Wat Je Bent Zeg Je Zelf Oumou SY

Total Page:16

File Type:pdf, Size:1020Kb

Wat Je Bent Zeg Je Zelf Oumou SY WvrouwAT = man Je = transgender BENT =zeg vrouw = atleetJe zelf| door de ogen van zanele muholi | verder: chimamanda adichie | JAARGANG 13 | NR. 3 | m 6,95 petina gappah | adriaan van dis | nana kofi acquah OUMOU SY (advertentie) AïdA Muluneh ETHIOPIA: pasT/fOrwArd Africalia Editions & roularta Books ISBN: 978 90 5466 623 3 Vanaf 16 september verkrijgbaar in de boekhandel of te bestellen via www.africalia.be en www.ethicstore.be FOTO: AIDA MULUNEH/ woman and the rain, Gondor, Ethiopia (advertenties) IS er licht in de duisternis? IS de aarde plat? IS 2015 al in zicht? IS ongelijk- heid verleden tijd? IS er leven na de Meer dAn een dood? IS de vakantieliefde duur- zaam? IS Jemen toe aan de pil? IS er tijdschrift geld genoeg? IS er een dokter in de zaal? IS iedereen van de wereld? IS het lot b epaald? IS de wereldverbete- ZAMHet ZAM You Tube kanaal r a a r n o g l e v e n s v a t b a a r ? IS er nog wat Hoe klinkt de vuvuzela? – Een gesprek met Nii van te maken? IS de lunch gratis? IS Ayikwei Parks (Nigeria) over zijn misdaadroman de boer vogelvrij? IS de toerist wel- Blue Bird – Sinterklaas in Kaapstad – Safe sex in kom? IS de migrant nodig? IS micro- Kenia – en nog tientallen andere filmpjes op krediet de oplossing? IS er hoop op verzoening? IS het leven oneerlijk verdeeld? IS Afrika nog te www.youtube.com/zammagazine redden? IS de mens verwend? IS het klimaat neutraal? IS er licht in de duisternis? IS de aarde plat? IS 2015 al in zicht? IS ongelijkheid verleden tijd? IS er leven na de dood? IS d e Bladeren in oude edities van ZAM geld genoeg? IS er een dokter in de zaal? IS iedereen van Dat kan! Alle edities vanaf 2004 kunnen gratis de wereld? IS het lot bepaald? IS de wereld verbeteraar doorgebladerd en gedownload worden op n o g l e v e n s v a t b a a r ? IS er nog wat van te maken? IS de lunch www.scribd.com/zammagazine g ra t i s? IS de boer vogelvrij? IS de toerist welkom? IS de migrant nodig? IS microkre diet de op lossing? IS er hoop op verzoening? IS het leven oneerlijk verdeeld? IS Afrika nog te redden? IS de mens verwend? IS het klimaat neutraal? IS er licht in de duisternis? IS de aarde plat? IS 2015 al in zicht? IS on gelijkheid verleden tijd? IS er leven na de dood? IS de geld genoeg? IS Elk kwartaal de digitale ZAM Nieuwsbrief er een dokter in de Halverwege twee edities van onze printeditie houden wij zaal? IS iedereen Word gratis abonnee! u op de hoogte van nieuwe evenementen, publicaties, van de wereld? IS het theatervoorstellingen en exposities. Kort van stof en op lot bepaald? IS de IS is hét maandblad over internationale samenwerking. handzaam formaat! Meld u voor onze mailinglist op wereld verbeteraar Het staat boordevol bijzondere initiatieven in ont wikke - n o g l e v e n s v a t b a a r ? [email protected] o.v.v. aanmelding nieuwsbrief IS de lunch gratis? IS lingslanden. IS is een uitgave van NCDO, de Nationale de boer vogelvrij? IS Commissie voor Internationale Samenwerking en Duurzame de toerist welkom? www.zam-magazine.nl Ontwikkeling. Nieuwsgierig? Kijk op www.isonline.nl IS er nog wat van te Boekbesprekingen, het blog van ZAM