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Maquetación 1 SECUENCIAS Revista de Historia del Cine 1 o semestre 2015 41 Vª época BEATRIZ LEAL RIESCO, FERNANDO GONZÁLEZ Pantallas GARCÍA (EDS.) contemporáneas de África y su diáspora secuencias Revista de Historia del Cine 41 Fundador: Alberto elenA DíAz (1958-2014) Director: DAniel Sánchez SAlAS (Universidad Rey Juan Carlos, Madrid) Subdirectora: MAríA luiSA ortegA (Universidad Autónoma, Madrid) Jefe de Redacción: PAblo cePero (Universidad Autónoma, Madrid) Equipo de Redacción: lAurA góMez VAquero (Universidad Camilo José Cela, Madrid) MinerVA cAMPoS (Universidad Carlos III, Madrid) JAVier h. eStrADA (Universidad Autónoma, Madrid) clArA gArAVelli (University of Leicester) elenA corDero (Universidad Rey Juan Carlos, Madrid) liDiA MeráS (Royal Holloway University, Londres) Consejo Editorial: JoSé cArloS AVellAr (www.escrevercinema.com) VAleriA cAMPoreSi (Universidad Autónoma, Madrid) Antonio coStA (Universidad IUAV de Venecia) MArVin D’lugo (Clark University, Boston) AnDré gAuDreAult (Université de Montréal) roMán gubern (Universidad Autónoma, Barcelona) AnA lAurA luSnich (Universidad de Buenos Aires) iSAAc león FríAS (Universidad de Lima) MAnuel PAlAcio (Universidad Carlos III, Madrid) Julio Pérez PeruchA (Asociación Española de Historiadores del Cine, Madrid) ángel quintAnA (Universidad de Gerona) b. ruby rich (Universidad de California Santa Cruz) Vicente Sánchez-bioScA (Universidad de Valencia) JeAn clAuDe Seguin (Universidad Lumière, Lyon II) Pierre Sorlin (Universidad de París VIII) cASiMiro torreiro (Universidad Carlos III, Madrid) ArunA VASuDeV (Network for the Promotion of Asian Cinema, Nueva Delhi) eDuArDo De lA VegA AlFAro (Universidad de Guadalajara, México) Revisores del número: lAilA hotAit (Universidad Autónoma de Madrid) KeyAn toMASelli (University of KwaZulu-Natal) JAuMe PeriS blAneS (Universitat de València) AleSSAnDro JeDlowSKi (Université de Liège) Vincent bouchArD (Indiana University) AboubAKAr SAnogo (Carleton University) DAnielA ricci (La Sorbonne Nouvelle) AnnAliSA Mirizio (Universitat de Barcelona) Cualquier forma de reproducción, distribución, comunicación pública o transformación de esta obra sólo puede ser realizada con la autorización de sus titulares, salvo excep- ción prevista por la ley. Diríjase a CEDRO (Centro Español de Derechos Reprográficos, www.cedro.org) si necesita fotocopiar o escanear algún fragmento de esta obra. Edita © ASociAción culturAl «AniMAtógrAFo», 2015 © uniVerSiDAD AutónoMA De MADriD, 2015 iSSn: 1134-6795 Depósito legal: M-29.578-1994 Diseño Coordinación y maquetación SAbáticA AMPAro DíAz-corrAleJo Editorial 7 Presentación 9 beatriz leal riesco Fernando gonzález garcía Artículos Reflexión sobre la dimensión espectatorial de las películas africanas: o cómo los cines africanos piensan de otra manera en sus públicos 19 Mahomed bamba Del Home Video al Nuevo Nollywood: la poderosa industria audiovisual en Nigeria 41 Alejandra Val cubero De grandes a pequeñas pantallas. Nuevas narrativas africanas de entretenimiento 57 Alexie tcheuyap Cineastas afrodescendientes del siglo xxi, entre diáspora, transnacionalismo y post-racialidad 77 leonardo De Francheschi Libros Curating Africa in the Age of Film Festivals Lindiwe Dovey 113 Minerva campos The Europeanness of European Cinema. Identity, Meaning, Globalization Mary Harrod, Mariana Liz and Alissa Timoshkina (Eds.) 117 lidia Merás Images et animation. Le cinema d’animation en Afrique Centrale. Introduction au cinema d’animation en République Démocratique du Congo, au Rwanda et au Burundi Guido Convents 121 laura Montero Plata Nationalist African Cinema: Legacy and Transformations Sada Niang 125 beatriz Marín garcía Postnationalist African Cinemas Alexie Tcheuyap 129 Fernando gonzález garcía Estados generales del Tercer Cine. Los documentos de Montreal, 1974 Mariano Mestman (Dir) 133 olivier hadouchi Critical Approaches to African Cinema Discourse Nwachukwu Frank Ukadike (Ed.) 137 beatriz leal riesco Contemporary Cinema of Africa and The Diaspora Anjali Prahbu 141 beatriz leal riesco El cine y la transición política en España (1975-1982) Manuel Palacio (Ed.) 145 Las imágenes del cambio. Medios audiovisuales en las transiciones a la democracia Manuel Palacio (Ed.) Alicia Alted Vigil DVD Lo mejor de Alain Robbe-Grillet 149 Manuel Vidal estévez Del trazo al pixel. Un recorrido por la animación española 152 raúl gonzález Monaj Le cave est piegé 157 Pablo cepero La carretera del infierno 161 carmen guiralt gomar Editorial 7 Presentation 9 beatriz leal riesco Fernando gonzález garcía Articles Reflection On the Spectatorial Dimension of African Films: Or How African Cinemas Think About Their Public Differently 19 Mahomed bamba From the Home Video to the New Nollywood: The Powerful Audiovisual industry in Nigeria 41 Alejandra Val cubero