The inherent social, political, economic, and cultural contradictions of postcolonial Africa have prompted some filmmakers to escape the everyday and find a new starting point for their work. From the beginning of the 1970s too, a number of filmmakers argued that new formal structures, owing far less to the conventions of mainstream Western cinema, were needed if African cinemas were to reflect the reality of postcolonial rule from a truly African perspective. Over the past forty years, there has been a constant, dominant stream of socially realist films which accept identity as a given and are based on a sense of common historical experiences and shared cultural codes. Alternative or experimental films which call into question that approach have been sporadic, though none the less valuable for that. Most often these have been isolated, individual works within the overall output of a filmmaker who has earlier worked in, or subsequently reverts to, the realist mainstream.
Edinburgh Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.
If you think you should have access to this title, please contact your librarian.
To troubleshoot, please check our FAQs, and if you can't find the answer there, please contact us.