Postcolonial African cinema : from political engagement to postmodernism /

This book displays a new Gnosticism in film studies--only the initiated should read this text; it is for them only. Harrow (English, Michigan State Univ.) constructs a wall between unenlightened readers and an ostensible subject, conveyed by the title. In a preface, he identifies "sacred cows" he wishes to "shake to pieces": the assumption that "African film represents African society, African people, African culture"; the notion that "African film should be a site for truth"; the truism that "African film is African." The author dismisses these views with "a space-clearing gesture." However, nothing emerges but jargon, postures, attitudes, and alternative assumptions, readily identifiable as postmodern deconstructionism. Denying the truth, rationality, authenticity, relevance, and/or interest of most previous views, Harrow offers neither evidence nor logical argument that his own position is true, reasonable, authentic, relevant, or interesting. Actually, the book displays the exact opposite. If all truth claims should be cleared away, and a text is only its surface, which does not "mean" anything, why would anyone write a book purporting to tell the truth at last and finally interpret what it means? Summing Up: Not recommended. R. D. Sears Berea College