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Books on
African Film
African Film:
Re-Imagining a Continent
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Symbolic Narratives: African Cinema
African
Cinema: Politics and Culture
Africa Shoots Back: Alternative Perspectives In
Sub-Saharan Francophone African Films
Black
African Cinema /
African Cinemas:
Decolonizing the Gaze
Questioning African
Cinema: Conversations with Filmmakers
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Reviews
Symbolic Narratives: African Cinema
This volume
provides a unique and unprecedented forum for debate
between the different African cinematic communities
(including North African filmmakers). Views are
exchanged on topics ranging from the problems of
production, exhibition, and distribution to questions of
"modernity," postcolonial theory, and the (arguably
increasing) presence of western cultural imperialism.
The papers and the responses to the papers edited by
critic and programmer June Givanni are presented in full
and Imruh Bakari's introduction places the material in
the context of previous and subsequent debate.
Contributors: Manthia Diawara, Teshome Gabriel, Clyde
Taylor, John Badenhorst, Ferid Boughedir, Gaston Kabore,
Tafatoana Mahoso.
Contributing film-makers: Ousmane Sembene, Idrissa
Ouédraogo, Haile Gerima, Nouri Bouzid, John Akomfrah,
Kobena Mercer, Ella Shohat, Ngugi Wa Thiongo, Tahar
Cheriaa, and Sylvia Wynter
About the Author
June Givanni was editor of the Black Film Bulletin until
1997 and is now a freelance film programmer and African
cinema consultant/advisor. Imruh Bakari lectures in
Media, Film and Communication at King Alfred's College,
Winchester, and is coeditor of African Experiences of
Cinema (BFI, 1996).
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Black African Cinema
From the
proselytizing lantern slides of early Christian
missionaries to contemporary films that look at Africa
through an African lens, N. Frank Ukadike explores the
development of black African cinema. He examines the
impact of culture and history, and of technology and
co-production, on filmmaking throughout Africa.
Every aspect of
African contact with and contribution to cinematic
practices receives attention: British colonial cinema;
the thematic and stylistic diversity of the pioneering
"francophone" films; the effects of television on the
motion picture industry; and patterns of television
documentary filmmaking in "anglophone" regions. Ukadike
gives special attention to the growth of independent
production in Ghana and Nigeria, the unique Yoruba
theater-film tradition, and the militant liberationist
tendencies of "lusophone" filmmakers.
He offers a lucid
discussion of oral tradition as a creative matrix and
the relationship between cinema and other forms of
popular culture. And, by contrasting "new" African films
with those based on the traditional paradigm, he
explores the trends emerging from the eighties and
nineties.
Clearly written and accessible to specialist and general
reader alike, Black African Cinema's analysis of key
films and issues--the most comprehensive in English--is
unique. The book's pan-Africanist vision heralds
important new strategies for appraising a cinema that
increasingly attracts the attention of film students and
Africanists.
About the Author
N. Frank Ukadike teaches in the Department of
Communication and in the Center for Afro-American and
African Studies at the University of Michigan, Ann
Arbor.
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Questioning African Cinema: Conversations with
Filmmakers
Diverse in their art, paradoxically
more celebrated abroad than they are at home, African
filmmakers eke out their visions against a backdrop of
complex historical, social, economic, and political
practices. The richness of their accomplishments emerge
with compelling clarity in this book, in which African
filmmakers speak candidly about their work.
Featuring
interviews with key personalities from a variety of
nations, Questioning African Cinema provides the most
extensive, comprehensive account ever given of the
origins, practice, and implications of filmmaking in
Africa. Speaking with pioneers Med Hondo, Souleymane
Cissé, and Kwaw Ansah; renowned feature filmmakers
Djibril Mambéty, Haile Gerima, and Safi Faye; and
award-winning younger filmmakers Idrissa Ouedraogo,
Cheick Oumar Sissoko, and Jean-Pierre Bekolo, N. Frank
Ukadike identifies trends and individual practices even
as he surveys the evolution of African cinema and
addresses the politics and problems of seeing Africa
through an African lens.
Situating the
unique achievement of each filmmaker within the
geographic, historical, social, and political context of
African cinema, he also explores questions about acting,
distribution and exhibition, history, theory and
criticism, video-based television production, and
television's relationship to independent film.
About the Author
N. Frank Ukadike is associate
professor of film and of African and African diaspora
studies at Tulane University.
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Marketing Ghana as a Mecca for the African-American Tourist—The
Afro-American tourist market constitutes an important niche
market. At the moment, the U.S.A is Ghana's second highest
tourist generating market with the U.K being the first. In 2003,
some 27,000 tourists arrived in Ghana from the Americas.
