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THE AFRICAN EXPERIENCE23. Hull, Modern Africa, p. 184.24. Donal B. Cruise O’Brien, Symbolic Confrontations: Muslims Imagining the State inAfrica (London: Hurst & Co., 2003), pp. 142–3.25. Albert Memmi, The Colonizer and the Colonized (London: Souvenir Press, 1974),p. 106.26. Ibid., pp. 104–5.27. Ibid., p. 107.28. Walter Rodney, How Europe Underdeveloped Africa (London: Bogle-L’Ouverture,1972), p. 116.29. Junichiro Tanizaki, In Praise of Shadows (London: Vintage, 2001), p. 16.30. Ibid., pp. 16–7.31. Denise Brahimi, Cinémas d’Afrique francophone et du Maghreb (Paris: Nathan,1997), p. 7.32. Jacqueline Kaye, Maghreb: New Writing from North Africa (York: Talus Editions,1992), p. 5.33. Ibid., p. 6.34. Cruise O’Brien, Symbolic Confrontations, p. 15.35. Mongo Beti, cited in Richard Bjornson, The African Quest for Freedom andIdentity: Cameroonian Writing and the National Experience (Bloomington:Indiana University Press, 1994), p. 329.36. Cf. Jacqueline Kaye and Abdelhamid Zoubir, The Ambiguous Compromise:Language, Literature and Identity in Algeria and Morocco (London and New York:Routledge, 1990).37. Oliver, The African Experience, p. 305.38. Jacques Maquet, Civilisations of Black Africa (New York: Oxford University Press,1972), p. 17.39. Ibid.40. David Robinson, Muslim Societies in African History (Cambridge: CambridgeUniversity Press, 2004), p. 27.41. Ibid., p. 39.42. Ibid., p. 42.43. Ibid.44. Hull, Modern Africa, p. 233.45. Cruise O’Brien, Symbolic Confrontations, p. 178.46. Ibid.47. Nicholas Awde and Putros Samano, The Arabic Language (London: Saqi Books,1986), p. 14.48. Ibid.49. Viola Shafik, Arab Cinema (Cairo: The University of Cairo Press, 1998), p. 83.50. Kenneth W. Harrow (ed.), The Marabout and the Muse: New Approaches to Islamin African Fiction (Portsmouth, NH and London: Heinemann and James Curry,1996), p. xxiii.51. Mahmoud Ben Mahmoud, cited in Michel Amarger, M’Bissine Diop and CatherineRuelle, ‘Islam, croyances et négritude dans les cinémas d’Afrique’, Paris: Africultures47 (2002), p. 11.52. Maquet, Civilisations, p. 171.53. Oliver, The African Experience, p. 304.54. Ibid., p. 303.55. Jean François Troin, Maghreb Moyen-Orient: Mutations (Paris: Sedes, 1995),p. 217.56. Oliver, The African Experience, p. 283.57. Roland Pourtier, Villes Africaines (Paris: La Documentation Française, 1999), p. 1.17
AFRICAN FILMMAKING58. Troin, Maghreb-Moyen Orient, p. 218.59. Oliver, The African Experience, p. 304.60. Fanon, The Wretched of the Earth, p. 30.61. Ibid.62. Oliver, The African Experience, p. 283.63. Ibid.64. Eric Hobsbawm and Terence Ranger (eds), The Invention of Tradition (Cambridge:Cambridge University Press, 1983), p. 247.65. Ibid., p. 248.66. Achille Mbembe, cited in Richard Werbner and Terence Ranger (eds), PostcolonialIdentities in Africa (London: Zed Books, 1996), p. 1.67. Ibid.68. Ibid.69. Bernard Lewis, The Multiple Identities of the Middle East (London: Weidenfeld andNicolson, 1998), p. 4.70. Jolayemi Solanke, ‘Traditional Society and Political Institutions’, in RichardOlaniyan (ed.), African History and Culture (Lagos: Longman, 1982), p. 27.71. Ibid., p. 28.72. Fuad I. Khuri, Tents and Pyramids: Games and Ideology in Arab Culture fromBackgammon to Autocratic Rule (London: Saqi Books, 1990), p. 11.73. Ibid., p. 11.74. Ibid., p. 14.75. Ibid., p. 13.76. Ibid., p. 11.77. Tahar Cheriaa, ‘Le Groupe et le héros’, in CESCA, Camera nigra: Le Discours dufilm africain (Brussels: OCIC, 1984), p. 109.18
