Colonialism and modern lives in African cinema
Bibliographic Data
| ID | 10494378 |
|---|---|
| Authors | Imruh Bakari (0000-0002-2124-3752, corresponding author) |
| Year | 2007 |
| Volume | 48 |
| Issue | 4 |
| Pages | 501-505 |
| Publication date | 2007-01-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Screen (JOURNAL) |
| Journal identifiers | ISSN: 0036-9543 • E-ISSN: 1460-2474 |
| Publisher | Oxford University Press (PUBLISHER • GB) |
| DOI | 10.1093/screen/hjm051 |
| OpenAlex | W2032113494 |
| Language | EN |
| Citations received | 5 |
Cinema arrived in Africa within two years of its first public display in Europe and thereafter this modern cultural activity developed a unique place in the twentieth‐century culture of the continent. Needless to say, the seminal role of cinema in Africa was defined within the context of colonial societies. It is well accepted that ‘Colonialism was about the seizing of place, draining it of its resources, its history and the meaning attributed by its primary occupants’.1 This was nothing less than a reordering and a restructuring that facilitated both dependency and underdevelopment. With due regard for variations in national tendencies, Edward Said argues that ‘[colonialism and imperialism] are supported and perhaps even impelled by impressive ideological formations that include notions that certain territories and people require and beseech domination, as well as forms of knowledge affiliated with domination’.2 As a result there exists the insidious racism and the cultures of dependency that have come to typify the global status quo
Aesthetics · Art · Art history · Colonialism · Context (archaeology · Ideology · Meaning (existential · Movie theater · Nothing · Political economy · Political science · Politics · Restructuring · Sociology · Status quo · White (mutation · African history and culture studies · Gender Studies · History · Law
| Citations per year | 0.28 |
|---|---|
| Citation span | 2008 - 2026 (19) |
| Highly cited | No |