{"id":117,"date":"2010-08-09T18:29:18","date_gmt":"2010-08-09T16:29:18","guid":{"rendered":"http:\/\/filmfestivalresearch.wordpress.com\/"},"modified":"2025-05-16T16:35:16","modified_gmt":"2025-05-16T14:35:16","slug":"6-3-africa","status":"publish","type":"page","link":"http:\/\/www.filmfestivalresearch.org\/index.php\/ffrn-bibliography\/6-transnational-cinemas\/6-3-africa\/","title":{"rendered":"6.3 Africa"},"content":{"rendered":"

This section assembles articles focusing on African cinema and African film festivals and their place within the international film festival circuit. The publications here focus on the two oldest film festivals on the African continent: Les Journ\u00e9es Cin\u00e9matographiques de Carthage (JCC) \/ Carthage Film Festival<\/em> and Festival Panafricain du Cin\u00e9ma et de la T\u00e9l\u00e9vision de Ouagadougou (FESPACO)<\/em>. These two festivals, both taking place biannually in alternating years, have showcased and promoted African film regionally and internationally. This seemingly positive outcome, however, also has a drawback for the African film market which lacks an infrastructure, argues Manthia Diawara (1993). With the raised profile of African cinema, the marketing of these films became the dominant purpose of the larger (i.e. mostly Western) festival system. With better connections to established (Western) film markets, festivals for or (among others) featuring African film in Europe or North America become more important for filmmakers, as an infrastructure of film production and distribution has failed to establish itself at home in Africa. This, in turn, leaves the former spokes-festivals for African film, Carthage and Ouagadougou, in the dilemma of not being able to feature prestigious new African productions (Diawara 1993, 1994; Ruoff 2008; cf. Turan 2002: chapter on FESPACO, pp.\u00a065-80, section 1<\/a>).<\/span><\/p>\n

\u00a0<\/span><\/p>\n

\u201cDossier: Cin\u00e9ma Africain Et Festival \/ African Cinema and Festivals.\u201d 1994. [bilingual]. Ecrans d\u2019Afrique<\/i>, no. 7: 47\u201357.<\/p>\n

\u201cDossier: Le Cin\u00e9ma Africain Et Les Festivals (2) \/ African Cinema and Festivals (2).\u201d 1994. [bilingual]. Ecrans d\u2019Afrique<\/i>, no. 8: 47\u201360.<\/p>\n

Aveh, M. Africanus. 2020. \u201cFESPACO: Promoting African Film Development and Scholarship.\u201d Black Camera: The New Series<\/i> 12 (1): 117\u201328. https:\/\/doi.org\/10.2979\/blackcamera.12.1.09.<\/p>\n

Aveh, M. Africanus. 2020. \u201cFESPACO: Promoting African Film Development and Scholarship.\u201d Journal of Film & Video<\/i> 72 (1-2): 58\u201366. https:\/\/doi.org\/10.5406\/jfilmvideo.72.1-2.0058.<\/p>\n

B\u00e2, Sa\u00ebr Maty. 2010. \u201cAffective Power\/Formal Knowledge: Diaspora, African Cinema, and the Film Festivals Outside Africa.\u201d Film International<\/i> 8 (5 (#47)): 54\u201369.<\/p>\n

Bachmann, Gideon. 1973. \u201cIn Search of Self-Definition: Arab and African Films at the Carthage Film Festival (Tunis).\u201d Film Quarterly<\/i> 26 (3): 48\u201351.<\/p>\n

Bangr\u00e9, Sambolgo. 1994. \u201cLe Cin\u00e9ma Africain dans la Temp\u00eate des Petits Festivals | African Cinema in the Tempest of Minor Festivals.\u201d Ecrans d\u2019Afrique <\/i>(7): 50\u201358.<\/p>\n

Bangr\u00e9, Sambolgo. 2020. \u201cAfrican Cinema in the Tempest of Minor Festivals.\u201d Black Camera: The New Series<\/i> 12 (1): 90\u201394. https:\/\/doi.org\/10.2979\/blackcamera.12.1.06.<\/p>\n

