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- Title
Towards Reframing FESPACO.
- Authors
Bakari, Imruh
- Abstract
Grounding with the Pioneers As is widely recorded, over fifty years ago, an African cinema presence emerged through the work of a number of individuals, of whom, Paulin Soumanou Vieyra, Ousmane Sembène, Tahar Cheriaa, Lionel Ngakane, and Med Hondo, are among the most widely known.[41] Their work encompassed not only making films, but the establishment of FEPACI, the Pan-African Federation of Filmmakers, an organization of filmmakers; and FESPACO, the international festival of African cinema in Ouagadougou. While these filmmakers would claim as their principal focus, the work of making films, this unavoidably involved a confrontation with established codes, conventions, and ideas about cinema, and importantly, the representation of Africa and Africans in cinema. I The Algiers Charter on African Cinema i comes in the wake of the transformative emergence in world cinema of filmmakers and theorists from the "Third World."[62] Here can be found the new national cinema of India, with its constituent popular and auteur tendencies. The impact of this presence was part of the conflict that came to a crescendo in 2013, "when several films selected for the official competition were suddenly disqualified because the organizing committee discovered they were not on 35mm celluloid film."[76] Hence, the question of the festival's inability to change "its rules" in response to filmmakers' needs and a transformed cultural reality, created a climate of exclusion.
- Subjects
CONSCIENCE; CULTURAL identity; AFRICAN American actors; BLACK Lives Matter movement
- Publication
Black Camera: The New Series, 2020, Vol 12, Issue 1, p289
- ISSN
1536-3155
- Publication type
Article
- DOI
10.2979/blackcamera.12.1.26