking budgets, 8–9 Film Africain et Le Film du Sud, Le French funding for African film (journal), 124 production, 45–48, 57 Film and Publications Act of 1996 (South “international” film festivals in Africa Africa), 160, 161–62 and, 142–45 Film and Publications Act of 2009 (South major international film festivals that Africa), 167 support African filmmaking, 202–6 264 INDEX financial issues (Continued) Giddens, Anthony, 26 media access to films and, 107 Gikandi, Simon, 49, 77 “non-commercial” cinema/films, 3, 5 Givanni, June, 67, 84, 115–17, 118, 129 First Pan-African Cultural Festival of Glissant, Edouard, 22 Algiers, 71 Global Art Cinema (Galt, Schoonhover), 5 First World Festival of Negro Arts, 49, 94 Godard, Jean-Luc, 52, 93, 99 FiSahara Film Festival, 167–76, 170, 172, Goerg, Odile, 15, 87, 108, 151 174, 175 Gomis, Alain, 105–6, 112 Five Broken Cameras (Davidi, Burnat), 170, Göteborg International Film Festival Fund, 174, 175 204, 217n16 Florencio, Flavio, 129 Gould, Gaylene, 67 Fonds de Dévélopment du Scénario, Les, Grahamstown National Arts Festival, 16 125, 203 Grand Magal à Touba (Senghor), 45 “Forget Africa” (International Film Great Britain Festival of Rotterdam), 60–64, African film festivals in, 115–18 72–75, 129 filmmaking goals and, 91–92 Foucault, Michel, 22, 23–24, 41, 62 historical perspective of film festivals, 36 France Greenberg, Kerryn, 83 African film production funded by, Green-Simms, Lindsey, 11 45–48, 57 Grey Matter (Ruhorahoza), 21 colonial censorship of film screenings Grisgris (Haroun), 50, 54–55 (post-World War II), 91–92 Gubara, Gadalla, 218n12 historical perspective of film festivals, Guerilla Grannies, 155 30–31, 33, 40–41, 41 Guevara, Che, 102 see also Cannes film festival Guzman, Patricio, 155–56 Franco, Francisco, 120 “Guzmán El Bueno,” 122 Friends (Proctor), 50 From Carthage to Carthage, 96 H Fuelling Poverty (Bako), 21 Habermas, Jürgen, 9, 19, 22 Fugard, Athol, 134 Hall, Stuart, 123 Fuglesang, Minou, 11 Hamdi, Khadija, 170 Fujiwara, Chris, 23, 39 Handsworth Songs (Akomfrah), 118 Fusco, Coco, 32 Harbord, Janet, 14–15 Harney, Elizabeth, 101 G Haroun, Mahamat-Saleh, 50, 54–55, 61, Gabriel, Teshome, 21, 92–93, 173 70, 105 Gallone, Carmine, 34 Harrow, Ken, 106 Galt, Rosalind, 5 Harvey, David, 158 García, Jean-Pierre, 111, 124 Haslam, Mark, 85 Gardner, Anthony, 82 Hassan II (King of Morocco), 168 Garritano, Carmela, 10, 11, 38, 106, 107, Havana Film Festival, 102 108, 148 Hayek, Salma, 173 Geldof, Bob, 144 Haynes, Jonathan, 7–8 Genina, Augusto, 34 Hebron, Sandra, 216n13 genre, of films, 11 Hedrén, Katarina, 130 Ghana Hegel, Georg, 77 filmmaking revolution and, 2 Heredia, Paula, 32 music production in, 14 Herman, Edward S., 49 videomaking in, 108 heterotopia concept, 22, 23–24, 41, 112 Gibbs, James, 104, 172 Hicks, John, 18–19 INDEX 265

Hodeir, Catherine, 32 Iordanova, Dina, 13, 82, 171, 213n1 Hoffman, Jens, 83 Irapada (Afolayan), 72 Hollywood, historical perspective of film festivals, 5, 36, 38–41 J Hong Kong International Film Festival, Jacob, Gilles, 40 94–95 Jaggi, Maya, 48 Horak, Jan-Christopher, 84 jaima, 171, 172 HotDocs Film Festival, 68–69, 204, Jalladeau, Alain, 112, 117 217–18n16 Jalladeau, Philippe, 63, 112, 117 Hubert Bals Fund, 60, 64, 68, 79, 205, 217n16 Jeonju Digital Project, 129, 205, 217–18n16 Jeonju International Film Festival, 79, 205, I 217–18n16 Ideology