Dossier 1: Key Dates in the History of African Cinema

Black Camera ◽  
2021 ◽  
Vol 12 (2) ◽  
pp. 407
Author(s):  
Barlet ◽  
Forest
Keyword(s):  
African Cinema ◽  
History Of

scholarly journals The New African Queer Aesthetics

2008 ◽  
Author(s):  
Martin P. Botha
Keyword(s):  
Broad Spectrum ◽  
Sexual Attraction ◽  
Gay And Lesbian ◽  
Same Sex ◽  
African Countries ◽  
African Cinema ◽  
History Of

THE PORTRAYAL OF HOMOSEXUALITY IN INTERNATIONAL CINEMA      The purpose of this article is to discuss images and visual portrayals of openly gay characters in African cinema in countries sometimes characterised by homophobia. My intention is to discuss these images and portrayals within the contexts of the societies and film structures in which they were created. I attempt to provide a balance between a background on the history of gay and lesbian lives in specific African countries and a brief overview of the history of gay films. I defined homosexuality as a broad spectrum of psychological, emotional and sexual variables in a state of interplay between people of the same sex .(1) Homosexuality, for me, is not only sexual attraction between people of the same sex, but it also includes an emotional as well as a physical bond, a fantasy system, and elements of symbolism, eroticism...

scholarly journals The Cinema of Katinka Heyns

2014 ◽  
Author(s):  
Martin P. Botha
Keyword(s):  
South Africa ◽  
South African ◽  
Film Culture ◽  
National Cinema ◽  
African Cinema ◽  
African Film ◽  
Film Directors ◽  
History Of ◽  
Scholarly Attention

In the 119-year history of South African cinema only two books have been devoted to South African film directors: Martin Botha and Hubert Dethier’s Kronieken van Zuid-Afrika: de films van Manie van Rensburg (1997) and Martin Botha’s Jans Rautenbach: Dromer, Baanbreker en Auteur (2006). In general the artistic achievements of film directors received little scholarly attention. Attempts to rework the history of South African cinema such as Isabel Balseiro and Ntongela Masilela’s edited volume, To Change Reels: Film and Film Culture in South Africa (2003) as well as Jacqueline Maingard’s South African National Cinema (2007), devoted entire chapters to the ideological analysis of films such as De Voortrekkers (1916), Cry, the Beloved Country (1951) and Come Back, Africa (1959), but in the process they ignored the significant oeuvres of directors such as Ross Devenish, Manie van Rensburg, Jans Rautenbach, Katinka Heyns, Darrell Roodt as well as many of the directors...

scholarly journals The Representation of Gays and Lesbians in South African Cinema 1985–2013

2013 ◽  
Author(s):  
Martin P. Botha
Keyword(s):  
South African ◽  
Latin American ◽  
Gay And Lesbian ◽  
African Cinema ◽  
American Cinema ◽  
African Film ◽  
History Of ◽  
Gays And Lesbians ◽  
Gay Movement ◽  
Gay Identities

THE REPRESENTATION OF GAYS AND LESBIANS IN SOUTH AFRICAN CINEMA 1895-2013 Despite South Africa's progressive constitution which prohibits discrimination against gays and lesbians, as well as a strong gay movement, South African cinematic images of gay men and women are limited and still at the margin of the South African film industry. One ends up with less than 20 short films, a few documentaries and less than 10 features with openly gay and lesbian characters in the past 114 years of South African cinema. Under apartheid, gay and lesbian voices in film and television were silenced. In a 20-year study of the representation of gays and lesbians in African, Asian and Latin American cinema (Botha 2003; 2012; Botha & Swinnen 2010), the author has noted that homosexual experience is unique in South Africa, precisely because of South Africa's history of racial division and subsequent resistance. South African gay identities...

scholarly journals The Cinema of Katinka Heyns

2015 ◽  
Author(s):  
Martin P. Botha
Keyword(s):  
South Africa ◽  
South African ◽  
Film Culture ◽  
National Cinema ◽  
African Cinema ◽  
African Film ◽  
Film Directors ◽  
History Of ◽  
Scholarly Attention

THE CINEMA OF KATINKA HEYNSIn the 119-year history of South African cinema only two books have been devoted to South African film directors: Martin Botha and Hubert Dethier’s Kronieken van Zuid-Afrika: de films van Manie van Rensburg (1997) and Martin Botha’s Jans Rautenbach: Dromer, Baanbreker en Auteur (2006).(1) In general the artistic achievements of film directors received little scholarly attention. Attempts to rework the history of South African cinema such as Isabel Balseiro and Ntongela Masilela’s edited volume, To Change Reels: Film and Film Culture in South Africa (2003) as well as Jacqueline Maingard’s South African National Cinema (2007), devoted entire chapters to the ideological analysis of films such as De Voortrekkers (1916), Cry, the Beloved Country (1951) and Come Back, Africa (1959), but in the process they ignored the significant oeuvres of directors such as Ross Devenish, Manie van Rensburg, Jans Rautenbach, Katinka Heyns, Darrell Roodt...

Poetics of mnemonic strategy : the art of adaptation and the spirituality of being & things in Tunde Kelani’s Saworoide and The Narrow Path

2018 ◽  
Vol 1 (1) ◽  
pp. 53-74 ◽  
Author(s):  
Lekan Balogun
Keyword(s):  
African Cinema ◽  
Mnemonic Strategy ◽  
History Of ◽  
Narrative Convention ◽  
Literary Memory

This essay utilises two different but related concepts: “poetics and politics of literary memory” by Lars Eckstein and “adaptation” by Linda Hutcheon, to examine Yoruba narrative convention, characterisation and the “spirituality of Being and object(s)” in two films, Saworoide (1999) and The Narrow Path (2006), by the Nigerian filmmaker, Tunde Kelani, who has distinguished himself as one of the leading contemporary Nigerian and African cinema icons and storytellers. The essay argues that as one of the most significant voices in Nollywood, the history of film and cinema in Nigeria and beyond, Kelani has not only turned the adaptation of materials from page to screen into an art and a veritable source of history, he has also shown ways in which the process functions as the recollection of the fading glorious past of his race. In order to achieve its aim, the essay is divided into two parts: the first part examines the cultural and political considerations of memory and the aesthetics of adaptation in relation to Kelani’s body of works, and the second part discusses the two films by drawing from arguments that are developed in the first part.

scholarly journals Short Filmmaking in South Africa

2009 ◽  
Author(s):  
Martin P. Botha
Keyword(s):  
South Africa ◽  
South African ◽  
Film History ◽  
Social Significance ◽  
Boer War ◽  
African Cinema ◽  
African Film ◽  
Short Films ◽  
History Of ◽  
Made In

SHORT FILMMAKING IN SOUTH AFRICA AFTER APARTHEID Historical ContextAlthough 1994 saw the birth of democracy in South Africa the South African film industry is much older. In fact, our great documentary film tradition dates back to 1896 and the Anglo Boer War(1). Surprisingly only a few books have been published regarding the history of one of the oldest film industries in the world and one of the largest on the African continent. Between 1910 and 2008 1434 features were made in South Africa (Armes 2008). Approximately 944 features were made in the period between 1978 and 1992, as well as nearly 998 documentaries and several hundred short films and videos (Blignaut & Botha 1992). South African film history is captured in a mere twelve books. Developments in early South African cinema (1895 - 1940) have been chronicled in Thelma Gutsche's The History and Social Significance of Motion...

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