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PROGRAM ABSTRACTS FOR THE 15TH TRIENNIAL SYMPOSIUM ON AFRICAN ART Africa and Its Diasporas in the Market Place: Cultural Resources and the Global Economy The core theme of the 2011 ACASA symposium, proposed by Pamela Allara, examines the current status of Africa’s cultural resources and the influence—for good or ill—of market forces both inside and outside the continent. As nation states decline in influence and power, and corporations, private patrons and foundations increasingly determine the kinds of cultural production that will be supported, how is African art being reinterpreted and by whom? Are artists and scholars able to successfully articulate their own intellectual and cultural values in this climate? Is there anything we can do to address the situation? WEDNESDAY, MARCH 23, 2O11, MUSEUM PROGRAM All Museum Program panels are in the Lenart Auditorium, Fowler Museum at UCLA Welcoming Remarks (8:30). Jean Borgatti, Steven Nelson, and Marla C. Berns PANEL I (8:45–10:45) Contemporary Art Sans Frontières. Chairs: Barbara Thompson, Stanford University, and Gemma Rodrigues, Fowler Museum at UCLA Contemporary African art is a phenomenon that transcends and complicates traditional curatorial categories and disciplinary boundaries. These overlaps have at times excluded contemporary African art from exhibitions and collections and, at other times, transformed its research and display into a contested terrain. At a moment when many museums with so‐called ethnographic collections are expanding their chronological reach by teasing out connections between traditional and contemporary artistic production, many museums of Euro‐American contemporary art are extending their geographic reach by globalizing their curatorial vision. -
Heroine: Female Agency in Joseph Ga㯠Ramaka's Karmen Geã¯
The "Monumental" Heroine: Female Agency in Joseph Gaï Ramaka's Karmen Geï Anjali Prabhu Cinema Journal, Volume 51, Number 4, Summer 2012, pp. 66-86 (Article) Published by University of Texas Press DOI: 10.1353/cj.2012.0088 For additional information about this article http://muse.jhu.edu/journals/cj/summary/v051/51.4.prabhu.html Access Provided by Wellesley College Library at 11/10/12 7:18PM GMT The “Monumental” Heroine: Female Agency in Joseph Gaï Ramaka’s Karmen Geï by ANJALI PRABHU Abstract: Karmen Geï presents itself as a feminist African fi lm with a scandalously revolu- tionary central character. These aspects of the fi lm are reconsidered by focusing attention on the totality of its form, and by studying the politics of monumentalizing the heroine. he Senegalese fi lmmaker Joseph Gaï Ramaka’s chosen mode for representing his heroine in the fi lm Karmen Geï (2001) is that of the “monumental.” This has several consequences for the heroine’s possibilities within the diegesis. For example, the entire mise-en-scène makes the monumental heroine imperme- able to interpretation and resistant to critical discourses. This invites further evalua- Ttion of the fi lm’s political meanings, which have been much touted by critics. Critics and the fi lmmaker himself tend to agree on the fi lm’s political valence, primarily because of its unconventional, revolutionary heroine, and particularly because the fi lm is identifi ed as specifi cally African. My argument is twofold. First, I argue that Karmen Geï proposes what I am calling a monumental (and therefore an impossible) version of female identity and therefore also eschews many moments of plausible feminine agency. -
Cine-Ethiopia: the History and Politics of Film in the Horn of Africa Published by Michigan University Press DOI: 10.14321/J.Ctv1fxmf1
