Symbolic Narratives / African Cinema: Audiences, Theory and the Moving Image [Paperback]

June Givanni (Author, Editor), Imruh Bakari (Author, Introduction), Edited by June Givanni (Author)

Book Description

ISBN-10: 0851708552 | ISBN-13: 978-0851708553 | Publication Date: January 22, 2008

In the conference Africa and the History of Cinematic Ideas held in London in 1995, film-makers, cultural theorists and critics gathered to debate a range of issues. This book covers the views exchanged on such topics as imperialism, and the problems of distribution.

Editorial Reviews

About the Author

June Givanni was Editor of the Black Film Bulletin until 1997 and is now a freelance film programmer and African Cinema consultant/advisor. Imruh Bakari lectures in Media, Film and Communication at King Alfred's College, Winchester, and is co-editor of African Experiences of Cinema.

Product Details

• Paperback: 244 pages
• Publisher: British Film Institute (January 22, 2008)
• Language: English
• ISBN-10: 0851708552
• ISBN-13: 978-0851708553
• Product Dimensions: 9.2 x 6.1 x 0.7 inches
• Shipping Weight: 1.1 pounds
• Average Customer Review: 4.0 out of 5 stars  See all reviews (1 customer review)
• Amazon Best Sellers Rank: #2,711,305 in Books (See Top 100 in Books)

Customer Reviews

Most Helpful Customer Reviews

4.0 out of 5 stars worse problems than most, February 24, 2008

By 

W Boudville (Terra, Sol 3) - See all my reviews
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This review is from: Symbolic Narratives / African Cinema: Audiences, Theory and the Moving Image (Paperback)

At one level, the directors and actors mentioned in this book face a familiar foe, encountered by all such persons outside Hollywood. How to maintain a distinctive local voice or perspective in films, without being subsumed by the megabudgets and global allure of Hollywood's productions. (As I write this, the Oscars are being broadcast live from Hollywood, and the results will soon appear worldwide.)

So the Africans of the book are not alone in their struggle. But arguably their problems are worse than most others. The budgets of the book's films are far less than those of Canadian or French productions, for example. In part, this reflects the limited purchasing power of the African audiences.

The book also delves into some of the specific nuances of the African countries. Like dealing with a colonial history, or the ethnic tensions in various regions.