Bao, Hongwei. 2025. \u201cThe Queer Global South: Transnational Video Activism Between China and Africa.\u201d In Entanglements and Ambivalences: Africa and China Encounters in Media and Culture<\/i>, edited by Hongwei Bao and Daniel H. Mutibwa, 235\u201360. Transdisciplinary Souths. London: Routledge.<\/p>\n

Barlet, Olivier. 2010. \u201cFESPACO 2009: Concern.\u201d Black Camera<\/i> 2 (1): 106\u201318. https:\/\/doi.org\/10.1353\/blc.2010.0000.<\/p>\n

Barlet, Olivier. 2011. \u201cFESPACO 2011: A Festival Under Threat.\u201d Black Camera<\/i> 3 (1): 123\u201333. https:\/\/doi.org\/10.1353\/blc.2011.0020.<\/p>\n

Barlet, Olivier. 2011. \u201c’the Way to Help Us Is to Give Us Our Funding on Time!’: An Interview with Michel Ouedraogo, Delegate General of FESPACO.\u201d Black Camera<\/i> 3 (1): 141\u201345. https:\/\/doi.org\/10.1353\/blc.2011.0033.<\/p>\n

Barlet, Olivier. 2011. \u201c’This Is the Last FESPACO I’ll Be Coming to’: An Interview with Mahamat-Saleh Haroun.\u201d Black Camera<\/i> 3 (1): 134\u201340. https:\/\/doi.org\/10.1353\/blc.2011.0030.<\/p>\n

Bikales, Thomas J. 1997. \u201cFrom ‘Culture’ to ‘Commercialization’: The Production and Packaging of an African Cinema in Ougadougou, Burkina Faso.\u201d PhD Thesis, Department of Anthropology, New York University.<\/p>\n

Bisschoff, Lizelle. 2009. \u201cSub-Saharan African Cinema in the Context of FESPACO: Close-Ups on Francophone West Africa and Anglophone South Africa.\u201d Forum for Modern Language Studies<\/i> 45 (4): 441\u201354.<\/p>\n

Bisschoff, Lizelle, and Isabel Moura Mendes. 2012. \u201cAfrica in Motion (AiM) Film Festival 2011: Children and Youth in Africa.\u201d Journal of African Cultural Studies<\/i> 24 (1): 107\u201312.<\/p>\n

Bonetti, Mahen. 2012. \u201cProgramming African Cinema at the New York African Film Festival.\u201d In Coming Soon to a Festival Near You: Programming Film Festivals<\/i>, edited by Jeffrey Ruoff, 189\u2013200. St. Andrews: St Andrews Film Books.<\/p>\n

Caill\u00e9, Patricia. 2010. \u201cA Tunisian Film Festival in Paris: Issues in Reception at the Intersection of French and Anglo-American Approaches to Cultural Analysis of the Diasporas.\u201d French Cultural Studies<\/i> 21 (2): 85\u201396. https:\/\/doi.org\/10.1177\/0957155810361807.<\/p>\n

Caill\u00e9, Patricia. 2014. \u201cFifak 2013: Expressions sexu\u00e9es, genr\u00e9es et g\u00e9n\u00e9rationnelles d\u2019une passion du cin\u00e9ma en Tunisie.\u201d Diog\u00e8ne<\/i> 245 (1): 104\u201324. https:\/\/doi.org\/10.3917\/dio.245.0104.<\/p>\n

Cham, Mbye. 2020. \u201cAfrican Cinema: Between the ‘Old’ and the ‘New’.\u201d Black Camera: The New Series<\/i> 12 (1): 133\u201339. https:\/\/doi.org\/10.2979\/blackcamera.12.1.11.<\/p>\n

Cr\u00e9mieux, Anne. 2013. \u201cMassimadi, festival des films LGBT de l’Afrique et de ses diasporas: Entretien d’Anne Cr\u00e9mieux avec l’\u00e9quipe de Massimadi.\u201d In \u201cHomosexualit\u00e9s en Afrique.\u201d edited by Anne Cr\u00e9mieux. Special issue, Africultures. (<\/i>96): 146\u201355. [Massimadi, festival of LGBT films from Africa and its diasporas: Interview of Anne Cr\u00e9mieux with the Massimadi team].<\/p>\n