Approximately 10,000 were African-Americans. Also, about a
thousand are living and working in Accra. The African-American
tourist market is Ghana's niche market because it has the
greatest growth potential in terms of arrivals and receipts.
This is because the African-American tourist of today is more
interested in exploring his/her cultural and historical
heritage; the very products that Ghana offers. Also, they have a
$300 billion spending power and spend 98% of their household
income. The total income of this segment of the American
population is the largest of all the ethnic groups at $485 and
projected to reach $1.01 trillion by 2010. In a 2000 Gallup poll
commissioned by the National Summit on Africa, 73% of
African-Americans were interested in learning more about Africa.— ModernGhana
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Strange Fruit Lynching Report
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Anniversary of a Lynching
Willie
McGhee Lynching /
My Grandfather's Execution
Dr. Robert Lee Interview /
African American dentist in Ghana
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Bob Marley—
Exodus
Bob Marley was a Jamaican singer-songwriter and musician. He was
the lead singer, songwriter and guitarist for the ska,
rocksteady and reggae bands The Wailers (19641974) and Bob
Marley & the Wailers (19741981). Marley remains the most widely
known and revered performer of reggae music, and is credited for
helping spread both Jamaican music and the Rastafari movement
(of which he was a committed member), to a worldwide audience.
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Exodus
Exodus:
movement of jah people! oh-oh-oh, yea-eah!
Men and people will fight ya down (tell me why!)
When ya see jah light. (ha-ha-ha-ha-ha-ha-ha!)
Let me tell you if youre not wrong; (then, why? )
Everything is all right.
So we gonna walk - all right! - through de roads of
creation:
We the generation (tell me why!)
(trod through great tribulation) trod through great
tribulation.
Exodus, all right! movement of jah people!
Oh, yeah! o-oo, yeah! all right!
Exodus: movement of jah people! oh, yeah!
Yeah-yeah-yeah, well!
Uh! open your eyes and look within:
Are you satisfied (with the life youre living)? uh!
We know where were going, uh!
We know where were from.
Were leaving babylon,
Were going to our father land.
2, 3, 4: exodus: movement of jah people! oh, yeah!
(movement of jah people!) send us another brother
moses!
(movement of jah people!) from across the red sea!
(movement of jah people!) send us another brother
moses!
(movement of jah people!) from across the red sea!
Movement of jah people!
Exodus, all right! oo-oo-ooh! oo-ooh!
Movement of jah people! oh, yeah!
Exodus!
Exodus! all right!
Exodus! now, now, now, now!
Exodus!
Exodus! oh, yea-ea-ea-ea-ea-ea-eah!
Exodus!
Exodus! all right!
Exodus! uh-uh-uh-uh!
Move! move! move! move! move! move!
Open your eyes and look within:
Are you satisfied with the life youre living?
We know where were going;
We know where were from.
Were leaving babylon, yall!
Were going to our fathers land.
Exodus, all right! movement of jah people!
Exodus: movement of jah people!
Movement of jah people!
Movement of jah people!
Movement of jah people!
Movement of jah people!
Move! move! move! move! move! move! move!
Jah come to break downpression,
Rule equality,
Wipe away transgression,
Set the captives free.
Exodus, all right, all right!
Movement of jah people! oh, yeah!
Exodus: movement of jah people! oh, now, now, now,
now!
Movement of jah people!
Movement of jah people!
Movement of jah people!
Movement of jah people!
Movement of jah people!
Movement of jah people!
Move! move! move! move! move! move! uh-uh-uh-uh!
Move(ment of jah people)!
Move(ment of jah people)!
Move(ment of jah people)!
Move(ment of jah people)! movement of jah people!
Move(ment of jah people)!
Move(ment of jah people)!
Movement of jah people!
Movement of jah people!
Movement of jah people!
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Relations
Between Africans and African Americans: Misconceptions, Myths
and Realities
By
Godfrey Mwakikagile
(Grand
Rapids, Michigan: National Academic Press, 2005) 302 pages
Chapter Four: The Attitude of Africans Towards African Americans
Chapter Six: Misconceptions About Each Other
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Chiefs in Cape
Coast, Ghana /
Grand Durbar Parade
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Dentist Dr. Robert Lee
Championed African-American Community in
Ghana
In the
mid-1950s, Dr. Robert Lee, a dentist from
South Carolina, moved to Ghana to escape
racism in the south. Over the next half
century, Lee became a fixture in the
African-American community in the West
African country. Dr. Lee died on Monday,
July 5th at the age of 90. But few here in
his home state, or in the States at all,
knew of his work. But in Ghana, he made a
name for himself. Dr. Robert Lee, trained as
a dentist, moved to Accra in the mid-1950s.
