Hostname: page-component-cd9895bd7-gbm5v Total loading time: 0 Render date: 2024-12-22T06:23:09.209Z Has data issue: false hasContentIssue false
  • English
  • Français

Manthia Diawara’s Waves and the Problem of the “Authentic”

Published online by Cambridge University Press:  23 November 2015

Kenneth W. Harrow
Get access Rights & Permissions [Opens in a new window]

Abstract:

This article begins by tracking how the delineation of “New Cinema” in the recent work of Manthia Diawara differs significantly from the approaches that had been dominant when he published his initial study on African cinema in 1992. The changes lead us to position current filmmaking practices vis-à-vis Nollywood film, and to ask how the formation of the cinematic subject functions in contemporary “new waves” of cinema.

Résumé:

Cet article commence en repérant, dans le travail récent de Manthia Diawara, comment la démarcation du “nouveau cinéma” diffère considérablement des approches qui avaient été dominantes lorsque son étude initiale sur le cinéma africain a été publiée en 1992. Les changements nous mènent à positionner les pratiques cinématographiques actuelles vis-à-vis le cinéma Nollywood, et à se demander comment la formation des sujets cinématiques fonctionne dans les “nouvelles vagues” contemporaines de cinéma.

Keywords

CinemasubjectauthenticityNollywoodDiawaraButlerSembène
Type
ASR FORUM: WHAT’S NEW IN AFRICAN CINEMA?
Information
African Studies Review , Volume 58 , Issue 3 , December 2015 , pp. 13 - 30
Copyright
Copyright © African Studies Association 2015 