Diawara, Manthia. 1993. \u201cNew York and Ouagadougou: The Homes of African Cinema.\u201d Sight & Sound<\/i> 3 (11): 24\u201326.<\/p>\n

Diawara, Manthia. 2010. \u201cOuagadougou.\u201d In African Film: New Forms of Aesthetics and Politics<\/i>, 18\u201370. M\u00fcnchen: Prestel.<\/p>\n

Diawara, Manthia. 2020. \u201cAfrican Cinema and Festivals: FESPACO.\u201d (1992). Black Camera: The New Series<\/i> 12 (1): 107\u201316. https:\/\/doi.org\/10.2979\/blackcamera.12.1.08.<\/p>\n

Diawara, Manthia. 2020. \u201cOn Tracking World Cinema: African Cinema at Film Festivals.\u201d (1994). Black Camera: The New Series<\/i> 12 (1): 48\u201358. https:\/\/doi.org\/10.2979\/blackcamera.12.1.04.<\/p>\n

Dovey, Lindiwe. 2010. \u201cDirectors\u2019 Cut: In Defence of African Film Festivals outside Africa.\u201d In Film Festival Yearbook 2: Film Festivals and Imagined Communities<\/i>, edited by Dina Iordanova and Ruby Cheung, 45\u201373. St. Andrews: St Andrews Film Studies.<\/p>\n

Dovey, Lindiwe. 2010. \u201cTable 1: African Film Festivals.\u201d In Film Festival Yearbook 2: Film Festivals and Imagined Communities<\/i>, edited by Dina Iordanova and Ruby Cheung, 266\u201367. St. Andrews: St Andrews Film Studies.<\/p>\n

Dovey, Lindiwe. 2015. Curating Africa in the Age of Film Festivals: Film Festivals, Time, Resistance. <\/i>Framing Film Festivals. London, New York: Palgrave Macmillan.<\/p>\n

Dovey, Lindiwe. 2015. \u201cThrough the Eye of a Film Festival: Toward a Curatorial and Spectator-Centered Approach to the Study of African Screen Media.\u201d Cinema Journal<\/i> 54 (2): 126\u201332. https:\/\/doi.org\/10.1353\/cj.2015.0005.<\/p>\n

Dovey, Lindiwe. 2020. \u201cAfrican Film Festivals in Africa: Curating “African Audiences” for “African Films”.\u201d Black Camera: The New Series<\/i> 12 (1): 13\u201347. https:\/\/doi.org\/10.2979\/blackcamera.12.1.03.<\/p>\n

Dovey, Lindiwe. 2020. \u201cPrecarity and Resistance: An Interview with Pedro Pimenta, Founder-Director of Dockanema Documentary Film Festival (Mozambique).\u201d In Documentary Film Festivals Vol. 2: Changes, Challenges, Professional Perspectives<\/i>, edited by Aida Vallejo and Ezra Winton, 147\u201356. New York: Palgrave Macmillan.<\/p>\n

Dovey, Lindiwe, and Federico Olivieri. 2015. \u201cFestivals and the Politics of Space and Mobility: The Tarifa\/Cordoba African Film Festival (FCAT) As Nomadic Heterotopia.\u201d Screen<\/i> 56 (1): 142\u201348. https:\/\/doi.org\/10.1093\/screen\/hjv005.<\/p>\n

Dovey, Lindiwe, and Estrella Sendra. 2023. \u201cToward Decolonized Film Festival Worlds.\u201d In Rethinking Film Festivals in the Pandemic Era and After<\/i>, edited by Marijke de Valck and Antoine Damiens, 269\u201389. Cham: Palgrave Macmillan.<\/p>\n

Dramani-Issifou, Farah Cl\u00e9mentine. 2023. \u201cCurating as Care: La Semaine De La Critique and the Marrakech International Film Festival in the Age of Covid-19.\u201d In Rethinking Film Festivals in the Pandemic Era and After<\/i>, edited by Marijke de Valck and Antoine Damiens, 255\u201366. Cham: Palgrave Macmillan.<\/p>\n

