Notes on Contributors x
Introduction: Critical Approaches to Africa’s Cinema, From the
Age of Liberation and Struggle to the Global, Popular, and
Curatorial 1
Kenneth W. Harrow and Carmela Garritano
Part I Time/Crisis/Uncertainty 21
1 Cinematic Economies of the Hypercontemporary in Haroun and
Sissako 23
Justin Izzo
2 Approaching the Uncertain Turn in African Video‐Movies:
Subalternity, Superfluity, and (Non‐)Cinematic Time 44
Jacques de Villiers
3 Life in Cinematic Urban Africa: Inertia, Suspension, Flow
69
Karen Bouwer
Part II Trauma/Violence/Precarity in an Age of Global Neoliberalism 89
4 At the Intersection of Trauma, Precarity, and African Cinema:
A Reflection on Mahamat‐Saleh Haroun’s Grigris 91
MaryEllen Higgins
5 Reframing Human Rights: Hotel Rwanda (2004), A Screaming Man
(2010), Global Conflict, and International Intervention 112
Dayna Oscherwitz
6 “The Invisible Government of the Powerful”: Joseph Gaï
Ramaka’s Cinema of Power 136
Akin Adesokan
Part III Sound/Form/Dub 155
7 Transcultural Language Intimacies: The Linguistic
Domestication of Indian Films in the Hausa Language 157
Abdalla Uba Adamu
8 The (Aural) Life of Neo‐colonial Space 176
Vlad Dima
9 “Outcast Orders” and the Imagining of a Queer African Cinema:
A Fugitive, Afro‐Jazz Reading of Karmen Geï 194
Lindsey Green‐Simms
Part IV Platforms/Informality/Archives 217
10 Streaming Quality, Streaming Cinema 219
Moradewun Adejunmobi
11 Between the Informal Sector and Transnational Capitalism:
Transformations of Nollywood 244
Jonathan Haynes
12 Nollywood Chronicles: Migrant Archives, Media Archeology, and
the Itineraries of Taste 269
Noah Tsika
Part V National Industries/Media Cities/Transnational Flows 291
13 African Videoscapes: Southern Nigeria, Ethiopia, and Côte
d’Ivoire in Comparative Perspective 293
Alessandro Jedlowski
14 Nairobi‐based Female Filmmakers: Screen Media Production
between the Local and the Transnational 315
Robin Steedman
Part VI Genre/Poetics/Gender 337
15 Darker Vision: Global Cinema and Twenty‐first‐Century
Moroccan Film Noir 339
Suzanne Gauch
16 From Ethnography to Essay: Realism, Reflexivity, and African
Documentary Film 358
Rachel Gabara
17 New Algerian Cinema: Portrayals of Women in Films Post‐Les
années noires 379
Valérie K. Orlando
18 “Qu’elle aille explorer le possible!”: Or African Cinema
according to Jean‐Pierre Bekolo 402
P. Julie Papaioannou
Part VII Movement/Fluidity and Aesthetics/Migration 421
19 Relational Histories in African Cinema 423
Sheila Petty
20 Crossing Lines: Frontiers, Circulations, and Identity in
Contemporary African and Diaspora Film 444
Melissa Thackway
Part VIII The End of Film Criticism?: The New Beginning of Curation and Bricolage 465
21 Towards Alternative Histories and Herstories of African
Filmmaking: From Bricolage to the “Curatorial Turn” in African Film
Scholarship 467
Lindiwe Dovey
Index 486
Kenneth W. Harrow is Distinguished Professor Emeritus of English at Michigan State University with specializations in African literature and cinema. He has taught in the Université de Yaounde, Cameroon and l'Université Cheikh Anta Diop in Dakar, Senegal.
Carmela Garritano is Associate Professor of Africana Studies and Film Studies at Texas A&M University. Her research has been supported by Fulbright IIE and the West African Research Association.
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