hoofdredac- maken? IS de wereld- en meld je aan voor een gratis abonnement. teur Bart Luirink, aankondigingen en fotografie op internationale samenwerking de website van ZAM. Ook: intekenen op (cadeau) link naar de wereld abonnementen en doorgeven van adreswijzigingen! REACHING OUT EFFECTIVELY… It’s not only WHAT you advertise, but WHERE you advertise that gets you GOOD result. Boost your business and let The African Bulletin give you the maximum reach! Call 040 213 66 11 or e-mail us TODAY at [email protected] www.mediablackberry.com editorial Na een eerste vertoning tijdens het jaarlijkse Africa in the Picture filmfestival is inmiddels de Zuid-Afrikaanse film Skin in enkele bioscopen te zien. Het is een interessante ironie. Anno 2009 doen gewichtige commissies onderzoek naar de sexe van hardloopster Caster Semenya. In de jaren zeventig pijnigden de apartheidsmachthebbers zich de hersens over de vraag of Sandra Laing, die donker oogde maar uit blanke ouders geboren was, nu wit of zwart was – het verhaal van Skin. Soms zie je niet wat je ziet. Is Barack Obama een Amerikaan? Was Michael 12 Catwalk Dakar Jackson zwart? Hoe plaatsen we albino’s, een men- sensoort waaraan een andere meeslepende pro- De nieuwe collectie van ductie tijdens Africa in the Picture hulde bracht? Oumou Sy Inhoud Zijn Afrikaanse schrijvers nog wel Afrikaan als ze 18 Jumping Monkey Hill schrijven over sexisme, of een liefde tussen twee Voorpublicatie Chimamanda vrouwen? Lees in deze ZAM een exclusieve voorpu- Adichie blicatie uit Chimamanda Adichie’s Het ding rond mijn nek. 24 Zwart Goud Kopen blanke lezers nog wel boeken van Afri- 28 Illegale mijnwerkers kaanse auteurs als deze hun karakters lospeuteren in Zuid-Afrika uit een context van honger, oorlog en ziekte? Is 28 Woordenschat kunst nog wel kunst als ze zich onderwerpt aan de doelstellingen van opbouwwerkers en potentaten? De nieuwe bibliotheek Zie de special Kunst & Korset, die we maakten in van Timboektoe samenwerking met krachtvancultuur.nl 35 Stemmen Kortom, verwarring is het sleutelwoord in deze Het opiniekatern van ZAM editie van ZAM Africa Magazine. We luiden er – Kunst met een luchtje tevens het begin van de Afrikaanse lente mee in. – Onderzoek naar moord Dulcie Omdat aan de andere kant van de evenaar de jaar- 44 September wellicht heropend getijden de onze spiegelen. Afrika staat in bloei; – Afrikaanse boeken zijn om te huilen hier vallen de bladeren van de bomen. Eerst waren – Mafrika ze groen, nu nemen ze alle kleuren van de regen- – Boeken met een boodschap boog aan. Zo hoort het. Maar zijn het daarmee – Column Binyavanga Wainaina nog wel bladeren? Bart Luirink, JohannesBurg 44 Wat je bent zeg je zelf ziJn blog is te voLgen op Zanele Muholi www.zam-magazine.nL 52 Blanke oren, Afrikaanse toeter Een kleine geschiedenis van de vuvuzela 58 Petina Gappah 64 Interview 62 The Slaughter Boys Nana Kofi Acquah 70 Stijve kont Dans de kuduro! En verder 7 De Kaart van Afrika 32 Woorden 43 Column Prudence Mbewu 50 Geluiden 56 Aanbiedingen zam africa magazine 03/2009 5 (advertentie) vanaf 22 oktober verkrijg- baar in de boekhandel FOTO: KONING WILLEM I COLLEGE, ‘S-HERTOGENBOSCH De kaart van aonderfrika redactie van anton stolwijk Culinaire