“Invaluable for teachers of African history courses who want to make use of film.... There is something here to make everybody think and see more clearly.”
Terence Ranger, International History Review
“For those who wish to use film in their classes on the continent, Black and White in Colour is close to required reading. Some of the topics that are touched upon as the contributors cover the continent from Algeria to South Africa include representations of colonialism, sexualities, settler societies, memory, resistance, independence, genocide, and the southern African experience of the Truth and Reconciliation Commission. [T]his is a wonderful volume and deserves to be used, not only read.”
Misty L. Bastian, African Studies Review
“A most informative study, covering a wide spectrum of filmmakers and histories, and poised to remain the most comprehensive work on the subject for a long time. The book is extremely valuable for graduate interdisciplinary courses and those teaching history, African history, film and history, film studies, media studies, anthropology, women’s and gender studies, critical theory, and the impact of globalization, race, class and ethnicity in Africa.”
The International Journal of African Historical Studies
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. Many of the films will be familiar to readers: they include Out of Africa, Hotel Rwanda, Breaker Morant, Cry Freedom, The Battle of Algiers, and Chocolat.
This collection of essays is a highly original and useful contribution to African historiography, as well as a significant addition to the growing body of work within the emerging subdiscipline of “film and history.” It will appeal to those interested in African history and the ways in which films use the past to raise questions about the present.
Contributors: Mahir Saul, Ralph A. Austen, Robert Baum, Robert Harms, Nigel Worden, Carolyn Hamilton and Litheko Modisane, Richard Mendelsohn, Shamil Jeppie, Bill Nasson, Nigel Penn, Ruth Watson, Patrick Harries, David Moore, Teresa Barnes, Vivian Bickford-Smith, Mohamed Adhikari, and David Philips.
Vivian Bickford-Smith is a professor in the Department of Historical Studies at the University of Cape Town. He is the author of Ethnic Pride and Racial Prejudice in Victorian Cape Town.
Richard Mendelsohn is the head of the Department of Historical Studies at the University of Cape Town. He has published extensively on South African Jewish history, and together with Vivian Bickford-Smith, has pioneered teaching and research in film and history.
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The concept of Colouredness—being neither white nor black—has been pivotal to the brand of racial thinking particular to South African society. The nature of Coloured identity and its heritage of oppression has always been a matter of intense political and ideological contestation. Not White Enough, Not Black Enough: Racial Identity in the South African Coloured Community is the first systematic study of Coloured identity, its history, and its relevance to South African national life.
The history of the Islamic faith on the continent of Africa spans fourteen centuries. For the first time in a single volume, The History of Islam in Africa presents a detailed historic mapping of the cultural, political, geographic, and religious past of this significant presence on a continent-wide scale. Bringing together two dozen leading scholars, this comprehensive work treats the historical development of the religion in each major region and examines its effects.
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.
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.