This is the version of the chapter accepted for publication in Cine-Ethiopia: The History and Politics of Film in the Horn of Africa published by Michigan University Press DOI: 10.14321/j.ctv1fxmf1 Accepted version downloaded from SOAS Research Online: http://eprints.soas.ac.uk/32029 CINE-ETHIOPIA THE HISTORY AND POLITICS OF FILM IN THE HORN OF AFRICA Edited by Michael W. Thomas, Alessandro Jedlowski & Aboneh Ashagrie Table of contents INTRODUCTION Introducing the Context and Specificities of Film History in the Horn of Africa, Alessandro Jedlowski, Michael W. Thomas & Aboneh Ashagrie CHAPTER 1 From የሰይጣን ቤት (Yeseytan Bet – “Devil’s House”) to 7D: Mapping Cinema’s Multidimensional Manifestations in Ethiopia from its Inception to Contemporary Developments, Michael W. Thomas CHAPTER 2 Fascist Imperial Cinema: An Account of Imaginary Places, Giuseppe Fidotta CHAPTER 3 The Revolution has been Televised: Fact, Fiction and Spectacle in the 1970s and 80s, Kate Cowcher CHAPTER 4 “The dead speaking to the living”: Religio-cultural Symbolisms in the Amharic Films of Haile Gerima, Tekletsadik Belachew CHAPTER 5 Whether to Laugh or to Cry? Explorations of Genre in Amharic Fiction Feature Films, Michael W. Thomas 2 CHAPTER 6 Women’s Participation in Ethiopian Cinema, Eyerusalem Kassahun CHAPTER 7 The New Frontiers of Ethiopian Television Industry: TV Serials and Sitcoms, Bitania Taddesse CHAPTER 8 Migration in Ethiopian Films, at Home and Abroad, Alessandro Jedlowski CHAPTER 9 A Wide People with a Small Screen: Oromo Cinema at Home and in Diaspora, Teferi Nigussie Tafa and Steven W. Thomas CHAPTER 10 Eritrean Films between Forced Migration and Desire of Elsewhere, Osvaldo Costantini and Aurora Massa CHAPTER 11 Somali Cinema: A Brief History between Italian Colonization, Diaspora and the New Idea of Nation, Daniele Comberiati INTERVIEWS Debebe Eshetu (actor and director), interviewed by Aboneh Ashagrie Behailu Wassie (scriptwriter and director), interviewed by Michael W. -
Toolkit: the Story of African Film Author: Lindiwe Dovey Toolkit: the Story of African Film 2 by Lindiwe Dovey
Toolkit: The Story of African Film Author: Lindiwe Dovey Toolkit: The Story of African Film 2 By Lindiwe Dovey Still from Pumzi (dir. Wanuri Kahiu, 2009), courtesy of director Toolkit: The Story of African Film 3 By Lindiwe Dovey Toolkit 1: The Story of African Film This Toolkit is a shortened version of an African film course syllabus by Lindiwe Dovey which she is sharing in the hopes that it can support others in teaching African film and/or better integrating African film into more general film and screen studies courses. The Story of African Film: Narrative Screen Media in sub-Saharan Africa A course developed by Professor Lindiwe Dovey Background to the Course I developed this course when I first arrived as a Lecturer in African Film at SOAS University of London in September 2007, and it has been taught every year at SOAS since then (by guest lecturers when I have been on sabbatical). Because of my passion for African filmmaking, it has been my favourite course to teach, and I have learned so much from the many people who have taken and contributed to it. I have been shocked over the years to hear from people taking the course (especially coming in to the UK from the US) that they could not find anything like it elsewhere; there are hundreds of film courses taught around the world, but so few give African film the deep attention it deserves. In a global context of neoliberal capitalism and the corporatisation of higher education I am concerned about what is going to happen to already-marginalised academic subjects like African film. -
Original Paper Nollywood: Indigenous Culture, Interculturality, and The
Communication, Society and Media ISSN 2576-5388 (Print) ISSN 2576-5396 (Online) Vol. 3, No. 1, 2020 www.scholink.org/ojs/index.php/csm Original Paper Nollywood: Indigenous Culture, Interculturality, and the Transplantation of American Popular Culture onto Postcolonial Nigerian Film and Screen Samba DIOP1* 1 Researcher, Center for Multilingualism in Society across the Lifespan, Faculty of Humanities, University of Oslo, Oslo, Norway * Samba DIOP, Researcher, Center for Multilingualism in Society across the Lifespan, Faculty of Humanities, University of Oslo, Oslo, Norway Received: October 30, 2019 Accepted: November 12, 2019 Online Published: December 12, 2019 doi:10.22158/csm.v3n1p12 URL: http://dx.doi.org/10.22158/csm.v3n1p12 Abstract Nigeria, the Giant of Africa, has three big tribes: Yoruba, Igbo, and Hausa. It was a British colony which was amalgamated in 1914. The country became independent in 1962 and was right away bedeviled by military coups d’états and a bloody civil war (1967-1970). In 1999, the country experienced