Connectie De afgelopen jaren zijn allerlei oude banden tussen Zuid-Afrika en Nederland opnieuw aangehaald. Vorig jaar ging een groep Nederlandse studenten van het Koning Willem I-College in ‘s-Hertogen- bosch naar Zuid-Afrika om samen met Zuid-Afrikaanse studenten van het College of Cape Town een boek over eten te maken. Het resultaat over- trof alle verwachtingen. Het prachtige tweetalige boek Eten ZA/NL bevat recepten en foto’s. De Zuid-Afrikaanse eettraditie wordt zo van alle kanten belicht - een must voor in de keuken of op de koffietafel. Kijk bij de lezers- aanbiedingen in deze ZAM en win een exemplaar! zam africa magazine 03/2009 7 Mensen • Peter NgweNya, ‘king of the town- werd toen ongegrond verklaard. Samen ship theatre’, is eind mei in Soweto over- met twee advocaten probeert Bienve- leden. Ngwenya stond vooral bekend nue het dit jaar opnieuw. om zijn kwaliteiten in het kindertheater. • albie SachS (74) treedt in oktober Grote Zuid-Afrikaanse sterren als Terry terug als rechter van het grondwettelijk Pheto en Penuel Langa werden ooit door gerechtshof van Zuid-Afrika. Tijdens de hem ontdekt. Ngwenya werd 53 jaar. apartheid was hij advocaat, en kwam hij • De Keniaanse journalist JohN-allaN continu in conflict met het toenmalige Namu (42) is CNN Afrikajournalist regime. Als rechter stond Sachs bekend van het jaar 2009 geworden. Namu, om zijn opzienbarende uitspraken, die werkt voor het Kenya Television waarin hij het steevast opnam voor de Kaart Network, won de prijs met zijn feature minderheden in Zuid-Afrika. ‘In the shadow of the Mungiki’. Een • Andrew JoNathaN NoK (61) deel ervan is te zien is op het ZAM- heeft de Nigeriaanse Pize for Science vaN YouTubekanaal: www.youtube.com/ gewonnen met zijn baanbrekende zammagazine. onderzoek naar het gen dat slaapziekte afriKa • De Belgische stripheld KuifJe moet veroorzaakt. Geschat wordt dat zo’n 60 opnieuw voor de rechter verschijnen. miljoen Afrikanen lijden aan deze ziekte, In 2007 klaagde de Congolese student en het onderzoek van de Nigeriaanse Mbutu Bienvenue de uitgever van Kuifje professor is de eerste stap op weg naar al eens aan wegens racisme in het een nieuwe behandelmethode. album Kuifje in Congo, maar zijn klacht BEELD: KUIFJE IN AFRIKA©HERGÉ/MOULINSART 2009 8 ZAM africa magazine 03/2009 Cactussen s n Bon E n va I n rl I De Vliegende Ethiopiër ma n A De economische crisis kent vele verliezers, en maar weinig winnaars. In r ia He op I de vliegbranche lijkt het helemaal kommer en kwel, nu sommige maat- schappijen passagiers zelfs willen laten betalen voor een bezoekje aan Foto: het vliegtuigtoilet. De enige echte winnaar is vooralsnog Ethiopian Airli- Foto: © Eth nes, de snelstgroeiende vliegmaatschappij van Afrika. Ethiopian meldde onlangs een spectaculare winst over het fiscale jaar 2008/2009 en heeft niet minder dan 19 nieuwe vliegtuigen besteld, waarmee Ethiopian de jongste vloot van Afrika krijgt. De Ethiopische hoofdstad Adis Abeba ont- wikkelt zich de laatste jaren tot een belangrijk knooppunt voor reizigers Wie binnenkort in de Kaap is en eens heel wat van en naar Afrika.
Recommended publications
  • 0 0 0 0 Acasa Program Final For
    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.