of the Aesthetic, The (Eagleton), 19 Johnny Mad Dog (Sauvaire), 50 Ilboudo, Patrick, 100 Jones, Sarah Ping Nie, 69 Indigènes (Bouchareb), 50 Journées Cinématographiques de Carthage Indochine: Traces of a Mother, 112 (JCC), 12, 94–96, 112 Institute of Contemporary Art (ICA), 114 Journey to the Sun, 93 International Documentary Festival of Joutsio, Saila, 172 Amsterdam (IDFA), 79, 204, 217n16 Jules-Rosette, Bennetta, 95 Internationales Forum des Jungen Film, Julie et Romeo (Diallo), 105 Das, 42 International Federation of Film Producers K Associations (FIAPF), 140, 202, Kabera, Eric, 6, 153 215n9 Kaboré, Gaston, 6, 100, 101, 102, 103 International Film Festival of Rotterdam Kahora, Billy, 66 (IFFR) Kaka yo (Kamba), 70 “A-list” attitudes and curation, 79–85 Kamba, Sebastien, 70 The Figurine (Afolayan) and, 72–75 Kant, Immanuel, 18–19, 78 “Forget Africa” program, 60–64, Kanumba, Steven, 148 72–75, 129 Karim (Thiam), 69 historical perspective, 39, 43–44 Karlovy Vary (film festival), 1 Hubert Bals Fund, 60, 64, 68, 79, 217n16 Kavanagh, Mshengu, 104 Soul Boy (Essuman), 64–69, 65 Kechiche, Abdellatif, 50 translation issues and, 69–72 Keita, Mama, 122 Vita Nova (Meessen) and, 75–79 Keïta, Salif, 99 Where are you taking me? (Takesue) Kelani, Tunde, 72, 104 and, 59–64 Kelly, Lynne, 134 “Where is Africa?” program, 60–64, 67, Kenya 69, 72, 74, 77, 79, 179 Committee on African Advance in, 91 “international” film festivals in Africa, Kenya International Film Festival, 156–57 131–58 Soul Boy (Essuman), 64–69, 65, 109 curating “indigeneity” at, 151–53 Kgositsile, Keorapetse, 170, 170 curating practices and audience, 153–58 Kibinge, Judy, 20–21 Durban International Film Festival Kishore, Shweta, 82, 88 (DIFF) and, 133–41 Knatchbull, Phillip, 13–14 festivalization and, 131–32 Kola, Mamadou Djim, 100–101 “internationalization,” defined, 133 Kombo, Mahmoud T., 146 proliferation of, since late 1990s, 141–45 Kubrick, Stanley, 166 Zanzibar International Film Festival Kurosawa, Akira, 57 (ZIFF), 145–51, 147, 149, 150 Kuxa Kanema project, 133, 155 266 INDEX

L Maldoror, Sarah, 12–13 Ladakh International Film Festival, 88 Malraux, André, 41–42 Lakew, Rasselas, 122 Mambety, Djibil Diop, 95 Lakhdar-Hamina, Mohammed, 48–52 Mamdani, Mahmood, 37 Lamizana, Sangoulé, 101 Mandabi (Sembene), 95 Langlois, Henri, 42 Mandela, Nelson, 160 language issues Manifesta (journal), 83, 84 African film festivals outside of Africa Manila: In the Claws of Darkness, 134 and, 122 “Man is Culture” (Sembene), 93–94 Anglophone filmmaking, 103 Man of Ashes (Bouzid), 96 of “francophone” African films, 46 Manrique, Mane Cisneros, 68, 120, 122, “Nollywood” and “African diaspora 123–25, 126 language,” 7–8 Manzi, Lwanzi, 163–65 terminology for festivals, 89–90 Maraini, Antonio, 33 Larkin, Brian, 11, 26, 89 Marché du Cinéma, 40, 222n28 Last grave at Dimbaza, 93 Marigolds in August (Devenish), 134 Latour, Bruno, 26, 39 Marks, Laura, 84 Laval Decree, 36 Marrakech International Film Festival, 132 Lehbib, Safia Abderahman, 174 Martin, Jean-Hubert, 97 Leopold II, 76 Mbembe, Achille, 60, 128, 144 Let Joy Reign Supreme (Tavernier), 134 Mbororo people (Cameroon), 122 Life, Above All (Schmitz), 47 Mboya, Hlubi, 160 Life of Pi, 174 “media events,” 15 “liveness,” of film festivals Meeran, Jean, 69, 166 mechanically reproduced art and, 12–19 Meessen, Vincent, 75–79 as research