From Big to Small Screens. New African Narratives of Entertainment 57 Alexie tcheuyap Filmmakers of African descent in the xxi century, between diaspora, transnationalism and post-raciality 77 leonardo De Francheschi Books Curating Africa in the Age of Film Festivals Lindiwe Dovey 113 Minerva campos The Europeanness of European Cinema. Identity, Meaning, Globalization Mary Harrod, Mariana Liz and Alissa Timoshkina (Eds.) 117 lidia Merás Images and Animation. The Animation Cinema in Central Africa. Introduction to African Cinema in the Democratic Republic of Congo, Rwanda and Burundi Guido Convents 121 laura Montero Plata Nationalist African Cinema: Legacy and Transformations Sada Niang 125 beatriz Marín garcía Postnationalist African Cinemas Alexie Tcheuyap 129 Fernando gonzález garcía General Condition of Third Cinema. Montreal’s Documents, 1974 Mariano Mestman (Dir) 133 olivier hadouchi Critical Approaches to African Cinema Discourse Nwachukwu Frank Ukadike (Ed.) 137 beatriz leal riesco Contemporary Cinema of Africa and The Diaspora Anjali Prahbu 141 beatriz leal riesco Film and Political Transition in Spain (1975-1982) Manuel Palacio (Ed.) 145 Images of Change. Audiovisual Media in Transitions to Democracy Manuel Palacio (Ed.) Alicia Alted Vigil DVD Best of Alain Robbe-Grillet 149 Manuel Vidal estévez From Stroke to Pixel. A Tour Through Spanish Animation 152 raúl gonzález Monaj Le cave est piegé 157 Pablo cepero Hell’s Highway 161 carmen guiralt gomar EDITORIAL Secuencias. Revista de historia del cine cambia de etapa. El presente número supone el paso del formato en papel al formato electrónico. Las razones que nos llevan al cambio tienen que ver con la manera en cómo se ha conformado el universo académico actual, incluyendo, claro está, el ámbito de los estudios cinematográficos. Sin duda, el entorno digital es, a día de hoy, el espacio de cir- culación fundamental para la producción científica, y las revistas académicas se han ido incorporando al mismo hasta convertirlo en, prácticamente, su lugar natural. Secuencias siempre ha sido consciente de este proceso. A ello respon- dió el crecimiento paulatino de nuestra presencia en la red, primero mediante nuestra página web y más adelante con nuestra presencia en las redes sociales. Tuvo especial relevancia nuestra incorporación hace cinco años al repositorio electrónico institucional de la UAM, Biblos-e Archivo, en el que puede encon- trarse el histórico de la revista. Ahora, Secuencias da un paso definitivo en su integración digital al sumarse al Portal de Revistas Electrónicas de la UAM, la iniciativa de la Universidad Autónoma de Madrid para reunir e impulsar a sus principales revistas científicas on line. Nos sumamos así al camino emprendido por la mayoría de las publicaciones periódicas de nuestro ámbito tanto en el contexto nacional como en el internacional. Buscamos compartir con ellas los canales por los que hoy circula buena parte del conocimiento contemporáneo y aumentar la difusión que nos haga sumar nuevos lectores. No solo a ellos, sino también a todos los que nos han seguido durante nuestra andadura impresa y que, con todo nuestro agradecimiento, han hecho posible que lleguemos hasta aquí, les queremos citar en el nuevo espacio en abierto para seguir encontrán- dose con Secuencias: https://revistas.uam.es/secuencias Muchas gracias a todos. Secuencias en la red: Secuencias. Revista de historia del cine: https://revistas.uam.es/secuencias Histórico de Secuencias en el Biblos-e Archivo: https://repositorio.uam.es/ Web de Secuencias. Revista de historia del cine: http://revistasecuencias.tumblr.com/ Secuencias en Facebook: www.facebook.com/Secuencias-Revista-de-historia-del-cine-234460016577998/ Secuencias en Twitter: https://twitter.com/revsecuencias Editorial 7 PRESENTACIÓN DOI: http://dx.doi.org/10.15366/secuencias2015.41 BEATRIz LEAL RIESCOª FERNANDO GONzáLEz GARCíAb En los inicios del siglo xxI hemos asistido a un aumento exponencial de publi- caciones académicas, conferencias especializadas, festivales, retrospectivas, y apertura de centros de arte africano por todo el planeta, con especial acento en las antiguas metrópolis coloniales (Francia, Bélgica, Gran Bretaña, Portugal) y en aquellos países con lazos históricos con áfrica y/o amplios grupos de pobla- ción afrodescendiente como Brasil o los EE.UU. Esta tendencia de atención a la cultura y al arte africanos ha alcanzado a universidades norteamericanas pun- teras, las cuales han creado departamentos de estudios africanos (Princeton, 2015) e inaugurado espacios expositivos específicos (Harvard, 2015) en los que dar respuesta a esta necesidad vía cursos y muestras de cinematografías y autores africanos. A pesar de que el cambio se haya puesto en marcha, los cines africanos siguen estando en un margen
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