    [Show full text]
  • Southern Nigerian Cinema Author: Añulika Agina Toolkit: Southern Nigerian Cinema 2 by Añulika Agina
    Toolkit: Southern Nigerian Cinema Author: Añulika Agina Toolkit: Southern Nigerian Cinema 2 By Añulika Agina Copyright: Genevieve Nnaji/TEN - The Entertainment Network Toolkit: Southern Nigerian Cinema 3 By Añulika Agina Toolkit: Southern Nigerian Cinema A significant amount of literature exists on the southern Nigerian cinema, which was inaugurated with the 1992 Igbo-language film, Living in Bondage. Little is known and documented about the colonial cinema of Nigeria and the period immediately after colonial rule. Although films were made in the 1970s and 1980s by filmmakers such as Eddie Ugboma, Ola Balogun and Ladi Ladebo, such films and critical analyses about them are not readily accessible. Hyginus Ekwuazi, Jonathan Haynes and Onookome Okome (see texts below) have written excellent accounts of the history of Nigerian cinema, especially of the Nollywood boom and the socio- cultural contexts that gave rise to them. The film industry in southern Nigeria is today the largest in Africa, producing over a thousand film titles per annum with locally sourced funds and distributed internationally. Foreign investment in Nigerian film is on the rise given the visibility that local productions have created at home and abroad. The government has also taken notice of the commercial viability of the industry and pledged billions of naira through the Bank of Industry to support the film business. The films receive critical acclaim and are commercial hits within Africa and among Africans in the diaspora. The sections below provide some critical texts and film titles to guide new comers to the nature and scholarship on the Nigerian film industry. The lists are by no means exhaustive; they only serve as a tip of the iceberg in the hope that interested parties can request additional information by emailing aa207@ soas.ac.uk or [email protected] Some Key Texts Ekwuazi, H.
    [Show full text]
  • ID 206 the Role of Technological Advancement in African Cinema
    Proceedings of the International Conference on Industrial Engineering and Operations Management Pretoria / Johannesburg, South Africa, October 29 – November 1, 2018 The Role of Technological Advancement in African Cinema: A Case Study of Nollywood Fortunate Tatenda Mauyakufa Department of Quality and Operations Management University of Johannesburg Johannesburg, South Africa [email protected] Anup Pradhan Department of Quality and Operations Management University of Johannesburg Johannesburg, South Africa [email protected] Abstract The advancement of technology has created new opportunities for amateur and auteur in filmmaking. The technological innovation is continuously transforming the film industry, thus enabling the application of re-imaging and re-engineering in the films to enhance the quality of films. Nollywood, a Nigerian film industry, is heavily being impacted by the technological advancement which is using digital technologies and High-Definition cameras. This has led to film studios and film companies mushrooming across the country and its borders. Presently, Nigeria is considered as one of the most competitive film industry in the world, and thus has become an African icon. For Africa, this has greatly resulted in a shared commodified culture. This paper discusses the role of technological advancement in the film industry and investigate all viable prospects for today’s tech-savvy filmmakers for the development of African cinema. Keywords Nollywood, digital, technology advancement, African cinema 1. Introduction Film is an artistic product of science and technology that brings out the filmmaker’s story and fantasies in a motion picture. The history of film is based on the technological advancement for quality. According to Wang (2011), the Lumière Family is considered as the inventor of film - develop from silent film to sound film, black and white to color, followed by wide-screen, digital, huge-screen, and 3D films, even the revolutionary VR film.