democratic dispensation. In the 1990s, the Nollywood nascent movie industry—following in the footpath of Hollywood and Bollywood—flourished. The movie industry grew thanks to four factors: Rapid urbanization; the hand-held video camera; the advent of satellite TV; and, the overseas migrations of Nigerians. Local languages are used in these films; however, English is the most prominent, along with Nigerian pidgin broken English. Many themes are treated in these films: tradition and customs, religion, witchcraft and sorcery, satire, urban and rural lives, wealth acquisition, consumerism, etc. I discuss the ways in which American popular culture is adopted in Nigeria and recreated on screen. -
Dynamiques Culturelles Dans Les Cinémas Africains Du Xxie Siècle. Acteurs, Formats, Réseaux Ute Fendler, Christoph Vatter
Dynamiques culturelles dans les cinémas africains du XXIe siècle. Acteurs, formats, réseaux Ute Fendler, Christoph Vatter To cite this version: Ute Fendler, Christoph Vatter. Dynamiques culturelles dans les cinémas africains du XXIe siècle. Acteurs, formats, réseaux. Éditions universitaires Universaar (Universität des Saarlandes), 2018, 978- 3-86333-267-3. hal-02988267 HAL Id: hal-02988267 https://hal.univ-lorraine.fr/hal-02988267 Submitted on 4 Nov 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. cover_saravi_pontes_11_v5_Layout 1 08.01.2018 12:42 Seite 1 11 SARAVI PONTES – Beiträge zur internationalen Hochschulkooperation und zum interkulturellen Band 11 Wissenschaftsaustausch Dynamiques culturelles dans les cinémas africains du XXIe siècle. Depuis les années 2000, le cinéma africain est marqué par de Acteurs, formats, réseaux nombreuses évolutions nouvelles avec un impact considérable sur son positionnement dans le paysage cinématographique in- ternational, notamment concernant sa présence dans les festi- vals, mais aussi aux niveaux de la production et de la distribution. Cultural Dynamics in African Cinemas Ces dynamiques culturelles sont au centre de l’intérêt de cet ouvrage qui est le fruit d’une rencontre de chercheurs africains of the 21st Century. -
Assessing Brand Ghallywood
ASSESSING BRAND GHALLYWOOD A STUDY OF THE ELEMENTS THAT CONSTITUTE AND CHARACTERIZE THE GHANAIAN FILM INDUSTRY DANIEL ANSAH AKROFI APRIL 2013 ASHESI UNIVERSITY COLLEGE ASSESSING BRAND GHALLYWOOD: A STUDY OF THE ELEMENTS THAT CONSTITUTE AND CHARACTERIZE THE GHANAIAN FILM INDUSTRY By DANIEL ANSAH AKROFI Thesis submitted to the Department of Business Administration, Ashesi University College in partial fulfillment of the requirements for the award of Bachelor of Science degree in Business Administration APRIL 2013 ii I hereby declare that this Applied Project Report/Business Plan is the result of my own original work and that no part of it has been presented for another degree in this university or elsewhere. Candidate’s Signature:…………………………………………………………………… Candidate’s Name:……………………………………………… Date:………………………….. I hereby declare that the preparation and presentation of the Applied Project Report were supervised in accordance with the guidelines on supervision of applied projects laid down by Ashesi University College. Supervisor’s Signature:…………………………………………………………………….. Supervisor’s Name:……………………………………………. Date:………………………………….. iii Acknowledgments I would like to express my sincere gratitude to my supervisor Mr. Kobina Graham, for patiently guiding me through the process of writing this paper. I would like to thank Mr. Kojo Denanyoh, Mrs. Vicentia Akwetey, and all other faculty of NAFTI who kindly allowed themselves to be interviewed. I thank Mr. Kofi Bucknor, Mr. Nii Oblitey Commey, Mr. Ameyaw Debrah, and Ms. Leila Djansi for being so kind as to share their knowledge, insights and opinions on the Ghanaian film industry with me. Finally, I would like to thank my mother and father for supporting me every step of the way. May God bless you all. -
Analysis of the UIS International Survey on Feature Film Statistics
