Bibliographic Details

Postnationalist African cinemas / Alexie Tcheuyap.

Author / Creator Tcheuyap, Alexie.
Edition 1st ed.
Imprint Manchester ; New York : Manchester University Press : Distributed in the United States exclusively by Palgrave Macmillan, 2011.
Description xii, 269 p. : ill. ; 22 cm.
Language English
Subject Motion pictures -- Africa.
Nationalism -- Africa.
Nationalism in motion pictures.
Nationalism in motion pictures
Motion pictures.
Nationalism.
Africa.
Format Print, Book
URL for this record http://pi.lib.uchicago.edu/1001/cat/bib/8461059
ISBN 9780719083358
0719083354
9780719083365 (pbk.)
0719083362 (pbk.)
Notes Filmography: p. 255-258.
Includes bibliographical references (p. [240]-255) and index.
Summary Postnationalist African Cinemas convincingly interrogates the ways in which African narratives locate postcolonial identities and forms beyond essentially nationalist frameworks. It investigates how the emergence of new genres, discourses and representations, all unrelated to an overtly nationalist project, influences the formal choices made by contemporary directors. By foregrounding the narrative, generic, discursive, representational and aesthetic structures of films, this book shows how directors are beginning to regard film as a popular form of entertainment rather than political praxis. (Barnes & Noble)
Review by Choice Review

This is an interesting addition to the literature on African cinema. Tcheuyap (French and Francophone studies, Univ. of Toronto) focuses on new genres, innovations, and modes of representation and gives comedy, crime fiction tragedy, epics, and occult the high ground. The author's model is a hybrid cinematic style and also the cinema's "re-discovery of the ordinary." All well and good. The questionable side of Tcheuyap's analysis, however, is his iconoclastic, hostile critique of the pioneering gems of African cinema--nationalist initiatives that created the foundation of the pedestal on which the author places the new work. His rejection of liberationist aesthetics and criticism and his unqualified support for the cinematic harbingers of globalization and transnationalism play into the hands of neocolonial ideologues. His suggestion that the search for an African cinematic ontology symbolizes a form of "ghettoization" could be construed as hate speech. But though Tcheuyap makes scant reference to the world's second-largest film industry, Nollywood, his study is a must read for those searching for new classification schemes and taxonomies with respect to that cinematic giant, given his exploration of "polygeneric" cinematic configurations. This book is for knowledgeable, sophisticated readers. Summing Up: Recommended. With reservations. Upper-division undergraduates through faculty and professionals. G. Emeagwali Central Connecticut State University

Copyright American Library Association, used with permission.
Review by Choice Review