methodology, 22, 57, 77, 178 Mensah, Ayoko, 132 see also audience Mhando, Martin, 6, 145–50, 157 Lobato, Heidi, 62, 112, 114, 118, 126–27 Microphone (Abdalla), 21 Lobato, Ramon, 9, 178 Middle East and African film program, 206 Locarno Film Festival, 1, 37, 205, 217n16 Mikuni, Rentaro, 50 Lolita (Kubrick), 166 Miners Shot Down (Desai), 6 London Film Festival, 72 Ministry of Cooperation (France), 45–46 Lora-Mungai, Marie, 13, 82 Moche, Lesedi, 178 Louvre, 30–31 Moeran, Brian, 108 Luali, Takiyo, 174 Moi et Mon Blanc (Yaméogo), 101 Luciano Serra Pilota (Alessandrini), 34–35 Moi Zaphira (Traoré), 101 Luxor African Film Festival, 129, 220n18 Montenegro (Makavejev), 135 Moodley, Nashen, 79, 80, 81, 83, 84, 85, M 129, 140, 150–51 Machel, Samora, 133, 155 Moore, Michael, 228–29n11 Machen, Peter, 160, 162–63, 164 Moosa, Imrann, 138 MacRae, Suzanne, 54 Morgan, Jessica, 80 Maggie Magaba Trust, 135 Morocco Magiciens de la Terre (Martin), 97 cultural festivals of, 158 Mahnke, Hans-Christian, 166 Sahrawi people and, 167–76, 170, 172, Mah Saah-Sah, 177 174, 175 Majestic Cinema (Stone Town, Zanzibar), Mosireen Collective, 21 148 Mossi nation, 96 Makavejev, Dušan, 135 Motion Picture Patent Company (MPPC), 36 Malčić, Steven, 48, 49 Movies that Matter, 173 Malcolm, Derek, 136–37 Moving Image, The (journal), 84 INDEX 267

Moyo, Dambisa, 142 Nostalgia de la luz (Guzman), 155–56 Mugge, Robert, 138 Nouah, Ramsey, 8 Muhr Awards, 79 Nuits de l’Armée, Les (television “multiculturalism,” in Europe, 114 program), 76 Munyurangabo (Chung), 129 Nyoni, Rungano, 113 museum curation, historical perspective, 29–32 O Museum of Alexandria, 29 Odeon iMax (Greenwich district, London), music, in films, 14, 148–49 73–74 Mussolini, Benito, 33, 34, 35, 102 Of Good Report (Qubeka), 159–67 Mwansa the Great (Nyoni), 113 “Of Other Spaces” (Foucault), 22 Mwanza, Rachel, 7 Ogunyemi, Dayo, 226n34 My Makhzen and Me (Bouhmouch), 21, 174 Oguri, Kohei, 50 O.K., 42 N Okeke-Agulu, Chika, 84, 97 Nacro, Fanta Régina, 101 Okpako, Branwen, 112 Naidoo, Loganathan “Logie,” 133 Olivieri, Federico, 123, 223n13 Naked Weapon, 148 One Fine Day Films, 64 Natal Mercury, 136, 139 Onjyeji, Chibo, 127–28 National Film Theatre (NFT), 116 Online South African Film Festival, 178 National Institute of Cinema, 133 On the Postcolony (Mbembe), 60 Nation est née, Une (Vieyra and Sarr), 45 Open Doors, 205, 217n16 Negotiating Values in the Creative Otelo Burning (Blecher), 21, 113 Industries, 141 Othello (Welles), 48 network theory, 26 Ouédraogo, Idrissa, 50, 53, 101 Newell, Stephanie, 10 Ouédraogo, Michel, 95 New York African Film Festival, 45, 56, 112 Overseas Ministry (France), 91–92 Nguyen, Kim, 7 Oy Scorza Ltd., 172 Niang, Amy, 104 Nigeria P cinemagoing in, 89 Pan-African Cultural Festival of Algiers, filmmaking revolution and, 2, 38, 72–75 94–95 Kunle Afolayan and, 7–8, 72–75 Pan African Film Festival of Los Angeles, New Nollywood and, 7–8 (see also 72, 111, 166 Nollywood) “parametric narration,” 53 Njami, Simon, 97 Paris Match (magazine), 76 NKA (journal), 84 Pederson, Jesper Strandgaard, 108 Noire de . . . , La (Black Girl) (Sembene), Pedretti, Don Francesco, 114–15 48–49, 95 Pelican, Michaela, 121–22 Nollywood Peña, Richard, 99 Afolayan on, 72 Perry, Grayson, 4 “African diaspora language” and, 7–8 Pesaro Film Festival, 43 Bongowood and, 148 Petit Soldat, Le (Godard), 52 defined, 2 Phillips, Ray, 90 FESPACO and, 105, 106–9 Phone Swap (Afolayan), 72 IFFR and, 72–75 Pimenta, Pedro, 105–6, 153–57 Kunle Afolayan and, 72–75 Pines, Jim, 111 Nollywood Lady (Wenner), 73 Plan África (Spain), 124 No Mercy, No Future (Sanders-Brahms), Planet Africa (Toronto International Film 135 Festival), 67, 112 Nornes, Abé Markus, 39 Planet in Focus Film Festival, 85 268 INDEX