INFORMATION SHEET No. 1 Analysis of the UIS International Survey on Feature Film Statistics With the support of the Government of Québec and in collaboration with the Institut de la statistique du Québec (ISQ), the UNESCO Institute for Statistics (UIS) launched a new international survey in 2007 to collect data on feature films. The analysis was based on a preliminary study by Ivan Bernier, Associate Professor, Université Laval and Serge Bernier, Associate Professor, Université du Québec à Trois-Rivières. Introduction The UIS International Survey on Feature Film Statistics is based on a new approach to gather internationally comparable and better quality data in the field of culture statistics. Cinema data elicit much interest because the film industry is experiencing massive transition and growth in certain developing countries. These data can also be relevant to the study of the diversity of cultural expressions. Data was obtained from 101 countries for the years 2005-2006, indicating a coverage rate of 49%. This is a relatively reasonable coverage rate for an international survey. In the majority of cases, the data were obtained directly from countries in response to the questionnaire; 75 countries responded, for a response rate of 36%. Among those who responded, 11 – mainly developing countries – indicated they had no data on film production. Data on 26 other countries were obtained from alternative sources (government information available on the Internet, international compilations, etc.). Figure 1 shows the geographical imbalance in coverage rates – a strong concentration in Europe and North America with a coverage rate of 88% and very little coverage in Sub-Saharan Africa, Latin America and the Caribbean, and the Pacific with 33%, 27% and 24% respectively. -
Mobility and the Representation of African Dystopian Spaces in Film and Literature a Dissertation Presented to the Faculty of Th
Mobility and the Representation of African Dystopian Spaces in Film and Literature A dissertation presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Abobo Kumbalonah August 2015 © 2015 Abobo Kumbalonah. All Rights Reserved. 2 This dissertation titled Mobility and the Representation of African Dystopian Spaces in Film and Literature by ABOBO KUMBALONAH has been approved for Interdisciplinary Arts and the College of Fine Arts by Charles Buchanan Associate Professor of Interdisciplinary Arts Margaret Kennedy-Dygas Dean, College of Fine Arts 3 ABSTRACT KUMBALONAH, ABOBO, Ph.D., August 2015, Interdisciplinary Arts Mobility and the Representation of African Dystopian Spaces in Film and Literature Director of Dissertation: Charles Buchanan This study investigates the use of mobility as a creative style used by writers and filmmakers to represent the deterioration in the socio-economic and political circumstances of post-independence Africa. It makes a scholarly contribution to the field of postcolonial studies by introducing mobility as a new method for understanding film and literature. Increasingly, scholars in the social sciences are finding it important to examine mobility and its relationship with power and powerlessness among groups of people. This dissertation expands on the current study by applying it to the arts. It demonstrates how filmmakers and writers use mobility as a creative style to address issues such as economic globalization, international migration, and underdevelopment. Another significant contribution of this dissertation is that it introduces a new perspective to the debate on African migration. The current trend is for migrants to be seen in the light of vulnerability and powerlessness. -
Cinema at the End of Empire: a Politics of Transition
cinema at the end of empire CINEMA AT duke university press * Durham and London * 2006 priya jaikumar THE END OF EMPIRE A Politics of Transition in Britain and India © 2006 Duke University Press * All rights reserved Printed in the United States of America on acid-free paper Designed by Amy Ruth Buchanan Typeset in Quadraat by Tseng Information Systems, Inc. Library of Congress Cataloging-in-Publication Data and permissions information appear on the last printed page of this book. For my parents malati and jaikumar * * As we look back at the cultural archive, we begin to reread it not univocally but contrapuntally, with a simultaneous awareness both of the metropolitan history that is narrated and of those other histories against which (and together with which) the