"Filmmakers in sub-Saharan Francophone Africa have been using cinema since independence in the Sixties to challenge existing Western stereotypes of the continent. The author shows how directors working in a postcolonial context that has inevitably influence film agendas and styles have produced a range of alternative, challenging representations"--Page 4 of cover.

Filmmakers in sub-Saharan francophone Africa have been using cinema since independence in the 1960s to challenge Western stereotypes. This text shows how directors have produced alternatives, focusing on issues of memory and history.

The Perfect Shot: Mini Edition for Africa II has been completely revised and expanded! This handy pocket-size guide has been a perennial customer favorite ever since it was first published in 2003. Take this mini reference afield as you hunt elephant, buffalo, hippopotamus, rhinoceros, lion, leopard, Nile crocodile, spotted hyena, giraffe, eland, greater kudu, zebra, sable, roan, waterbuck, blue wildebeest, bongo, oryx/gemsbok, hartebeest, black wildebeest, nyala, reedbuck, blesbok/bontebok, impala, bushbuck, springbok, warthog, duiker, klipspringer, steenbok, and grysbok. As in the big book, the mini edition features animal tracks as well as ghost views of vital areas and point of aim for each animal. A brief essay on natural history, trophy assessment, and subspecies is included. In addition, the updated tables in the back list the minimum requirements for inclusion in the Rowland Ward and SCI record books. While nothing can replace the "big" book, this is a super handy item to throw in your backpack or place in your pocket for your next safari. Don't forget to stick a mini guide in your pocket when afield so you'll know just where to place that "perfect shot"! This expanded and updated version is now 160 pages in length-32 more pages than the original Mini Perfect Shot.

In Out of Africa, author Isak Dinesen takes a wistful and nostalgic look back on her years living in Africa on a Kenyan coffee plantation. Recalling the lives of friends and neighbours—both African and European—Dinesen provides a first-hand perspective of colonial Africa. Through her obvious love of both the landscape and her time in Africa, Dinesen’s meditative writing style deeply reflects the themes of loss as her plantation fails and she returns to Europe. HarperTorch brings great works of non-fiction and the dramatic arts to life in digital format, upholding the highest standards in ebook production and celebrating reading in all its forms. Look for more titles in the HarperTorch collection to build your digital library.

In recent decades historians and film scholars have intensified their study of colonial cinema in Africa. Yet the vastness of the continent, the number of European powers involved and irregular record keeping has made uncovering the connections between imagery, imperialism and indigenous peoples difficult. This volume takes up the challenge, tracing production and exhibition patterns to show how motion pictures were introduced on the continent during the "Scramble for Africa" and the subsequent era of consolidation. The author describes how early actualities, expeditionary footage, ethnographic documentaries and missionary films were made in the African interior and examines the rise of mass black spectatorship. While Africans in the first two decades of the 20th century were sidelined as cinema consumers because of colonial restrictions, social and political changes in the subsequent interwar period--wrought by large-scale mining in southern Africa--led to a rethinking of colonial film policy by missionaries, mining concerns and colonial officials. By World War II, cinema had come to black Africa.

Women in African Cinema: Beyond the Body Politic showcases the very prolific but often marginalised presence of women in African cinema, both on the screen and behind the camera. This book provides the first in-depth and sustained examination of women in African cinema. Films by women from different geographical regions are discussed in case studies that are framed by feminist theoretical and historical themes, and seen through an anti-colonial, philosophical, political and socio-cultural cinematic lens. A historical and theoretical introduction provides the context for thematic chapters exploring topics ranging from female identities, female friendships, women in revolutionary cinema, motherhood and daughterhood, women’s bodies, sexuality, and spirituality. Each chapter serves up a theoretical-historical discussion of the chosen theme, followed by two in-depth case studies that provide contextual and transnational readings of the films as well as outlining production, distribution and exhibition contexts. This book contributes to the feminist anti-racist revision of the canon by placing African women filmmakers squarely at the centre of African film culture. Demonstrating the depth and diversity of the feminine or female aesthetic in African cinema, this book will be of great interest to students and scholars of African cinema, media studies and African studies.

Analyzing a range of South African and West African films inspired by African and non-African literature, Lindiwe Dovey identifies a specific trend in contemporary African filmmaking-one in which filmmakers are using the embodied audiovisual medium of film to offer a critique of physical and psychological violence. Against a detailed history of the medium's savage introduction and exploitation by colonial powers in two very different African contexts, Dovey examines the complex ways in which African filmmakers are preserving, mediating, and critiquing their own cultures while seeking a united vision of the future. More than merely representing socio-cultural realities in Africa, these films engage with issues of colonialism and postcolonialism, "updating" both the history and the literature they adapt to address contemporary audiences in Africa and elsewhere. Through this deliberate and radical re-historicization of texts and realities, Dovey argues that African filmmakers have developed a method of filmmaking that is altogether distinct from European and American forms of adaptation.