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

References

Afrique, je te plumerai. 1992. Directed by Jean-Marie Teno. Issy-Les-Moulineau, France: Les Films du Raphia.Google Scholar
Aristotle’s Plot. 1996. Directed by Jean-Pierre Bekolo. France/Zimbabwe JBA Production, BFI.Google Scholar
Bamako. 2006. Directed by Abderrahmane Sissako. France: Archipel 33.Google Scholar
Bush Mama. 1993 (1979). Directed by Haile Gerima. Washington, D.C.: Mypheduh Films.Google Scholar
Clando Clandestine. 2008. Directed by Jean-Marie Teno. San Francisco: California Newsreel.Google Scholar
Confusion Na Wa. 2013. Directed by Kenneth Gyang. Nigeria: Cinema Kpatakpata.Google Scholar
Divine Trash. 1998. Directed by Steve Yeager. Los Angeles: Yellow Trash Productions.Google Scholar
Emitai. 1971. Directed by Sembène Ousmane. Senegal: Films Doomireew.Google Scholar
Faat Kine. 2000. Directed by Ousmane Sembène. Senegal: Films Doomireew.Google Scholar
Finye. 1982. Directed by Souleymane Cissé. Mali: Cissé/Sisé Filimu.Google Scholar
Grey Matter. 2011. Directed by Kivu Ruhorahoza. Rwanda: Scarab Studio.Google Scholar
Half a Yellow Sun. 2014. Directed by Biyi Bandele. Nigeria: Slate Films.Google Scholar
Harvest 3000. 1976. Directed by Haile Gerima. Ethiopia: Haile Gerima Production.Google Scholar
Heremakono. 2002. Directed by Abderrahmane Sissako. Mauretania: Duo Films.Google Scholar
Karmen Geï. 2001. Directed by Joseph Gaï Ramaka. France: Canal+ Horizons.Google Scholar
La hora de los hornos notas y testimonios sobre el neocolonialismo la violencia y la liberación. 2000 (1968). Directed by Fernando E. Solanas, Juan Carlos Desanzo, and Octavio Getino. Buenos Aires: Página/12.Google Scholar
La Vie sur terre. 1999. Directed by Abderrahmane Sissako. Mauritania/Mali/France: Haut et court, La Sept Arte.Google Scholar
Le Damier. 1996. Directed by Balufu Bakupa-Kanyinda. France: Centrale Productions.Google Scholar
Le malentendu colonial. 2004. Directed by Jean-Marie Téno and Bärbel Mauch. San Francisco: California Newsreel.Google Scholar
Le President. 2013. Directed by Jean-Pierre Bekolo. Cameroon: Jean-Pierre Bekolo sarl.Google Scholar
Le prix du pardon (Ndeysaan) (The Price of Forgiveness). 2002. Directed by Mansour Sora Wade et al. San Francisco: California Newsreel.Google Scholar
Le retour d’un aventurier. 1966. Directed by Moustapha Alasanne. Niger: Argos Films.Google Scholar
Les Saignantes. 2005. Directed by Biyi Bandele. France: Quartier Mozart Films.Google Scholar
Love Brewed in an African Pot. 1981. Directed by Kwah Ansah. Ghana: Film Africa.Google Scholar
Mandabi. 1968. Directed by Sembène Ousmane. France: Comptoir Français du Film Production.Google Scholar
Pumzi. 2013. Directed by Wanuri Kahiu. South Africa: Inspired Minority Pictures.Google Scholar
Quartier Mozart. 1992. Directed by Biyi Bandele. Kola Case, Cameroon: Radio Television.Google Scholar
Relentless. 2010. Directed by Andy Amadi Okoroafor. Nigeria: Clam Films.Google Scholar
Sarraouina. 1986. Directed by Med Hondo. Burkina Faso: Spia Media Productions.Google Scholar
Teranga Blues. 2007. Directed by Moussa Sene Absa. Senegal: MSA Productions.Google Scholar
Teza. 2008. Directed by Haile Gerima. Ethiopia: Negod-Gwad Productions.Google Scholar
The Blue Eyes of Yonta. 1991. Directed by Flora Gomes. Guinea Bissau: Arco Iris.Google Scholar
Viva Riva! 2011. Directed by Djo Tunda Wa Munga. Democratic Republic of the Congo: Formosa Productions.Google Scholar
Xala. 1974. Directed by Ousmane Sembène. Senegal: Société Nationale de Cinématographie/ Filmi Doomireew.Google Scholar
Adejunmobi, Moradewun. 2007. “Nigerian Video Film as Minor Transnational Practice.” Postcolonial Text 3 (2). http://journals.sfu.ca.Google Scholar
Adesokan, Akinwumi. 2011. Postcolonial Artists and Global Aesthetics. Bloomington: Indiana University Press.Google Scholar
Aidoo, Ama Ata. 1979. Our Sister Killjoy: Or, Reflections from a Black-Eyed Squint. New York: NOK.Google Scholar
Butler, Judith. 1997. The Psychic Life of Power: Theories in Subjection. Stanford, Calif: Stanford University Press.CrossRefGoogle Scholar
Bataille, George. 1989 (1970). Visions of Excess: Selected Writings, 1927–1939. Translated by Stoekl, Allan. Minneapolis: University of Minnesota Press.Google Scholar
Diawara, Manthia. 1992. African Cinema: Politics and Culture. Bloomington: Indiana University Press.Google Scholar
Diawara, Manthia. 2010. African Film: New Forms of Aesthetics and Politics. Munich: Prestel.Google Scholar
Espinosa, Garcia. 1979. “For an Imperfect Cinema.” Jump Cut 20: 24–26. www.ejumpcut.org.Google Scholar
Fisher, Shahar. “Summary: Fredric Jameson / Postmodernism: Pastiche and Pop History.” The Cultural Reader: Article Summaries and Reviews in Cultural Studies. http://culturalstudiesnow.blogspot.com.Google Scholar