English, James F. 2009. \u201cFestivals and the Geography of Culture: African Cinema on and Off the Circuit.\u201d Workshop on Public Culture and Festivals, Vienna, Austria, February 2009.<\/p>\n

Feal S\u00e1nchez, Laura. 2025. \u201cDocumenting the Territory in Saint-Louis (Senegal): An Interview with Mamadou Sellou Diallo.\u201d Alphaville<\/i>, no. 28: 34\u201347. https:\/\/doi.org\/10.33178\/alpha.28.02.<\/p>\n

Frassinelli, Pier Paolo. 2025. \u201cFESPACO @ Fifty: Forms, Formats, Platforms, and African Screen Media.\u201d In Contemporary African Screen Worlds<\/i>, edited by Lindiwe Dovey, A\u00f1ulika Agina, and Michael W. Thomas, 257\u201366. Durham, NC: Duke University Press.<\/p>\n

Johnson, Rachel. 2025. \u201cDecolonising Through Co-Curation? Women Creators of the Future<\/i>, Festival Films Femmes Afrique and Leeds International Film Festival.\u201d Alphaville<\/i>, no. 28: 11\u201333. https:\/\/doi.org\/10.33178\/alpha.28.01.<\/p>\n

Kanyinda, Balufu Bakuba. 1994. \u201cLes Cin\u00e9astes Jugent les Festivals \/ Filmmakers Judge the Festivals.\u201d Ecrans d\u2019Afrique <\/i>(8): 48.<\/p>\n

Lora Krstulovic, Rosa Claudia, Bianca Salles Pires, Ana Isabel Le\u00f3n Fern\u00e1ndez, Ana Rosa Marques, and Estrella Sendra. 2025. \u201cThe Muestra De Cine Afrodescendencias in Costa Chica: Intersections of Afrodescendance and Decoloniality in Curatorial Practice.\u201d Alphaville<\/i>, no. 28: 71\u201390. https:\/\/doi.org\/10.33178\/alpha.28.05.<\/p>\n

Mansouri, Hassouna. 2020. \u201cNotes on Disenchantment: A Conversation with Amir Al-Emary, Former Director of the Ismailia International Film Festival for Documentaries and Shorts (Egypt).\u201d In Documentary Film Festivals Vol. 2: Changes, Challenges, Professional Perspectives<\/i>, edited by Aida Vallejo and Ezra Winton, 157\u201365. New York: Palgrave Macmillan.<\/p>\n

McCain, Carmen. 2011. \u201cFESPACO in a Time of Nollywood: The Politics of the ‘Video’ Film at Africa’s Oldest Festival.\u201d Journal of African Media Studies<\/i> 3 (2): 241\u201361.<\/p>\n

McNamara, Joshua. 2013. \u201cThoughts on a Curation of \u2018The Political\u2019 in Film: The \u2018Filming Tomorrow\u2019 Seminar at Film Africa 2012.\u201d Journal of African Cultural Studies<\/i> 25 (1): 128\u201332. https:\/\/doi.org\/10.1080\/13696815.2013.766587.<\/p>\n

Mhando, Martin R., and Laurian Kipeja. 2010. \u201cCreative\/Cultural Industries Financing in Africa: A Tanzanian Film Value Chain Study.\u201d Journal of African Cinemas<\/i> 2 (1): 3\u201325. https:\/\/doi.org\/10.1386\/jac.2.1.3_1.<\/p>\n

Murphy, David. 2013. \u201cLost and Found: Screening the \u2018Lost Classics\u2019 of African Cinema at the Africa in Motion Film Festival.\u201d In Film Festival Yearbook 5: Archival Film Festivals<\/i>, edited by Alex Marlow-Mann, 177\u201388. St Andrews: St Andrews Film Books.<\/p>\n