    [Show full text]
  • The Asian-African Film Connection: Cross-Cultural SPECIAL COLLECTION: the ASIAN-AFRICAN Imaginaries, Shared FILM CONNECTION
    The Asian-African Film Connection: Cross-Cultural SPECIAL COLLECTION: THE ASIAN-AFRICAN Imaginaries, Shared FILM CONNECTION Sources, Parallel Histories RESEARCH LINDIWE DOVEY KATE TAYLOR-JONES *Author affiliations can be found in the back matter of this article ABSTRACT CORRESPONDING AUTHOR: Kate Taylor-Jones This Dossier is inspired by two urgent needs in Film and Screen Studies, particularly University of Sheffield, GB within the UK context, but also globally – the need to transform the content of what k.e.taylor-jones@sheffield. we research and teach, and the need to transform the methodologies through which ac.uk we research and teach. The articles presented here emerged out of “The Asian- African Film Connection” workshop held at SOAS University of London in July 2018 – an event specifically designed to bring UK-based African and Asian film scholars into KEYWORDS: conversation with one another, to explore cinematic sources, themes and aesthetics Film Studies; Media Studies; that both link and divide these two regions. Asia; Africa; Decolonising; Methodologies TO CITE THIS ARTICLE: Dovey, L and Taylor-Jones, K. 2021. The Asian-African Film Connection: Cross-Cultural Imaginaries, Shared Sources, Parallel Histories. Open Screens, 4(1): 1, pp. 1–10. DOI: https://doi.org/10.16995/os.37 Dovey and Taylor-Jones Open Screens DOI: 10.16995/os.37 2 INTRODUCTION Screen Studies. The choice to focus on UK-based scholars was due to financial constraints as we were working on a Within all academic disciplines, a vast percentage shoestring budget at this time, and we should note that of scholarly works and popular debate still oscillates there were other UK-based scholars who work on Asian exclusively around an Anglo-American, European and African cinemas that we would have loved to invite framework, while parading as universal.
    [Show full text]
  • The Reimagined Paradise: African Immigrants in the United States, Nollywood Film, and the Digital Remediation of 'Home'
    THE REIMAGINED PARADISE: AFRICAN IMMIGRANTS IN THE UNITED STATES, NOLLYWOOD FILM, AND THE DIGITAL REMEDIATION OF 'HOME' Tori O. Arthur A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 2016 Committee: Radhika Gajjala, Advisor Patricia Sharp Graduate Faculty Representative Vibha Bhalla Lara Lengel © 2016 Tori O. Arthur All Rights Reserved iii ABSTRACT Radhika Gajjala, Advisor This dissertation analyzes how African immigrants from nations south of the Sahara become affective citizens of a universal Africa through the consumption of Nigerian cinema, known as Nollywood, in digital spaces. Employing a phenomenological approach to examine lived experience, this study explores: 1) how American media aids African pre-migrants in constructing the United States as a paradise rooted in the American Dream; 2) immigrants’ responses when the ‘imagined paradise’ does not match their American realities; 3) the ways Nigerian films articulate a distinctly African cultural experience that enables immigrants from various nations to identify with the stories reflected on screen; and, 4) how viewing Nollywood films in social media platforms creates a digital sub-diaspora that enables a reconnection with African culture when life in the United States causes intellectual and emotional dissonance. Using voices of members from the African immigrant communities currently living in the United States and analysis of their online media consumption, this study ultimately argues that the Nigerian film industry, a transnational cinema with consumers across the African diaspora, continuously creates a fantastical affective world that offers immigrants tools to connect with their African cultural values.
    [Show full text]
  • Engendering ASEAN Identity: the Role of Film*
    ERIA-DP-2015-75 ERIA Discussion Paper Series Engendering ASEAN Identity: The Role of Film* Jose Miguel R. de la ROSA Communication and Social Marketing Expert, Philippines November 2015 Abstract: The role of film, which is used here in generic terms to include audiovisual images as well as animation, in engendering the much-sought after Association of Southeast Asian Nations (ASEAN) identity is a necessary ingredient in the general framework of development leading to the realisation of the ASEAN Community. Film is an economic tool as it brings unquantifiable benefits to sectors participating in the industry. It is an effective information mechanism translating messages in more meaningful ways that appeal to the emotions. Film mirrors the cultural lives of people and reflects their heritage, values, and traditions. With the advancement in technology, film now comes in different platforms and formats, and is not confined to cinema or theatre. It becomes accessible through personal gadgets, the Internet, television (TV), cable TV, and digital versatile discs (DVDs). Thus, the reach and influence of films are vital in the people-oriented and people- centred agenda of an identity search and ensure that stakeholders down to the community level in all ASEAN member states (AMS) benefit from this approach. The ASEAN Socio-Cultural Community (ASCC) Blueprint clearly identifies the goals and strategies that AMS should support through the multilevel mechanisms in the Committee on Culture and Information (COCI), the Senior Officials Meeting Responsible for Information (SOMRI), and the ASEAN Ministers Responsible for Information (AMRI). This set of goals and strategies can be facilitated and implemented by collectively engaging government agencies in charge of film development in the AMS under the management of a technical expert group for this area and referred to as FILM ASEAN.
