By Lindiwe Dovey
Analyzing a number South African and West African motion pictures encouraged through African and non-African literature, Lindiwe Dovey identifies a selected pattern in modern African filmmaking-one during which filmmakers are utilizing the embodied audiovisual medium of movie to provide a critique of actual and mental violence. opposed to an in depth historical past of the medium's savage creation and exploitation by way of colonial powers in very diverse African contexts, Dovey examines the advanced ways that African filmmakers are holding, mediating, and critiquing their very own cultures whereas looking a united imaginative and prescient of the longer term. greater than simply representing socio-cultural realities in Africa, those motion pictures have interaction with problems with colonialism and postcolonialism, "updating" either the background and the literature they adapt to deal with modern audiences in Africa and somewhere else. via this planned and radical re-historicization of texts and realities, Dovey argues that African filmmakers have built a style of filmmaking that's altogether unique from eu and American varieties of adaptation.
Read or Download African Film and Literature: Adapting Violence to the Screen PDF
Similar african books
Middle of Darkness, Joseph Conrad's fictional account of a trip up the Congo river in 1890, increases vital questions about colonialism and narrative concept. This casebook includes fabrics correct to a deeper knowing of the origins and reception of this arguable textual content, together with Conrad's personal tale "An Outpost of Progress," including a little-known memoir by means of one in every of Conrad's oldest English pals, a quick background of the Congo unfastened country via Sir Arthur Conan Doyle, and a parody of Conrad through Max Beerbohm.
" . . . gathered in one quantity, [these papers] develop into a wealthy case examine of an African people's kinfolk with a number of ecu brokers over greater than 4 centuries. " - selection " . . . a real treasure . . . not easy instance of ways historical past and anthropology will be mixed in perform . . . one of these blend can supply a deeper realizing of present-day matters and tensions.
Providing the unconventional proposal of the "literary NGO," this examine combines interviews with modern East African writers with an research in their specialist actions and the cultural investment area to make an unique contribution to African literary feedback and cultural reviews.
David Coltart is among the such a lot well-known political and human rights figures in Zimbabwe. In 2000, he used to be elected to Parliament and, following the construction of a ‘coalition’ executive in September 2008, he was once appointed Minister of schooling, game, Arts and tradition, a place he held till August 2013.
- The Idea of Freedom in Asia and Africa (The Making of Modern Freedom)
- Developing Uganda
- Civil Society and Political Change in Morocco (History and Society in the Islamic World)
- African Americans in the Visual Arts, Revised Edition
Extra resources for African Film and Literature: Adapting Violence to the Screen
Film Adaptation as Adornian Mimesis The idea of performance suggests an embodied investment in film by both authors and audience, but it does not address the question of where rationality fits into the picture. Theodor Adorno’s concept of mimesis is useful to this study in that it marries the concepts of embodied and rational modes of being and sees this marriage as a prerequisite of critique. Mimesis, of course, has a long history, predating Adorno’s adoption and amplification of the concept. While it is not my interest to engage with this history here, it is important to point out that mimesis has primarily been conceived of in two ways.
The Cameroonian filmmaker Jean-Pierre Bekolo has said that he uses a great deal of voice-over in his films since he “was once told that no one ever hears what Africans say or what they think. And by extension such a statement would seem to suggest that Africans don’t think at all” (2000:25). ” Rather than merely succumbing to a position of resistance, through consistently asserting African rationality over embodiment, the filmmakers discussed here maintain the necessary dialectic intrinsic to Adorno’s concept of mimesis.
To Fanon, racism results in an emphasis on the skin color of a victim to the extent that the victim can think of nothing other than his/her skin color—his/her mind becomes preoccupied with the body/skin. Similarly, according to Biko, the minds of black South Africans were the prime weapons in the hands of the apartheid government in South Africa, and he argues that, “Material want is bad enough, but coupled with spiritual poverty it kills” (1979:28). Reconstituting an effortless dialectic between mind and body was one of the aims of Fanon’s psychiatric work at Blida-Joinville in Algeria in the 1950s as well as of Biko’s Black Consciousness movement of the 1970s.