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| Title: | Women in 'African cinema' and 'Nollywood films': a shift in cinematic regimes |
| Author: | Harrow, Kenneth W. |
| Year: | 2016 |
| Periodical: | Journal of African Cinemas (ISSN 1754-923X) |
| Volume: | 8 |
| Issue: | 3 |
| Pages: | 233-248 |
| Language: | English |
| Geographic term: | Subsaharan Africa |
| Subjects: | cinema films feminism film history |
| External link: | https://doi.org/10.1386/jac.8.3.233_1 |
| Abstract: | There have been dramatic changes in depictions of women from the feminist perspectives in the first decades of postcolonial sub-Saharan African celluloid cinema (1960s-80s), to women in a global digital era (1990s-present). A classic example of African celluloid cinema, its style and political gravitas, can be seen in Jean-Marie Teno's latest film, 'Une feuille dans le vent' (2013). Though it appeared in the digital period, and may technically be digital, stylistically and thematically it bears all the hallmarks of 'FESPACO cinema'. Conversely, the work of Tunde Kelani, one of the stalwarts of Nollywood video film, falls under the rubric of 'African video film', often dubbed 'Nollywood'. To understand what the shift from 'serious African cinema' to Nollywood has meant for women and feminism in African cinema, the author elaborates on Butler and Athanasiou's notion of dispossession in considering Teno's 'celluloid' 'Feuille' and Frank Arase's digital 'Beyonce' (2006). The author hopes to bridge issues of early African feminism that focused on representation to those now framed in terms of genre cinema. Bibliogr., notes, ref., sum. [Journal abstract] |