LEADER 03124nam 22005175 450 001 9910792950503321 005 20230126215255.0 010 $a0-8135-7958-9 010 $a0-8135-7957-0 024 7 $a10.36019/9780813579580 035 $a(CKB)3710000001386937 035 $a(MiAaPQ)EBC4789872 035 $a(DE-B1597)526341 035 $a(OCoLC)987792468 035 $a(DE-B1597)9780813579580 035 $a(EXLCZ)993710000001386937 100 $a20190904d2017 fg 101 0 $aeng 135 $aurcnu|||||||| 181 $2rdacontent 182 $2rdamedia 183 $2rdacarrier 200 10$aNew African Cinema /$fValérie K. Orlando 210 1$aNew Brunswick, NJ : $cRutgers University Press, $d[2017] 210 4$d©2017 215 $a1 online resource (188 pages) 225 0 $aQuick Takes: Movies and Popular Culture 311 $a0-8135-8995-9 320 $aIncludes bibliographical references and index. 327 $tFrontmatter -- $tCONTENTS -- $tAuthor's Note -- $tIntroduction -- $t1. From Revolution to the Coming of Age of African Cinema, 1960s-1990s -- $t2. New Awakenings and New Realities of the Twenty-First Century in African Film -- $tConclusion: The Futures of African Film -- $tAcknowledgments -- $tNotes -- $tFurther Reading and Useful Websites -- $tWorks Cited -- $tSelected Filmography: Twenty-First-Century Films -- $tIndex -- $tABOUT THE AUTHOR 330 $aNew African Cinema examines the pressing social, cultural, economic, and historical issues explored by African filmmakers from the early post-colonial years into the new millennium. Offering an overview of the development of postcolonial African cinema since the 1960s, Valérie K. Orlando highlights the variations in content and themes that reflect the socio-cultural and political environments of filmmakers and the cultures they depict in their films. Orlando illuminates the diverse themes evident in the works of filmmakers such as Ousmane Sembčne's Ceddo (Senegal, 1977), Sarah Maldoror's Sambizanga (Angola, 1972), Assia Djebar's La Nouba des femmes de Mont Chenoua (The Circle of women of Mount Chenoua, Algeria, 1978), Zézé Gamboa's The Hero (Angola, 2004) and Abderrahmane Sissako's Timbuktu (Mauritania, 2014), among others. Orlando also considers the influence of major African film schools and their traditions, as well as European and American influences on the marketing and distribution of African film. For those familiar with the polemics of African film, or new to them, Orlando offers a cogent analytical approach that is engaging. 410 0$aQuick takes. 606 $aMotion pictures$zAfrica$xHistory 606 $aMotion pictures$xSocial aspects$zAfrica 606 $aTelevision programs$zAfrica 615 0$aMotion pictures$xHistory. 615 0$aMotion pictures$xSocial aspects 615 0$aTelevision programs 676 $a791.43096 700 $aOrlando$b Valérie K., $01237933 801 0$bDE-B1597 801 1$bDE-B1597 906 $aBOOK 912 $a9910792950503321 996 $aNew African Cinema$93751562 997 $aUNINA