Pontecorvo, Gillo, 52 Sahrawi Arab Democratic Republic Potgieter, Cheryl, 161, 167 (SADR), 169 President, Le (Bekolo), 21, 82 Sahrawi people, FiSahara Film Festival and, Problema, El, 168 167–76, 170, 172, 174, 175 Proctor, Elaine, 50 Sailly, Edouard, 70 Produire au sud, 202 Sakbollé, 123 “publics,” 22 Salembéré, Alimata, 100 see also audience Salti, Rasha, 80, 81, 84–85, 112–13, 206 Sambizanga (Maldoror), 12 Q Sancho IV (King of Castille), 122 Qubeka, Jahmil X. T., 159–67 Sanders-Brahms, Helma, 135 Quinzaine des Realisateurs, 42 Sankara, Thomas, 99, 101–4, 132 Sanogo, Aboubakar, 88–89, 91, 92 R Sarkin, Ros, 133–34, 135–36, 137, 138 race Sarkin, Teddy, 133, 139 African immigrant minorities and film Sarr, Mamadou, 45 festivals outside Africa, 113–20 Sarzan (Thiam), 69–70 antiracist activism and, 127–28 Şaul, Mahir, 91, 104 audience and, 88–92, 102–3 Sauvaire, Jean-Stéphane, 50 Durban International Film Festival and, Sawadogo, Filippe, 103 133–41 Schmitz, Oliver, 47 historical perspective of film festivals, 32 Schoonhover, Karl, 5 “international” film festivals in Africa Scipione L’Africano (Gallone), 34 and curating “indigeneity,” 151–53 Scott-Heron, Gil, 138 Radshaw, Elizabeth, 68–69 Screaming Man, A (Haroun), 50, 54, 105 Radway, Janice, 89 Seattle International Film Festival, 79 Rattansi, Ali, 114, 119, 123 Sellers, William, 91 Ray, Satyajit, 57, 112 Sembene, Ousmane Rebelle (Nguyen), 7 Black Girl (La Noire de . . .), 48–49, 95 Rencontres du Film Court Madagascar, 156 Borom Sarret, 45, 70, 95 Retour d’un aventurier, Le (Alassane), 69 FESPACO and, 97 Return, The (Haroun), 54 on historical perspective of Africa and Ribas, João, 219n27 film, 93–94 Rio Bravo, 82 on language for “art,” 90 Rocky Road to Dublin (Lennon), 42 legacy of, 61, 69, 70, 71, 98, 100–101, 112 Roeg, Nicolas, 135 Mandabi, 95 Rorvik, Peter, 80, 139–40 “Man is Culture,” 93–94 Roy, Arundhati, 56, 132 Senghor, Blaise, 45, 101 Ruhorahoza, Kivu, 21 sensus communis, 18–19, 78–79 Runner, The (Farouky), 174 “dis(sensus) communis,” 19 Ruoff, Jeffrey, 14, 39, 96, 132, 218n12 “festive excitement” and film festival Rwanda Film Festival, 153–54 activism, 159, 161, 166–67, 168, Rydell, Robert, 31, 32 174, 176 “international” film festivals in Africa S and, 153 Sacred Places (Teno), 106 Serugo, Moses, 153 SAFTTA Journal (South African Film and Sex, Okra and Salted Butter (Haroun), Television Technicians Association), 54, 105 138 Sharp, Bill, 136 INDEX 269

Shipley, Jesse Weaver, 14 Tarifa/Cordoba African Film Festival Shiri, Keith, 111 (FCAT), 72, 120–26, 121, 153, 156, 168 Short Century (Enwezor), 97 Tavernier, Bertrand, 134 Silverbird cinema chain, 226n34 technology, used in filmmaking, 104–6, 108 Singer, Alan, 78–79 television Sissako, Abderrahmane, 47, 61, 122 African-oriented, 13 Skeens, Emerson, 145–46 segregation and, 225n11 Slavery and the Culture of Taste Teno, Jean-Marie, 106 (Gikandi), 77 Tevi, John, 32 Smith, Kevin, 32 Tey (Gomis), 105–6, 112 Smith, Michelle, 32 There’s