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Page 6 and 7: CONTENTSAcknowledgementsList of Acr
Page 8: ACKNOWLEDGEMENTSHere, as with all m
Page 11 and 12: AFRICAN FILMMAKINGFAMU Filmov Akade
Page 14 and 15: In memory of Lionel NgkaneFriend an
Page 16: INTRODUCTIONThe progress of the mea
Page 19 and 20: AFRICAN FILMMAKINGunder 11 million
Page 21 and 22: AFRICAN FILMMAKINGAs in eastern Eur
Page 23 and 24: AFRICAN FILMMAKINGhad to leave a ro
Page 25 and 26: AFRICAN FILMMAKINGIslamIn addition
Page 27 and 28: AFRICAN FILMMAKINGSomalian Nuruddin
Page 29 and 30: AFRICAN FILMMAKINGThe contrast in t
Page 31: AFRICAN FILMMAKINGkinship makes him
Page 36 and 37: 2. BEGINNINGSNorth Africa has given
Page 38 and 39: BEGINNINGSthey are suffused with ra
Page 40 and 41: BEGINNINGSthe dozen cameramen emplo
Page 42 and 43: BEGINNINGSwith the spirit of aparth
Page 44 and 45: BEGINNINGSintensity and calamitous
Page 46 and 47: BEGINNINGSmilitant film was used as
Page 48 and 49: BEGINNINGSSouth Africa. But in the
Page 50 and 51: BEGINNINGS52. Mouny Berrah, ‘Hist
Page 52 and 53: AFRICAN INITIATIVESfollows, is that
Page 54 and 55: AFRICAN INITIATIVESthe OAA, set up
Page 56 and 57: AFRICAN INITIATIVESaim of producing
Page 58 and 59: AFRICAN INITIATIVESMoroccan system.
Page 60 and 61: AFRICAN INITIATIVESThe number of ci
Page 62 and 63: AFRICAN INITIATIVESRouch’s docume
Page 64 and 65: AFRICAN INITIATIVESBathily’s Tiya
Page 66 and 67: AFRICAN INITIATIVESThirdly, in all
Page 68 and 69: 4. THE FRENCH CONNECTIONIt is less
Page 70 and 71: THE FRENCH CONNECTIONattitudes, tho
Page 72 and 73: THE FRENCH CONNECTIONwhose funding
Page 74 and 75: THE FRENCH CONNECTIONThe African Fi
Page 76 and 77: THE FRENCH CONNECTIONindividuality
Page 78 and 79: THE FRENCH CONNECTIONcan also be ap
Page 80: PART IICONFRONTING REALITYAfrican c
Page 83 and 84:
AFRICAN FILMMAKINGas we think’. I
Page 85 and 86:
AFRICAN FILMMAKINGhad to be largely
Page 87 and 88:
AFRICAN FILMMAKINGas a mere individ
Page 89 and 90:
AFRICAN FILMMAKINGmemory? Folklore?
Page 91 and 92:
AFRICAN FILMMAKINGdown a well and t
Page 93 and 94:
AFRICAN FILMMAKINGabout the French
Page 95 and 96:
AFRICAN FILMMAKINGIn Fad’jal (197
Page 97 and 98:
AFRICAN FILMMAKINGnarrative, with v
Page 99 and 100:
AFRICAN FILMMAKINGkillings, the mov
Page 101 and 102:
AFRICAN FILMMAKING25. For a detaile
Page 103 and 104:
AFRICAN FILMMAKINGissues. As Tahar
Page 105 and 106:
AFRICAN FILMMAKINGDepardieu and the
Page 107 and 108:
AFRICAN FILMMAKINGgirlfriend with h
Page 109 and 110:
AFRICAN FILMMAKINGside of African c
Page 111 and 112:
AFRICAN FILMMAKINGbecause the lead
Page 113 and 114:
AFRICAN FILMMAKINGmen dabbling (in
Page 115 and 116:
AFRICAN FILMMAKINGa social revoluti
Page 117 and 118:
AFRICAN FILMMAKINGIn Burkina Faso a
Page 119 and 120:
AFRICAN FILMMAKINGfocused and the t
Page 122:
PART IIINEW IDENTITIESThe past cont
Page 125 and 126:
AFRICAN FILMMAKINGsubsequent years.