    [Show full text]
  • Cosmopolitan India Bollywood and the Citizens of the World
    Ateliers d'anthropologie 41 (2015) Entre cosmopolitisme, trajectoires et subjectivités ................................................................................................................................................................................................................................................................................................ Rosa Maria Perez Cosmopolitan India Bollywood and the citizens of the world ................................................................................................................................................................................................................................................................................................ Avertissement Le contenu de ce site relève de la législation française sur la propriété intellectuelle et est la propriété exclusive de l'éditeur. Les œuvres figurant sur ce site peuvent être consultées et reproduites sur un support papier ou numérique sous réserve qu'elles soient strictement réservées à un usage soit personnel, soit scientifique ou pédagogique excluant toute exploitation commerciale. La reproduction devra obligatoirement mentionner l'éditeur, le nom de la revue, l'auteur et la référence du document. Toute autre reproduction est interdite sauf accord préalable de l'éditeur, en dehors des cas prévus par la législation en vigueur en France. Revues.org est un portail de revues en sciences humaines et sociales développé par le Cléo, Centre pour l'édition électronique ouverte (CNRS, EHESS, UP, UAPV).
    [Show full text]
  • 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.
    [Show full text]
  • Hauntology Beyond the Cinema: the Technological Uncanny 66 Closings 78 5
    Information manycinemas 03: dread, ghost, specter and possession ISSN 2192-9181 Impressum manycinemas editor(s): Michael Christopher, Helen Christopher contact: Matt. Kreuz Str. 10, 56626 Andernach [email protected] on web: www.manycinemas.org Copyright Copyright for articles published in this journal is retained by the authors, with first publication rights granted to the journal. The authors are free to re - publish their text elsewhere, but they should mention manycinemas as the first me- dia which has published their article. According to §51 Nr. 2 UrhG, (BGH, Urt. v. 20.12.2007, Aktz.: I ZR 42/05 – TV Total) German law, the quotation of pictures in academic works are allowed if text and screenshot are in connectivity and remain unchanged. Open Access manycinemas provides open access to its content on the principle that mak - ing research freely available to the public supports a greater global exchange of knowledge. Front: Screenshot The cabinet of Caligari Contents Editorial 4 Helen Staufer and Michael Christopher Magical thrilling spooky moments in cinema. An Introduction 6 Brenda S. Gardenour Left Behind. Child Ghosts, The Dreaded Past, and Reconciliation in Rinne, Dek Hor, and El Orfanato 10 Cen Cheng No Dread for Disasters. Aftershock and the Plasticity of Chinese Life 26 Swantje Buddensiek When the Shit Starts Flying: Literary ghosts in Michael Raeburn's film Triomf 40 Carmela Garritano Blood Money, Big Men and Zombies: Understanding Africa’s Occult Narratives in the Context of Neoliberal Capitalism 50 Carrie Clanton Hauntology Beyond the Cinema: The Technological Uncanny 66 Closings 78 5 Editorial Sorry Sorry Sorry! We apologize for the late publishing of our third issue.
