Challenging established views and assumptions about traditions and practices of filmmaking in the African diaspora, this three-volume set offers readers a researched critique on black film.
Volume One of this landmark series on African cinema draws together foundational scholarship on its history and evolution. Beginning with the ideological project of colonial film to legitimize the economic exploitation and cultural hegemony of the African continent during imperial rule to its counter-historical formation and theorization. It comprises essays by film scholars and filmmakers alike, among them Roy Armes, Med Hondo, Fèrid Boughedir, Haile Gerima, Oliver Barlet, Teshome Gabriel, and David Murphy, including three distinct dossiers: a timeline of key dates in the history of African cinema; a comprehensive chronicle and account of the contributions by African women in cinema; and a homage and overview of Ousmane Sembène, the "Father" of African cinema.

Michael T. Martin's profile page

Gaston Jean-Marie Kaboré's profile page

Roy Armes' profile page

James E. Genova's profile page

Femi Okiremuete Shaka's profile page

James Burns' profile page

Tom Rice's profile page

Odile Goerg's profile page

Med Hondo's profile page

Haile Gerima's profile page

Sada Niang's profile page

Monique Mbeka Phoba's profile page

Clyde R. Taylor's profile page

Férid Boughedir's profile page

Alexie Tcheuyap's profile page

Esiaba Irobi's profile page

Stephen A. Zacks' profile page

Teshome H. Gabriel's profile page

David Murphy is an editorial assistant at the Royal Irish Academy's Dictionary of Irish Biography, specializing in political, military, naval and polar figures. He is a fellow of the Royal Geographical Society and other prestigious societies and associations. The author of many papers and journal articles, his latest book is the critically acclaimed Ireland and the Crimean War (Dublin 2002).

David Murphy's profile page

Jude Akudinobi's profile page

Maureen N. Eke's profile page

Paulin Soumanou Vieyra's profile page

Boukary Sawadogo's profile page

Olivier Barlet's profile page

Samba Gadjigo's profile page

Beti Ellerson's profile page

Joseph E. Roskos' profile page

"African Cinema: Manifesto and Practice for Cultural Decolonization combines theory and praxis as a means to explore the social, cultural, political, economic and gendered dynamics of African cinemas within a global context, all of which are determining factors in how African filmmaking practitioners and stakeholders negotiate their place as directors, producers, organizers, activists, scholars, distributors, cultural readers. The collection is an important addition to African Cinema Studies in particular, and the library of Film Studies in general."?Beti Ellerson, Founder and Director, Centre for the Study and Research of African Women in Cinema

"Setting out, African Cinema positioned itself at the intersection of a theory and practice of cultural self-apprehension, with all the contradictions that come with that position. In this three-volume compendium, Martin, Kaboré and their various collaborators have provided a comprehensive, almost exhaustive, account eventuating in a third, element?history. A more comprehensive account will be hard to find anywhere else."?Akin Adesokan, Indiana University

"This is a long-awaited volume of detailed, and analytical information and commentary that maps the development of the cinema of a large continent and the background ideas that have influenced its formation."?June Givanni, Director of the June Givanni Pan African Cinema Archive (JGPACA)