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New African Cinema

by Orlando, Valérie K

in Abderrahmane Sissako / Addiction / Africa / african culture / african film / African film schools / african filmmaker / african history / african interest / african studies / Algeria / American influence / American studles / Angola / Art & Art History / ART / History / General / ART / Techniques / General / Assia Djebar / black studies / Ceddo / cinema history / colonialism / communications / cultural studies / culture / ethnic interest / ethnic studies / European influence / film and video / film culture / film history / film industry / film school / Film Studies / filmmaker / filmmaking / global black studies / History / HISTORY / Africa / General / La Nouba des Femmes de Mont Chenoua / Mauritania / media studies / Motion pictures / movie industry / Ousmane Sembene / Penology / performing arts / political film / post colonial / PSYCHOLOGY / Psychopathology / race / race studies / racial interest / Recreational & performing arts / Sambizanga / Sarah Maldoror / Senegal / Social aspects / SOCIAL SCIENCE / SOCIAL SCIENCE / Sociology / General / Sociology / Television programs / The Circle of Women of Mount Chenoua / The Hero / Timbuktu / world history / Zeze Gamboa

2017,2019

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New African Cinema

by Orlando, Valérie K

2017,2019

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New African Cinema

by Orlando, Valérie K

2017,2019

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New African Cinema

Orlando, Valérie K

2017,2019

Overview

New African Cinemaexamines the pressing social, cultural, economic, and historical issues explored by African filmmakers from the early post-colonial years into the new millennium. Offering an overview of the development of postcolonial African cinema since the 1960s, Valérie K. Orlando highlights the variations in content and themes that reflect the socio-cultural and political environments of filmmakers and the cultures they depict in their films.Orlando illuminates the diverse themes evident in the works of filmmakers such as Ousmane Sembène'sCeddo(Senegal, 1977), Sarah Maldoror'sSambizanga(Angola, 1972), Assia Djebar'sLa Nouba des femmes de Mont Chenoua(The Circle of women of Mount Chenoua, Algeria, 1978), Zézé Gamboa'sThe Hero(Angola, 2004) and Abderrahmane Sissako'sTimbuktu(Mauritania, 2014), among others. Orlando also considers the influence of major African film schools and their traditions, as well as European and American influences on the marketing and distribution of African film. For those familiar with the polemics of African film, or new to them, Orlando offers a cogent analytical approach that is engaging.

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Publisher

Rutgers University Press

Subject

/ Africa

/ African film schools

/ african filmmaker