    [Show full text]
  • Nigerian Film Industry in the Mirror of African Movie Academy Awards (AMAA)
    Nigerian Film Industry in the Mirror of African Movie Academy Awards (AMAA) (2016) Journal of Arts and Humanities 5.9: Pp 75-83. http://www.theartsjournal.org (ISSN: 2167-9045). By Stanislaus Iyorza (Ph.D), Department of Theatre and Media Studies University of Calabar, Calabar, Nigeria. [email protected] [email protected] +2347064903578 ABSTRACT Worried by the drastic decline in the quality of content of Nigerian movies as evaluated by critics, this paper analyzes the evaluation of Nigerian movies by the African Movie Academy Awards (AMAA) between 2006 and 2016. The objective is to review the decisions of the AMAA jury and to present the academy’s position on the prospects and deficiencies of the Nigerian Movie industry. The paper employs analytical research approach using both primary and secondary sources to explore assessed contents of the Nollywood movies and how far the industry has fared in the mirror of a renowned African movie assessor like AMAA. This paper assembles data of the awards of AMAA since inception and graphically presents the data. Findings reveal a sharp drop in quality of content of Nigerian movies over the years with a hope of an upsurge as adjudged by AMAA since 2006. The study recommends the private sector’s all round support to Nollywood and the federal government’s training or retraining of filmmakers as well as sustained funding for the steady development of the Nigerian movie industry. Key words: AMAA, Evaluation, Film, Jury, Nollywood. 1 Introduction Nigeria is currently faced with a myriad of issues including a drastic recession in the economy, the political arena and the art industry.
    [Show full text]
  • 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.
    [Show full text]
  • Nollywood in the Diaspora: an Exploratory Study on Transnational Aesthetics
    Universiteit Gent Academiejaar 2009-2010 Nollywood in the Diaspora: An exploratory study on transnational aesthetics Sophie Samyn Master Kunstwetenschappen Masterproef Vakgroep Kunst-, Muziek- en Theaterwetenschap, optie Theaterwetenschap (Podium- en Mediale Kunsten) Promotor: Prof. Dr. Christel Stalpaert Co-promotor: Dr. Karel Arnaut i CONTENT Preface 1 Acknowledgments 2 1. INTRODUCTION 3 1.1 Introduction 3 1.2 Methodology 4 1.2.1 Research purpose and method 4 1.2.1.1 Research purpose, relevance and structure 4 1.2.1.2 Research subjects 5 1.2.1.3 Research method 8 1.2.1.4 Source-criticism 8 1.2.2 Theoretical frame 9 1.3 Empirical context 14 1.3.1 Nollywood 14 1.3.1.1 Cinematographic production 14 1.3.1.2 Film consumption: Cinema, TV and the home video 15 1.3.1.3 Nigerian home video 16 a. Development of the industry 16 b. Production: making film with minimal budgets 17 c. Distribution: a never seen spread on the continent 19 d. Content and form: African film made by Africans 22 e. Transnational dimension of Nollywood 25 1.3.2 Nigerian Diaspora 27 1.3.2.1 Pre-colonial migration 27 a. Hausa migration 27 b. Religious migration 28 c. Slave trade 28 1.3.2.2 Nigerian migration in 20th – 21st century 28 a. Context 28 b. Prostitution 30 c. Bad reputation 31 d. Causes of migration 32 e. Diasporic communities 34 ii f. Nollywood in the diaspora 36 2. CASE STUDIES: Nollywood made in Europe 39 2.1 Transnational subjects 40 2.1.1 Pioneers: Tony Akinyemi and Leonard Ajayi-Odhekiran 40 2.1.2 The show must go on: Isaac izoya 43 2.1.3 Spiritual and social outreach: John Osas Omoregie 46 2.1.4 Satire: Azubuike Erinugha 48 2.2 Nature of the transnational practice 52 2.2.1 Aim 52 2.2.1.1 Celebrate Nigerian contemporary culture 52 2.2.1.2 Inform and educate the people 53 2.2.1.3 Promote integration 55 2.2.2 Film 56 2.2.2.1 Nollywood 57 2.2.2.2 Realism vs.
    [Show full text]