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TABLE OF CONTENTS Title Page Acknowledgements CHAPTER ONE INTRODUCTION CHAPTER TWO MODERNITY AND THE AFRICAN CINEMA 2.1. Introduction 2.2. Methodological Problems in the Theory and Criticism of African Cinema 2.3. Towards a Definition of African Cinema 2.4. The Two Major Schools of African Cinema 2.5. The Historicity of Modern African Knowledge: Negritude and the Rise of Cultural Nationalism 2.6. African Political Nationalism and the Struggle for Independence and Modern African Identities 2.7. The Significance of the Modernity Thesis to the Criticism of African Cinema 2.8. A Critical Analysis of Ousmane Sembène's Representation of Modernity in Mandabi and Borom Sârret 2.9. Summary CHAPTER THREE ISSUES IN THE THEORY AND CRITICISM OF AFRICAN CINEMA 3.1. Introduction 3.2.The Concept of National Cinema and its Implications to a Definition of African Cinema 3.3. The Concepts and Problems of Third Cinema Theories 3.4. The Categorization of African Cinema 3.5. Towards a General Cinematic Reading Hypothesis of African Cinema 3.6. Summary CHAPTER FOUR COLONIALIST AFRICAN DISCOURSE 4.1. Introduction 4.2. Critical Perspectives on Colonialist African Discourse 4.3. The Genealogy of Colonialist African Discourse 4.4. Summary CHAPTER FIVE COLONIAL AFRICAN INSTRUCTIONAL CINEMA 5.1. Introduction 5.2. The Historical Background of Colonial African Instructional Cinema 5.3. Instructional Cinema in the Belgian Congo 5.4. Critiques of Colonial African Instructional Cinema 5.5. A Critical Analysis of Men of Africa and Daybreak in Udi 5.5.1. A Critical Analysis of Men of Africa 5.5.2. A Critical Analysis of Daybreak in Udi 5.6. Summary CHAPTER SIX COLONIALIST AFRICAN CINEMA 6.1. Introduction 6.2. The Historical Background of Colonialist African Cinema 6.3. General Modes of Representation in Colonialist African Cinema 6.4. A Critical Analysis of Selected Colonialist African Films 6.4.1. Colonialist Adventure Films 6.4.2. A Critical Analysis of Tarzan the Ape Man 6.4.3. A Critical Analysis of King Solomon's Mines 6.4.4. A Critical Analysis of The African Queen 6.5. Colonial Burden Films 6.5.1. A Critical Analysis of Sanders of the River 6.5.2. A Critical Analysis of Mister Johnson 6.6. Colonial Autobiographical Films 6.6.1. A Critical Analysis of Chocolat 6.7. Decolonization Conflict Films 6.7.1. A Critical Analysis of Simba 6.8. Summary CHAPTER SEVEN FILM PRODUCTION STRUCTURES AND SPONSORSHIP POLICIES IN ANGLOPHONE AND FRANCOPHONE AFRICAN COUNTRIES 7.1. Introduction 7.2. Film Production Structures and Sponsorship Policies in Anglophone African Countries 7.3. Colonial Film Production Structures and Sponsorship Policies in Anglophone Africa 7.4. Post-colonial Film Production Structures and Sponsorship Policies in Anglophone Africa 7.5. Film Production Structures and Sponsorship Policies in Francophone Africa 7.6. Post-colonial Film Production in Francophone Africa 7.7. The Effects of British and French Colonial Policies on Film Production in Anglophone and Francophone African Countries 7.8. Summary CHAPTER EIGHT POST-COLONIAL AFRICAN HISTORICAL TEXTS AND COLONIALIST COUNTER-DISCOURSE IN AFRICAN CINEMA 8.1. Introduction 8.2. The Historical Background of Post-colonial African Historical Texts 8.3. Background Notes on Med Hondo 8.4. A Critical Analysis of Sarraounia 8.5. Background Notes on Ousmane Sembène 8.6. A Critical Analysis of Ousmane Sembène and Thierno Faty Sow's Camp de Thiaroye 8.7. Summary CHAPTER NINE SUMMARY AND CONCLUSION BBLIOGRAPHY
Library of Congress Subject Headings for this publication: Motion pictures Africa, Motion pictures in education Africa, Africa In motion pictures