Oliveira, Janaina Perreira de. 2016. \u201cDescolonizando Telas: O FESPACO E Os Primeiros Tempos Do Cinema Africano.\u201d [Decolonising Screens: FESPACO and the Early Days of African Cinema]. ODEERE<\/i> 1 (1): 50-74. https:\/\/doi.org\/10.22481\/odeere.v0i1.1533.<\/p>\n

Olivieri, Federico. 2011. \u201cTarifa African Film Festival and the Re<\/i>-Representation of Africa.\u201d Quaderns de Cine<\/i> 7 (7): 79\u201391. https:\/\/doi.org\/10.14198\/QdCINE.2011.7.08.<\/p>\n

Olivieri, Federico. 2016. \u201cLa Interculturalidad a Trav\u00e9s De Los Cines De \u00c1frica: Textos, Pretextos Y Contextos Para Una Ciudadan\u00eda Global.\u201d [Interculturality in the Cinemas of Africa:\u00a0Texts, Pretexts and Contexts for a Global Citizenship]. Revista Internacional de Pensamiento Pol\u00edtico <\/i>(11): 285\u2013310.<\/p>\n

Olivieri, Federico, and Joshua Michael Wong. 2015. \u201cThe Slum Film Festival in Nairobi: Exploring Cinematic Representation from the Urban Margins.\u201d Journal of African Cinemas<\/i> 7 (2): 153\u201368. https:\/\/doi.org\/10.1386\/jac.7.2.153_1.<\/p>\n

Onwuliri, Edmund Chukwuma, and Barth Oshionebo. 2023. \u201cTowards the Development of a Sustainable Documentary Film Culture in Nigeria: A Study of IRepresent (IREP) Documentary Film Festival.\u201d Advanced Journal of Theatre and Film Studies (AJTFS)<\/i> 1 (2). https:\/\/doi.org\/10.57040\/ajtfs.v1i2.540.<\/p>\n

Pierre-Bouthier, Marie. 2024. \u201cDe fonds en festivals: rendre possibles d\u2019autres images documentaires du Maroc et de la Tunisie (depuis 2011).\u201d [Funds and festivals: Enabling other documentary images of Morocco and Tunisia (since 2011)]. In Films, festivals et mondes contemporains: Pour une anthropologie du visuel<\/i>, edited by Julie Amiot Guillouet, Pietsie Feenstra, and Julie Savelli, 127\u201352. Film cultures vol. 12. Lausanne: Peter Lang.<\/p>\n

Ruoff, Jeffrey. 2008. \u201cTen Nights in Tunisia: Le Journ\u00e9es Cin\u00e9matographiques de Carthage.\u201d Film International<\/i> 6 (4): 43\u201351.<\/p>\n

Sakboll\u00e9. 1994. \u201cUn Seul Slogan: Moins d’Amateurisme et Plus d\u2019Int\u00e9gration Festival-distribution! \/ A Single Slogan: Less Amateurism and a Greater Festival-distribution Integration.\u201d Ecrans d\u2019Afrique <\/i>(7): 48\u201349.<\/p>\n

Sanogo, Aboubakar. 2020. \u201cCine-Agora Africana: Meditating on the Fiftieth Anniversary of FESPACO.\u201d Black Camera: The New Series<\/i> 12 (1): 171\u201383. https:\/\/doi.org\/10.2979\/blackcamera.12.1.14.<\/p>\n

Santaolalla, Isabel, and Stefan Simanowitz. 2010. \u201cA Cinematic Refuge in the Desert: The Sahara International Film Festival.\u201d In Film Festival Yearbook 2: Film Festivals and Imagined Communities<\/i>, edited by Dina Iordanova and Ruby Cheung, 136\u201350. St. Andrews: St Andrews Film Studies.<\/p>\n

\u015eaul, Mahir. 2020. \u201cFESPACO and Cultural Valorization.\u201d Black Camera: The New Series<\/i> 12 (1): 129\u201332. https:\/\/doi.org\/10.2979\/blackcamera.12.1.10.<\/p>\n

Semb\u00e8ne, Ousmane. 2020. \u201cStatement at Ouagadougou (1979).\u201d Black Camera: The New Series<\/i> 12 (1): 141\u201356. https:\/\/doi.org\/10.2979\/blackcamera.12.1.12.<\/p>\n

