Wolf 2017 Symposium | African Film and Media
Wolf African Film and Media Symposium
The symposium aims to create a conversation that will help us both to think across the “and” of Cinema and Media Studies within one of the areas of the field that is often delimited by geography, and to think about how the field of Cinema and Media Studies could better integrate the current work and questions being done within African film and media scholarly arena into the core pedagogical and scholarly frameworks, including introductory and methods courses.
Tanja Bosch | University of Cape Town
Kay Dickinson | Concordia CA
The Labour of (Media) Revolution.
The Egyptian revolution of 2011 is famed for the contributions made to its cause through countless hours of uploaded protest footage. How do we square the media labour undertaken, precarious in the extreme – monetarily, institutionally and legally – with continent-wide liberalization and privatization policies coerced by the likes of the World Bank, IMF and USAID? As part of the large corpus of revolutionary expression produced for the uprisings, references to film and song from the period of postcolonial nationalization figure prominently (much though they were side-lined in Global Northern discourses that preferred to eulogize web 2.0 potential). What sorts of urgent dialectics were roused into action by the interplay between these two different media systems in a moment of struggle for political change?
Didier Gondola | Purdue
Tropical Cowboys: Westerns, Violence, and Masculinity in Kinshasa, Congo.
In the early 1950s, young people in Kinshasa, Belgian Congo, became infatuated with the figure of Buffalo Bill, with his feats and exploits, and with his flamboyant looks as images of the famed plainsman unreeled on the screens of their makeshift movie parlors. The man that Theodore Roosevelt so vaunted and rhapsodized as "the most renowned of those men, steel-thewed and iron nerved, whose daring opened the West to settlement and civilization" became the paragon of masculinity and the embodiment of manhood for many young people in Kinshasa. Buffalo Bill, or rather his romanticization through the lenses of Hollywood, enabled those young viewers to forge new standards of masculinity in a colonial environment that denied them manhood and, instead, essentialized the Congolese man as a "grand enfant" (big child) and, worse, as a macaque (monkey). Accordingly, they called themselves Bills and adopted the swagger, the scripts, and the silences of their eponymous hero. They formed gangs of Bills, infused their quest for masculinity with deeds of derring-do and esoteric street slang, and relied on martial arts, kintulu (bodybuilding), as well as on kamô (magical rituals) to get the upper hand in fights over monikers, turfs, and girls. Tropical Cowboys is not just a meditation on manhood, nor is it only a study of the tropicalization of the American West. It takes first and foremost a rather unorthodox view of popular cultures, exploring the grayish areas, those hard-to-reach places, the in-between zones where culture meets crime, dream meets drama, and resistance becomes a double-edge sword that liberates as much as it oppresses, and where young people walk a tightrope between making and breaking and construct manhood according to a pendulum process in which the male body is at once preserved and annihilated.
Tsitsi Ella Jaji | Duke
Brian Larkin | Barnard
The Melodramatic State: Political Aesthetics Spectatorship and Nollywood.
In this paper I examine how melodrama is central to the production of state form and new modes of sovereignty in Nigeria. I am interested in the emergence of a political aesthetics that draws upon core topics in film theory – melodrama and the emergence of forms of spectatorship – but at the same time shows how Nigerian film destabilizes core assumptions embedded in these theories.
Louis Massiah | Scribe Video Center
Lydie Moudileno | Penn
Onookome Okome | Alberta
What is Nollywood?
There is little doubt that the cinematic practices of Nollywood profoundly trouble the very notion of an African cinema. Before the emergence of this mode of popular filmmaking, African cinema was connected primarily to the “engaged” films made by filmmakers from the mainly French speaking area of West Africa and the films they make constitute the African film. All that changed with the emergence of the Nollywood, and the discursive practice is changing also but not fast enough to account for the popularity of Nollywood across the African continent. Clearly then, this popularity has not witnessed a corresponding critical engagement with the structure of the Nollywood industry or with the Nollywood film itself. Criticized at home for playing to the gallery and vilified for recreating the idea of “the noble savage elsewhere” reminiscent of the Tarzan films, Nollywood becomes a cinematic pariah of some sort among those who study and write about African cinema. The exceptions are few and far between in this regard. Lacking a clear and consistent framework with which to read Nollywood, and unwilling to invest time and rigor in the formulation of a theory towards reading the Nollywood film, film scholars and critics rely instead on the critical approach which compares the text of the Nollywood film to its “counterpart,” the African film from French speaking West Africa. This critical approach robs Nollywood of its unique place in the discursive ecology of African cinematic experience and minimizes the special qualities it has shown as an industry; qualities that trouble the discursive regime of all aspects of the African cinema. Quite often the question of “engagement” features as one the reasons why Nollywood lacks the cinematic bite. Can there be an African cinema that does not espouse the ideology and “principal characteristics of “third cinema” as Teshome H. Gabriel envisions it and how might we define such a cinema on its own terms? I plan to deal with this matter in this presentation.
Sosena Solomon | Penn
This symposium, free and open to the public, has been made possible thanks to the Dick Wolf Cinema and Media Studies Fund. It has been organized by Karen Redrobe, Elliot and Roslyn Jaffe Professor of History of Art and Cinema and Media Studies, with the assistance of Nicola M. Gentili.