“Roles, influence and impacts of modes and distribution on the development of African cinema from 1997 to 2021: figures, figurations, places of exhibition and stakes of a merchant and liberating art “.
Call for papers
Cinema, as the manifestation of the supremacist European-thought, came up in Africa at the end of the 20th century and has for long time served the western civilising mission. The first films produced and directed by westerners, Africa was just a setting, an exotic and a-historical space where a fetishist inclination to naked bodys captured the visual and narrative perceptions of the authors. Then came the time of the first African film-makers: some reproduced the schemes of the old master (Oumarou Ganda) while others opted since the beginning for a people decolonisation and emancipation cinema (Sembene Ousmane).
Time has passed and gradually, African cinema started to step away from post-colonial dogmas and orientations without necessarily pursuing the path of a “primary”militancy, liberating creation somewhere, to arrive at a sort of explosion of genres, writings and models of which cinema 2.0 is perhaps only a stage. However, it should be pointed that this change was uneven and that is the reason why there is a big difference from a country to another or from a film maker to another one.
Through this evolution, each mode and distribution canal (theatres, video, TV, Netflix-Amazon, Festivals) have on its part played a capital role. Themes and types have been marked by these diffusion means. The public has sometimes taken power (time of the video), influencing in turn the production, influencing the development of the seventh art towards the liberation of peoples and expressions, above all, the liberation of film makers and all those who claim to be.
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