Over the past half century, Lee became a
fixture in the black American ex-patriot
community in Ghana.
NPR
Host Michel Martin talks to NPR West African
correspondent Ofeibea Quist-Arcton about his
life and legacy.
Dr. Robert Lee NPR Interview
Dentist Championed
African-American Community In Ghana
Dr Robert Lee passes on
Dr. Robert Lee (right) in
2009 with Kwame Zulu Shabazz |
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The State of African Education
(April 200)
Attack On Africans Writing Their Own History Part 1 of 7
Dr Asa
Hilliard III speaks on the assault of academia on Africans writing and
accounting for their own history.
Dr Hilliard is A teacher,
psychologist, and historian.
Part 2 of 7
/
Part
3 of 7 /
Part 4 of 7
/
Part 5 of 7 /
Part 6 of 7 /
Part 7 of 7
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Basil Davidson's "Africa Series"
Different
But Equal /
Mastering A Continent /
Caravans
of Gold /
The King and the City /
The Bible and The Gun
West Africa Before the Colonial Era: A
History to 1850
By
Basil Davidson
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Blacks in Hispanic Literature: Critical Essays
Edited by
Miriam DeCosta-Willis
Blacks in Hispanic Literature is a
collection of fourteen essays by scholars and
creative writers from Africa and the Americas.
Called one of two significant critical works on
Afro-Hispanic literature to appear in the late
1970s, it includes the pioneering studies of
Carter G. Woodson and
Valaurez B. Spratlin, published in the 1930s, as
well as the essays of scholars whose interpretations
were shaped by the Black aesthetic. The early
essays, primarily of the Black-as-subject in Spanish
medieval and Golden Age literature, provide an
historical context for understanding 20th-century
creative works by African-descended, Hispanophone
writers, such as Cuban
Nicolás Guillén and Ecuadorean poet, novelist,
and scholar
Adalberto Ortiz, whose essay analyzes the
significance of Negritude in Latin America. This
collaborative text set the tone for later
conferences in which writers and scholars worked
together to promote, disseminate, and critique the
literature of Spanish-speaking people of African
descent. . . .
Cited by a
literary critic in 2004 as "the seminal study in the
field of Afro-Hispanic Literature . . . on which
most scholars in the field 'cut their teeth'."
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Sister Citizen: Shame, Stereotypes, and Black Women in
America
By Melissa V.
Harris-Perry
According to the
author, this society has historically exerted
considerable pressure on black females to fit into one
of a handful of stereotypes, primarily, the Mammy, the
Matriarch or the Jezebel. The selfless
Mammy’s behavior is marked by a slavish devotion to
white folks’ domestic concerns, often at the expense of
those of her own family’s needs. By contrast, the
relatively-hedonistic Jezebel is a sexually-insatiable
temptress. And the Matriarch is generally thought of as
an emasculating figure who denigrates black men, ala the
characters Sapphire and Aunt Esther on the television
shows Amos and Andy and Sanford and Son, respectively.
Professor Perry
points out how the propagation of these harmful myths
have served the mainstream culture well. For instance,
the Mammy suggests that it is almost second nature for
black females to feel a maternal instinct towards
Caucasian babies.
As for the source
of the Jezebel, black women had no control over their
own bodies during slavery given that they were being
auctioned off and bred to maximize profits. Nonetheless,
it was in the interest of plantation owners to propagate
the lie that sisters were sluts inclined to mate
indiscriminately.
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The White Masters of the
World
From
The World and Africa, 1965
By W. E. B. Du Bois
W. E. B. Du Bois’
Arraignment and Indictment of White Civilization
(Fletcher)
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Ancient African Nations
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If you like this page consider making a donation
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Negro Digest /
Black World
Browse all issues
1950
1960
1965
1970
1975
1980
1985
1990
1995
2000
____ 2005
Enjoy!
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The Death of Emmett Till by Bob Dylan
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The Lonesome Death of Hattie Carroll
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Only a Pawn in Their Game
Rev. Jesse Lee Peterson Thanks America for
Slavery /
George Jackson /
Hurricane Carter
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The Journal of Negro History issues at Project Gutenberg
The
Haitian Declaration of Independence 1804
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January 1, 1804 -- The Founding of
Haiti
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update 4 August 2008
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