Gabriel, Teshome H. 1982. Third Cinema in the Third World: The Aesthetics of Liberation. Ann Arbor, Mich: UMI Research Press.Google Scholar
Gabriel, Teshome H. 2011. “Towards a Critical Theory of Third World Films.” Critical Interventions: Journal of African Art History and Visual Culture 5 (1): 187–203.CrossRefGoogle Scholar
Garritano, Carmela. 2013. African Video Movies and Global Desires: A Ghanaian History. Athens: Ohio University Press.CrossRefGoogle Scholar
Getino, Octavio, and Solanas, Fernando. 1997 (1969). “Some Notes on the Concept of a Third Cinema.” In New Latin American Cinema, edited by Martin, Michael T., volume.1, 99–107. Detroit: Wayne State University Press.Google Scholar
Harrow, Kenneth. 2013. Trash: African Cinema from Below. Bloomington: Indiana University Press.Google Scholar
Haynes, Jonathan, and Okome, Onookome. 1995. Cinema and Social Change in West Africa. Jos: Nigerian Film Corporation.Google Scholar
Haynes, Jonathan. 1997. Nigerian Video Films. Jos: Nigerian Film Corp.Google Scholar
Haynes, Jonathan. 2014. “‘New Nollywood’: Kunle Afolayan.” Black Camera 5 (2): 53–73.CrossRefGoogle Scholar
Hennebelle, Guy. 1978. “Interview with Sembène Ousmane.” L’Afrique Littéraire et Artistique 49: 116–26.Google Scholar
Jameson, Fredric. 1991. Postmodernism, Or, The Cultural Logic of Late Capitalism. Durham, N.C.: Duke University Press.Google Scholar
Larkin, Brian. 2004. “Degraded Images, Distorted Sounds: Nigerian Video and the Infrastructure of Piracy.” Public Culture 16 (2): 289–314.CrossRefGoogle Scholar
Larkin, Brian. 2008. Signal and Noise: Media, Infrastructure, and Urban Culture in Nigeria. Durham, N.C.: Duke University Press.Google Scholar
Mudimbe, V. Y. 1988. The Invention of Africa. Bloomington: Indiana University Press.Google Scholar
Spivak, Gayatri. 1999. A Critique of Postcolonial Reason. Cambridge, Mass.: Harvard University Press.CrossRefGoogle Scholar
Stam, Robert. 1998. “Hybridity and the Aesthetics of Garbage: The Case of Brazilian Cinema.” Estudios Interdisciplinarios de América Latina y el Caribe 9 (1). www1.tau.ac.il.Google Scholar
Ukadike, Nwachukwu Frank. 1994. Black African Cinema. Berkeley: University of California Press.CrossRefGoogle Scholar
Waters, John. 1988. Trash Trio: Three Screenplays: Pink Flamingos, Desperate Living, Flamingos Forever. New York: Vintage.Google Scholar
Afrique, je te plumerai. 1992. Directed by Jean-Marie Teno. Issy-Les-Moulineau, France: Les Films du Raphia.Google Scholar
Aristotle’s Plot. 1996. Directed by Jean-Pierre Bekolo. France/Zimbabwe JBA Production, BFI.Google Scholar
Bamako. 2006. Directed by Abderrahmane Sissako. France: Archipel 33.Google Scholar
Bush Mama. 1993 (1979). Directed by Haile Gerima. Washington, D.C.: Mypheduh Films.Google Scholar
Clando Clandestine. 2008. Directed by Jean-Marie Teno. San Francisco: California Newsreel.Google Scholar
Confusion Na Wa. 2013. Directed by Kenneth Gyang. Nigeria: Cinema Kpatakpata.Google Scholar
Divine Trash. 1998. Directed by Steve Yeager. Los Angeles: Yellow Trash Productions.Google Scholar
Emitai. 1971. Directed by Sembène Ousmane. Senegal: Films Doomireew.Google Scholar
Faat Kine. 2000. Directed by Ousmane Sembène. Senegal: Films Doomireew.Google Scholar
Finye. 1982. Directed by Souleymane Cissé. Mali: Cissé/Sisé Filimu.Google Scholar
Grey Matter. 2011. Directed by Kivu Ruhorahoza. Rwanda: Scarab Studio.Google Scholar
Half a Yellow Sun. 2014. Directed by Biyi Bandele. Nigeria: Slate Films.Google Scholar
Harvest 3000. 1976. Directed by Haile Gerima. Ethiopia: Haile Gerima Production.Google Scholar
Heremakono. 2002. Directed by Abderrahmane Sissako. Mauretania: Duo Films.Google Scholar
Karmen Geï. 2001. Directed by Joseph Gaï Ramaka. France: Canal+ Horizons.Google Scholar
La hora de los hornos notas y testimonios sobre el neocolonialismo la violencia y la liberación. 2000 (1968). Directed by Fernando E. Solanas, Juan Carlos Desanzo, and Octavio Getino. Buenos Aires: Página/12.Google Scholar
La Vie sur terre. 1999. Directed by Abderrahmane Sissako. Mauritania/Mali/France: Haut et court, La Sept Arte.Google Scholar
Le Damier. 1996. Directed by Balufu Bakupa-Kanyinda. France: Centrale Productions.Google Scholar
Le malentendu colonial. 2004. Directed by Jean-Marie Téno and Bärbel Mauch. San Francisco: California Newsreel.Google Scholar
Le President. 2013. Directed by Jean-Pierre Bekolo. Cameroon: Jean-Pierre Bekolo sarl.Google Scholar
Le prix du pardon (Ndeysaan) (The Price of Forgiveness). 2002. Directed by Mansour Sora Wade et al. San Francisco: California Newsreel.Google Scholar
Le retour d’un aventurier. 1966. Directed by Moustapha Alasanne. Niger: Argos Films.Google Scholar