dominating discourse acts. —Edward Said, Culture and Imperialism CONTENTS List of Illustrations xi Acknowledgments xiii Introduction 1 1. Film Policy and Film Aesthetics as Cultural Archives 13 part one * imperial governmentality 2. Acts of Transition: The British Cinematograph Films Acts of 1927 and 1938 41 3. Empire and Embarrassment: Colonial Forms of Knowledge about Cinema 65 part two * imperial redemption 4. Realism and Empire 107 5. Romance and Empire 135 6. Modernism and Empire 165 part three * colonial autonomy 7. Historical Romances and Modernist Myths in Indian Cinema 195 Notes 239 Bibliography 289 Index of Films 309 General Index 313 ILLUSTRATIONS 1. Reproduction of ‘‘Following the E.M.B.’s Lead,’’ The Bioscope Service Supplement (11 August 1927) 24 2. ‘‘Of cource [sic] it is unjust, but what can we do before the authority.’’ Intertitles from Ghulami nu Patan (Agarwal, 1931) 32 3. -
History of Indian Cinema.Pdf
CHAPTER – 2 A BRIEF HISTORY OF INDIAN CINEMA Indian films are unquestionably the most –seen movies in the world. Not just talking about the billion- strong audiences in India itself, where 12 million people are said to go to the cinema every day, but of large audiences well beyond the Indian subcontinent and the Diaspora, in such unlikely places as Russia, China, the Middle East, the Far East Egypt, Turkey and Africa. People from very different cultural and social worlds have a great love for Indian popular cinema, and many have been Hindi Films fans for over fifty years. Indian cinema is world – famous for the staggering amount of films it produces: the number is constantly on the increase, and recent sources estimate that a total output of some 800 films a year are made in different cities including Madrass , Bangalore , Calcutta and Hyderabad . Of this astonishing number, those films made in Bombay, in a seamless blend of Hindi and Urdu, have the widest distribution within India and Internationally. The two sister languages are spoken in six northern states and understood by over 500 million people on the Indian sub – continent alone – reason enough for Hindi and Urdu to be chosen above the fourteen official Indian languages to become the languages of Indian Popular cinema when sound came to the Indian Silver screen in 1931 . Silent Era – The cinematographe (from where we have the name cinema) invented by the Lumiere brothers functioned better the Kinetoscope of Edison and Dickson. The Lumiere brothers who invented the cinematographe started projection of short (very short, one to two minutes long) films for the Parsian public on November 28, 1895. -
A Multi-Method Analysis of the Berlin International Film Festival and the World Cinema Fund
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations Dissertations and Theses July 2018 A Multi-Method Analysis of the Berlin International Film Festival and the World Cinema Fund Eren Odabasi University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_2 Part of the Film and Media Studies Commons Recommended Citation Odabasi, Eren, "A Multi-Method Analysis of the Berlin International Film Festival and the World Cinema Fund" (2018). Doctoral Dissertations. 1262. https://doi.org/10.7275/11930004.0 https://scholarworks.umass.edu/dissertations_2/1262 This Open Access Dissertation is brought to you for free and open access by the Dissertations and Theses at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. A Multi-Method Analysis of the Berlin International Film Festival and the World Cinema Fund A Dissertation Presented by EREN ODABASI Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2018 Department of Communication © Copyright by Eren Odabasi 2018 All Rights Reserved A Multi-Method Analysis of the Berlin International Film Festival and the World Cinema Fund A Dissertation Presented by EREN ODABASI Approved as to style and content by: ________________________________________________ Anne T. Ciecko, Chair ________________________________________________ Martin F. Norden, Member ________________________________________________ Jonathan R. Wynn, Member Mari Castañeda, Department Chair Department of Communication ACKNOWLEDGEMENTS I would like to express my deepest gratitude to my advisor Anne T.