Something in the Air (Tafoya), 42 Smits, Alice, 60, 63–64, 69, 70, 151, Thiam, Momar, 49, 69–71 153, 177 Third Cinema movement (Latin America), Sobchack, Vivian, 175 21, 43, 92–93 Soetendorp, Rabbi Awraham, 64–65, Third Eye Festival of Third World Cinema, 66–67, 68 111, 115–16 Something Necessary (Kibinge), 20–21 “Third World” films, connotation of, 111, Song of Khartoum (Gubara), 218n12 134–35 Soo-wan, Jung, 79 “Thirty Years of African Cinema,” 112 Soul Boy (Essuman), 64–69, 65, 105 Tilaï (Ouédraogo), 50 South Africa Tokyo African Film Festival, 129, 218n13 Film and Publications Act of 1996, 160, Toledo, Willy, 169 161–62 Tomaselli, Keyan, 133–34, 135, 162 Film and Publications Act of 2009, 167 Torchin, Leshu, 165, 171 Of Good Report (Qubeka) and Film and Toronto International Film Festival (TIFF), Publications Board (FPB) of, 159–67 2, 67, 112 political change in, 16 Touré, Drissa, 101 see also Durban International Film Tours Film Festival, 45 Festival (DIFF) “trade fair” concept, film festivals and, 141 Southwood, Russell, 156 Transatlantic Trade and Investment Stam, Robert, 37 Partnership, 36 Stone Town (Zanzibar), 148, 149 translation issues, at film festivals, 69–72 Strange Encounters (Ahmed), 22, 67 Traoré, Appoline, 101 structural adjustment programs (SAPs), Triandis, Harry, 168 107, 143–45 Tricontinentalism, 92 Submission (Van Gogh), 118–19 Troisième Jour, Le (Sailly), 70 “substate national minorities,” 119 Tshuma, Petronella, 161 Suleman, Ramadan, 178 Turan, Kenneth, 98 Suncoast cinemas, 228n2 Tykwer, Tom, 64 Surfing Soweto (Blecher), 21 Sur la dune de la solitude (Bassori), 69 U Sydney Film Festival, 150 Uhlanga (Ngwane), 6 Ukadike, Nwachukwu Frank, 102 T Umulisa, Romeo, 6, 153–54, 156, 157 Taboada, Pepe, 169 UN Declaration on the Rights of Tafoya, Scout, 42 Indigenous Peoples, 121–22 Tahri, Jihan, el-, 5, 7, 160 United Bank for Africa, 144 Takesue, Kimi, 59–64 University of KwaZulu-Natal, 133, 135, 139 Tang, Jeannine, 3 Unluckiest, The, 60 270 INDEX

V “Window to the World” (DIFF), 214n8 Van Gogh, Theo, 118–19 Witz, Leslie, 16–17, 19, 88, 168 Venice Film Festival, 1, 33–34, 52, 102, Women of Color Arts and Film 217n16 Festival, 72 Vent des Aurès, Le (Lakhdar-Hamina), 48, Wong, Cindy, 4, 5, 12, 36, 44, 47–48, 50, 52 94, 177 Verona African Film Festival, 111 World Bank, 143 Video Crusades: Tugenda Mumaso!, The World Cinema Fund, 202, 217n16 (Smits), 153, 177 “world cinema,” perception of, 53–57 video-on-demand (VOD) platforms, 13, WorldConnectors, 64–65 17, 115, 178 world fairs, curation and, 31–32 Vieyra, Paulin Soumanou, 45 “Village International” (Cannes film Y festival), 55, 56 Yaaba (Ouédraogo), 53 Vir, Parminder, 111 Yaméogo, Pierre S., 50, 101 Virgin Margarida (Azevedo), 105 Yeelen (Cissé), 50, 53 Vita Nova (Meessen), 75–79 Yennenga (Princess, Mossi nation), 96 Vogel, Susan, 97 Yerima, Ahmed, 151 Yoruba (traveling theatre), 72 W Young, Neil, 87 Waiting for Happiness (Sissako), 47 YouTube, 12–13 Warner, Michael, 22 Welles, Orson, 48 Z Wenner, Dorothee, 63, 73 Zanzibar International Film Festival West Kine cinema complex (Durban), 134 (ZIFF), 2, 145–51, 147, 149, 150 Where are you taking me? (Takesue), 59–64 Zapatero, José Luis, 124 “Where is Africa?” (International Film Zondi, Khulekani, 6 Festival of Rotterdam), 60–64, 67, 69, Zuilhof, Gertjan, 60–64, 73 72, 74, 77, 79, 179 Zwobada, André, 48