Sendra, Estrella. 2025. \u201cTigritudes<\/i>: A Subjective Anthology of Pan-African Cinema to Decolonise the Gaze: An Interview with Dyana Gaye.\u201d Alphaville<\/i>, no. 28: 48\u201355. https:\/\/doi.org\/10.33178\/alpha.28.03.<\/p>\n

Simanowitz, Stefan, and Isabel Santaolalla. 2012. \u201cA Cinematic Refuge in the Desert: Festival Internacional de Cine del Sahara.\u201d In Film Festival Yearbook 4: Film Festivals and Activism<\/i>, edited by Dina Iordanova and Leshu Torchin, 121\u201332. St Andrews: St Andrews Film Studies.<\/p>\n

Slavkovic, Milica. 2015. \u201cFilmmaking in East Africa: Focus on Kenya, Tanzania, and Uganda.\u201d In Small Cinemas in Global Markets: Genres, Identities, Narratives<\/i>, edited by Lenuta Giukin, Janina Flakowska, and David Desser, 189\u2013214. London: Lexington Books.<\/p>\n

Slocum, David. 2003. \u201cZanzibar International Film Festival 2003.\u201d Senses of Cinema <\/i>(28). http:\/\/sensesofcinema.com\/2003\/festival-reports\/zanzibar\/. Accessed May 22, 2020.<\/p>\n

Slocum, David. 2009. \u201cFilm And\/as Culture: The Use of Cultural Discourses at Two African Festivals.\u201d In Film\u00a0Festival Yearbook 1: The Festival Circuit<\/i>, edited by Dina Iordanova and Ragan Rhyne, 136\u201352. St. Andrews: St Andrews Film Studies.<\/p>\n

Turan, Kenneth. 2002. \u201cFESPACO.\u201d In Sundance to Sarajevo: Film Festivals and the World They Made<\/i>, 65\u201380. Berkeley, CA: University of California Press.<\/p>\n

Wenner, Dorothee. 2020. \u201cPostcolonial Film Collaboration and Festival Politics.\u201d Black Camera: The New Series<\/i> 12 (1): 95\u2013104. https:\/\/doi.org\/10.2979\/blackcamera.12.1.07.<\/p>\n

Xie, Heshen. 2025. \u201cAssembling the Queer Global South: Asian Pacific Queer Film Festival Alliance and Regional Collaboration.\u201d In Entanglements and Ambivalences: Africa and China Encounters in Media and Culture<\/i>, edited by Hongwei Bao and Daniel H. Mutibwa, 216\u201334. Transdisciplinary Souths. London: Routledge.<\/p>\n

 <\/p>\n

\"\"(Last updated: 16. May 2025)<\/span><\/p>\n\n\n

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This section assembles articles focusing on African cinema and African film festivals and their place within the international film festival circuit. The publications here focus on the two oldest film festivals on the African continent: Les Journ\u00e9es Cin\u00e9matographiques de Carthage … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":72,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-117","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"http:\/\/www.filmfestivalresearch.org\/index.php\/wp-json\/wp\/v2\/pages\/117","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/www.filmfestivalresearch.org\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/www.filmfestivalresearch.org\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/www.filmfestivalresearch.org\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.filmfestivalresearch.org\/index.php\/wp-json\/wp\/v2\/comments?post=117"}],"version-history":[{"count":33,"href":"http:\/\/www.filmfestivalresearch.org\/index.php\/wp-json\/wp\/v2\/pages\/117\/revisions"}],"predecessor-version":[{"id":3309,"href":"http:\/\/www.filmfestivalresearch.org\/index.php\/wp-json\/wp\/v2\/pages\/117\/revisions\/3309"}],"up":[{"embeddable":true,"href":"http:\/\/www.filmfestivalresearch.org\/index.php\/wp-json\/wp\/v2\/pages\/72"}],"wp:attachment":[{"href":"http:\/\/www.filmfestivalresearch.org\/index.php\/wp-json\/wp\/v2\/media?parent=117"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}