Bakari, Ishaq Imruh and Mbye B. Cham. African Experiences of Cinema. London: BFI Publishing, 1996.

African Experiences of Cinema brings together important historical documents, contemporary testimonies and critical essays. Film makers, scholars and critics detail their responses to, and experiences of, the challenges of cinema across the African continent.

[Source: Google Books].

Austen, Ralph A., and Mahir Saul, eds. Viewing African Cinema in the Twenty-First Century: Art Films and the Nollywood Video Revolution. Athens, OH: Ohio University Press, 2010.

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. Beginning in 1969the biennial Festival panAfricain du cinéma et de la télévision de Ouagadougou(FESPACO), held in Burkina Faso, became the major showcase for these films. 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. Viewing African Cinema in the Twenty-first Century is the first book to bring together a set of essays offering a comparison of these two main African cinema modes.

[Source: Ohio University Press].

Piotrowska, Agnieszka. Black and White: Cinema, Politics and the Arts in Zimbabwe. London: Taylor and Francis, 2016. https://doi.org/10.4324/9781315745473.

In Black and White, Piotrowska presents a unique insight into the contemporary arts scene in Zimbabwe – an area that has received very limited coverage in research and the media. The book combines theory with literature, film, politics and culture and takes a psychosocial and psychoanalytic perspective to achieve a truly interdisciplinary analysis. Piotrowska focuses in particular on the Harare International Festival of the Arts (HIFA) as well as the cinema, featuring the work of Rumbi Katedza and Joe Njagu. Her personal experience of time spent in Harare, working in collaborative relationships with Zimbabwean artists and filmmakers, informs the book throughout. It features examples of their creative work on the ground and examines the impact it has had on the community and the local media. Piotrowska uses her experiences to analyse concepts of trauma and post-colonialism in Zimbabwe and interrogates her position as a stranger there, questioning patriarchal notions of belonging and authority. This book also presents a different perspective on convergences in the work of Doris Lessing and iconic Zimbabwean writer Dambudzo Marechera, and how it might be relevant to contemporary race relations.

[Source: Routledge].

Kahiu,Wanuri. “Fun, Fierce, and Fantastical African Art.” Filmed in April 2017 at TEDConference. Video, 05:03. https://www.ted.com/talks/wanuri_kahiu_fun_fierce_and_fantastical_african_art?language=en

Through her art, Kahiu asks where’s the fun? Introducing “AfroBubbleGum” - African art that’s vibrant, lighthearted and without a political agenda. Rethink the value of all that is unserious as Kahiue explains why we need art that captures the full range of human experiences to tell the stories out of Africa.

[Source: CN&CO].

Heller, Peter. “The Market with Traditional African Art.” Released in March 2019. Video, 52:00. https://www.youtube.com/watch?v=WNqTqDieCwg

The film takes us to a journey of discovery in museums and galleries, of the everyday objects and the cult ones, of the mysterious fetishes and masks - of the art of our neighboring continent. We follow artworks from Africa in fashionable galleries, in safes of the ethnography and anthropology museums and in private houses from passionate collectors. The art market turns often collectors into calculating speculators. New is transforming old art from Africa into financial investment. The market for traditional African art booms worldwide. Individual works reached millions at auctions. The film searches for traces from poor carvers in West Africa till in fashionable exhibitions from gallerists in Brussels and Paris. Finally, historical aware Africans accuse museum directors of looting art.

[Source: Video description].

Flam, Jack, and Biro, Yaëlle. “How, When, and Why African Art Came to New York: A Conversation.” Filmed in December 2017 at the Metropolitan Art Museum, New York, NY, USA. Video, 01:08:35. https://www.youtube.com/watch?v=wXPM6SqD_Mo

How, When, and Why African Art Came to New York: A conversation with Jack Flam, President and CEO, The Dedalus Foundation, and Distinguished Professor Emeritus of Art and Art History, Brooklyn College and The Graduate Center, The City University of New York.

[Source: Video description].