Page 127 and 128:
AFRICAN FILMMAKINGThe 1970sIn Sub-S
Page 129 and 130:
AFRICAN FILMMAKINGfrom the police a
Page 131 and 132:
AFRICAN FILMMAKINGlevel, and ‘to
Page 133 and 134:
AFRICAN FILMMAKINGthis message. As
Page 135:
AFRICAN FILMMAKINGthe simple story
Page 139 and 140:
AFRICAN FILMMAKINGaudience’s resp
Page 141 and 142:
AFRICAN FILMMAKINGwater in a desert
Page 143 and 144:
AFRICAN FILMMAKINGtradition’. 12
Page 145 and 146:
AFRICAN FILMMAKINGshifts in the win
Page 147 and 148:
AFRICAN FILMMAKINGby her future in-
Page 149 and 150:
AFRICAN FILMMAKINGon their brutalit
Page 151 and 152:
AFRICAN FILMMAKINGsometimes in big
Page 153 and 154:
AFRICAN FILMMAKINGSene Absa’s sec
Page 156:
PART IVTHE NEW MILLENNIUMIf it’s
Page 159 and 160:
AFRICAN FILMMAKINGThough there is c
Page 161 and 162:
AFRICAN FILMMAKINGdiscovering only
Page 163 and 164:
AFRICAN FILMMAKINGand summons his f
Page 165 and 166:
AFRICAN FILMMAKINGthem in a final r
Page 167 and 168:
AFRICAN FILMMAKINGmercy of the rest
Page 169 and 170:
AFRICAN FILMMAKINGBekolo’s second
Page 171 and 172:
AFRICAN FILMMAKINGThe films of the
Page 173 and 174:
10. MAHAMAT SALEH HAROUN (CHAD)Beca
Page 175 and 176:
AFRICAN FILMMAKINGAlmost immediatel
Page 177 and 178:
AFRICAN FILMMAKINGFigure 10.1Mahama
Page 179 and 180:
AFRICAN FILMMAKINGthat we are witne
Page 181 and 182:
AFRICAN FILMMAKINGNotes1. Mahamat S
Page 183 and 184:
AFRICAN FILMMAKINGallowing the grio
Page 185 and 186:
AFRICAN FILMMAKINGin Sissoko’s Gu
Page 187 and 188:
AFRICAN FILMMAKINGhis nephew Mamadi
Page 189 and 190:
AFRICAN FILMMAKINGthe undertaker’
Page 191 and 192:
12. RAJA AMARI (TUNISIA)The only pr
Page 193 and 194:
AFRICAN FILMMAKINGFigure 12.1Raja A
Page 195 and 196:
AFRICAN FILMMAKINGBut when her daug
Page 197 and 198:
AFRICAN FILMMAKINGsocial setting in
Page 199 and 200:
AFRICAN FILMMAKINGHe has received C
Page 201 and 202:
AFRICAN FILMMAKINGfrom one to anoth
Page 203 and 204:
AFRICAN FILMMAKINGFigure 13.2Faouzi
Page 205 and 206:
AFRICAN FILMMAKINGBensaidi’s own
Page 207 and 208:
AFRICAN FILMMAKINGa priority in its
Page 209 and 210:
AFRICAN FILMMAKINGThe film’s open
Page 211 and 212:
AFRICAN FILMMAKINGFigure 14.2Abderr
Page 213 and 214:
AFRICAN FILMMAKINGSissako has said
Page 215 and 216:
AFRICAN FILMMAKING11. Abderrahmane
Page 217 and 218:
AFRICAN FILMMAKINGArmbrust, Walter
Page 219 and 220:
AFRICAN FILMMAKINGCalvocoressi, Pet
Page 221 and 222:
AFRICAN FILMMAKINGFanon, Frantz (19
Page 223 and 224:
AFRICAN FILMMAKINGImages et Visages
Page 225 and 226:
AFRICAN FILMMAKINGMegherbi, Abdelgh
Page 227 and 228:
AFRICAN FILMMAKINGSalhi, Abdel-Illa
Page 229 and 230:
AFRICAN FILMMAKINGWerbner, Richard
Page 231 and 232:
AFRICAN FILMMAKINGAoulad Syad, Daou
Page 233 and 234:
AFRICAN FILMMAKINGDe quelques évé
Page 235 and 236:
AFRICAN FILMMAKINGKassari, Yasmine,
Page 237 and 238:
AFRICAN FILMMAKINGQuand les hommes
Page 239:
AFRICAN FILMMAKINGYeux secs, Les (N
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