Les Saignantes. 2005. Directed by Biyi Bandele. France: Quartier Mozart Films.Google Scholar
Love Brewed in an African Pot. 1981. Directed by Kwah Ansah. Ghana: Film Africa.Google Scholar
Mandabi. 1968. Directed by Sembène Ousmane. France: Comptoir Français du Film Production.Google Scholar
Pumzi. 2013. Directed by Wanuri Kahiu. South Africa: Inspired Minority Pictures.Google Scholar
Quartier Mozart. 1992. Directed by Biyi Bandele. Kola Case, Cameroon: Radio Television.Google Scholar
Relentless. 2010. Directed by Andy Amadi Okoroafor. Nigeria: Clam Films.Google Scholar
Sarraouina. 1986. Directed by Med Hondo. Burkina Faso: Spia Media Productions.Google Scholar
Teranga Blues. 2007. Directed by Moussa Sene Absa. Senegal: MSA Productions.Google Scholar
Teza. 2008. Directed by Haile Gerima. Ethiopia: Negod-Gwad Productions.Google Scholar
The Blue Eyes of Yonta. 1991. Directed by Flora Gomes. Guinea Bissau: Arco Iris.Google Scholar
Viva Riva! 2011. Directed by Djo Tunda Wa Munga. Democratic Republic of the Congo: Formosa Productions.Google Scholar
Xala. 1974. Directed by Ousmane Sembène. Senegal: Société Nationale de Cinématographie/ Filmi Doomireew.Google Scholar
Adejunmobi, Moradewun. 2007. “Nigerian Video Film as Minor Transnational Practice.” Postcolonial Text 3 (2). http://journals.sfu.ca.Google Scholar
Adesokan, Akinwumi. 2011. Postcolonial Artists and Global Aesthetics. Bloomington: Indiana University Press.Google Scholar
Aidoo, Ama Ata. 1979. Our Sister Killjoy: Or, Reflections from a Black-Eyed Squint. New York: NOK.Google Scholar
Butler, Judith. 1997. The Psychic Life of Power: Theories in Subjection. Stanford, Calif: Stanford University Press.CrossRefGoogle Scholar
Bataille, George. 1989 (1970). Visions of Excess: Selected Writings, 1927–1939. Translated by Stoekl, Allan. Minneapolis: University of Minnesota Press.Google Scholar
Diawara, Manthia. 1992. African Cinema: Politics and Culture. Bloomington: Indiana University Press.Google Scholar
Diawara, Manthia. 2010. African Film: New Forms of Aesthetics and Politics. Munich: Prestel.Google Scholar
Espinosa, Garcia. 1979. “For an Imperfect Cinema.” Jump Cut 20: 24–26. www.ejumpcut.org.Google Scholar
Fisher, Shahar. “Summary: Fredric Jameson / Postmodernism: Pastiche and Pop History.” The Cultural Reader: Article Summaries and Reviews in Cultural Studies. http://culturalstudiesnow.blogspot.com.Google Scholar
Gabriel, Teshome H. 1982. Third Cinema in the Third World: The Aesthetics of Liberation. Ann Arbor, Mich: UMI Research Press.Google Scholar
Gabriel, Teshome H. 2011. “Towards a Critical Theory of Third World Films.” Critical Interventions: Journal of African Art History and Visual Culture 5 (1): 187–203.CrossRefGoogle Scholar
Garritano, Carmela. 2013. African Video Movies and Global Desires: A Ghanaian History. Athens: Ohio University Press.CrossRefGoogle Scholar
Getino, Octavio, and Solanas, Fernando. 1997 (1969). “Some Notes on the Concept of a Third Cinema.” In New Latin American Cinema, edited by Martin, Michael T., volume.1, 99–107. Detroit: Wayne State University Press.Google Scholar
Harrow, Kenneth. 2013. Trash: African Cinema from Below. Bloomington: Indiana University Press.Google Scholar
Haynes, Jonathan, and Okome, Onookome. 1995. Cinema and Social Change in West Africa. Jos: Nigerian Film Corporation.Google Scholar
Haynes, Jonathan. 1997. Nigerian Video Films. Jos: Nigerian Film Corp.Google Scholar
Haynes, Jonathan. 2014. “‘New Nollywood’: Kunle Afolayan.” Black Camera 5 (2): 53–73.CrossRefGoogle Scholar
Hennebelle, Guy. 1978. “Interview with Sembène Ousmane.” L’Afrique Littéraire et Artistique 49: 116–26.Google Scholar
Jameson, Fredric. 1991. Postmodernism, Or, The Cultural Logic of Late Capitalism. Durham, N.C.: Duke University Press.Google Scholar
Larkin, Brian. 2004. “Degraded Images, Distorted Sounds: Nigerian Video and the Infrastructure of Piracy.” Public Culture 16 (2): 289–314.CrossRefGoogle Scholar
Larkin, Brian. 2008. Signal and Noise: Media, Infrastructure, and Urban Culture in Nigeria. Durham, N.C.: Duke University Press.Google Scholar
Mudimbe, V. Y. 1988. The Invention of Africa. Bloomington: Indiana University Press.Google Scholar
Spivak, Gayatri. 1999. A Critique of Postcolonial Reason. Cambridge, Mass.: Harvard University Press.CrossRefGoogle Scholar
Stam, Robert. 1998. “Hybridity and the Aesthetics of Garbage: The Case of Brazilian Cinema.” Estudios Interdisciplinarios de América Latina y el Caribe 9 (1). www1.tau.ac.il.Google Scholar
Ukadike, Nwachukwu Frank. 1994. Black African Cinema. Berkeley: University of California Press.CrossRefGoogle Scholar
Waters, John. 1988. Trash Trio: Three Screenplays: Pink Flamingos, Desperate Living, Flamingos Forever. New York: Vintage.Google Scholar