“This is a book to be cherished, applauded, and honored by the cinema community. Valérie Orlando immersed herself in the cinema of Morocco to write this book, and her commitment to the material, and to the filmmakers themselves, is apparent on every page.”
Wheeler Winston Dixon, author of A Short History of Film
Since 1999 and the death of King Hassan II, Morocco has experienced a
dramatic social transformation. Encouraged by the more openly democratic
climate fostered by young King Mohammed VI, filmmakers have begun
to explore the sociocultural and political debates of their country while
also seeking to document the untold stories of a dark past.
Screening Morocco: Contemporary Film in a Changing
Society focuses on Moroccan films produced and distributed
from 1999 to the present.
Moroccan cinema serves as an all-inclusive medium that provides a sounding board for a society that is remaking itself. Male and female directors present the face of an engaged, multiethnic and multilingual society. Their cinematography promotes a country that is dynamic and connected to the global sociocultural economy of the twenty-first century. At the same time, they seek to represent the closed, obscure past of a nation’s history that has rarely been told, drawing on themes such as human rights abuse, the former incarceration of thousands during the Lead Years, women’s emancipation, poverty, and claims for social justice.
Screening Morocco will introduce American readers to the richness in theme and scope of the cinematic production of Morocco.
Valérie K. Orlando is professor of French and Francophone Literatures in the Department of French and Italian at the University of Maryland, CollegeP ark. More info →
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Viewing African Cinema in the Twenty-first Century
Art Films and the Nollywood Video Revolution
Edited by Mahir Şaul and Ralph A. Austen
African cinema in the 1960s originated mainly from Francophone countries. It resembled the art cinema of contemporary Europe and relied on support from the French film industry and the French state. But since the early 1990s, a new phenomenon has come to dominate the African cinema world: mass-marketed films shot on less expensive video cameras. These “Nollywood” films, so named because many originate in southern Nigeria, are a thriving industry dominating the world of African cinema.
Black and White in Colour: African History on Screen considers how the African past has been represented in a wide range of historical films. Written by a team of eminent international scholars, the volume provides extensive coverage of both place and time and deals with major issues in the written history of Africa. Themes include the slave trade, imperialism and colonialism, racism, and anticolonial resistance.
Every European power in Africa made motion pictures for its subjects, but no state invested as heavily in these films, and expected as much from them, as the British colony of Southern Rhodesia. Flickering Shadows is the first book to explore this little-known world of colonial cinema.
Nigerian video films—dramatic features shot on video and sold as cassettes—are being produced at the rate of nearly one a day, making them the major contemporary art form in Nigeria. The history of African film offers no precedent for such a huge, popularly based industry. The contributors to this volume, who include film and television directors, an anthropologist, and scholars of film studies and literature, take a variety of approaches to this flourishing popular art.