Memory and/in the mirror: FESPACO, a platform for a global Africa? | Intellect Skip to content
1981
FESPACO@50 - Celebrating the 50th Anniversary of Africa’s Most Important Film Festival and Cultural Event
  • ISSN: 1754-9221
  • E-ISSN: 1754-923X

Abstract

The cinema as a medium and an art form has been a major consideration in Africa’s struggles against colonialism. These struggles, which encompass aspirations to establish Africa’s cultural and political autonomy in the postcolonial era, are ongoing. Marking the 26th edition of the Pan-African Festival of Cinema and Television (FESPACO) therefore was considered as an important opportunity for reflection. More so, the occasion was taken as a call to re-engage with the challenge of shaping and transforming ‘the Continent’s greatest cultural event’ for the future. The 2019 festival was launched around the colloquium theme: ‘Confronting our memory and shaping the future of a Pan-African cinema in its essence, economy and diversity’. This article begins with an account of the colloquium and reflects on the knowledge production dimension of the festival, which has been a core component of FESPACO’s identity and existence. It also seeks to situate the event of the 50th anniversary in a continuum of critical discussions about the festival, its past, present and future, and in relation to the seminal aspirations of African filmmakers for an African cinema, its challenges and opportunities.

Loading

Article metrics loading...

/content/journals/10.1386/jac_00062_1
2022-11-01
2024-02-25
Loading full text...

Full text loading...

References

  1. Abdel Salam, Shadi. ( 1970a), Al Fallah al Fasih (The Eloquent Peasant), Egypt:: Arab Egyptian Films;.
    [Google Scholar]
  2. Abdel Salam, Shadi. ( 1970b), Al-Momia (The Mummy/The Night of Counting the Years), Egypt:: General Egyptian Cinema Organisation and Merchant Ivory Productions;.
    [Google Scholar]
  3. Alassane, Moustapha. ( 1966), Le Retour d’un Aventurier (The Return of an Adventurer), Niger:: Moustapha Alassane, Argos Films and POM Films;.
    [Google Scholar]
  4. Armes, Roy. ( 2006), African Filmmaking North and South of the Sahara, Bloomington, IN:: Indiana University Press;.
    [Google Scholar]
  5. Bakare-Yusuf, Bibi. ( 2018;), ‘ Archive fever. ’, Dipsaus Podcast, 30 December, https://www.dipsaus.org/exclusives-posts/2018/12/29/ihbijoa397wfc7xsghodvlr2l6wlvn. Accessed 30 June 2019.
    [Google Scholar]
  6. Bakari, Imruh. ( 2000;), ‘ Introduction: African cinema and the emergent Africa. ’, in J. Givanni. (ed.), Symbolic Narratives/African Cinema: Audiences, Theory and the Moving Image, London:: Bloomsbury;, pp. 324.
    [Google Scholar]
  7. Bakari, Imruh. ( 2017;), ‘ The role and function of film festivals in Africa. ’, in W. Mano,, B. Knorpp, and A. Agina. (eds), African Film Cultures: Contexts of Creation and Circulation, Newcastle upon Tyne:: Cambridge Scholars Publishing;, pp. 188205.
    [Google Scholar]
  8. Bakari, Imruh. ( 2018;), ‘ African film in the 21st century: Some notes to a provocation. ’, Communication Cultures in Africa, 1:1, pp. 827, http://doi.org/10.21039/cca.8. Accessed 12 December 2018.
    [Google Scholar]
  9. Bakari, Imruh. ( 2020;), ‘ Towards reframing FESPACO. ’, Black Camera: An International Film Journal, 12:1, pp. 289300, https://doi.org/10.2979/blackcamera.12.1.26. Accessed 19 February 2021.
    [Google Scholar]
  10. Bakari, Imruh, and Cham, Mbye. (eds) ( 1996), African Experiences of Cinema, London:: BFI;.
    [Google Scholar]
  11. Bakupa-Kanyinda, Balufu. ( 1991), Dix mille ans du cinema (Ten Thousand Years of Cinema), Democratic Republic of Congo:: Scolopendra Productions;.
    [Google Scholar]
  12. Balogun, Ola. ( 1985;), ‘ Pathways to the establishment of a Nigerian film industry. ’, in S. Mackenzie. (ed.), Film Manifestos and Global Cinema Cultures: A Critical Anthology, Berkeley, CA, Los Angeles, CA and London:: University of California Press;, pp. 18392.
    [Google Scholar]
  13. Balseiro, Isabel, and Masilela, Ntongela. (eds) ( 2003), To Change Reels: Film and Film Culture in South Africa, Detroit, MI:: Wayne State University Press;.
    [Google Scholar]
  14. Barlet, Olivier. ( 1996), African Cinemas: Decolonizing the Gaze (trans. C. Turner), London and New York:: Zed Books;.
    [Google Scholar]
  15. Barlet, Oliver. ( 2013;), ‘ Africultures dossier: Report from FESPACO 2013: Renewal or demise(?). ’, Black Camera: An International Film Journal, 5:1, pp. 25162.
    [Google Scholar]
  16. Barlet, Olivier. ( 2019;), ‘ Aminata Dramane Traoré et Christiane Taubira au colloque du Fespaco. ’, Africultures, 7 March, http://africultures.com/aminata-dramane-traore-christiane-taubira-colloque-fespaco-14630/. Accessed 29 March 2019.
    [Google Scholar]
  17. Bassori, Timité. ( 1969), La Femme au Couteau (The Woman with the Knife), Côte d’Ivoire:: Société Ivoirienne de Cinema;.
    [Google Scholar]
  18. Burns, James. ( 2013), Cinema and Society in the British Empire, 1895–1940, Basingstoke:: Palgrave Macmillan;.
    [Google Scholar]
  19. Césaire, Aimé. ( [1966] 2018), A Season in the Congo (trans. G. C. Spivak), London, New York and Calcutta:: Seagull Books;.
    [Google Scholar]
  20. Challouf, Mohamed. ( 2000), Ouaga Capitale du Cinema (Ouaga, Capital of Cinema), Burkina Faso, Italy and Tunisia:: Caravanes Productions;.
    [Google Scholar]
  21. Chériaa, Tahar. ( 1978;), ‘ African cinema and the headshrinkers: Looking back at a strategy for liberation. ’, in I. Bakari, and M. Cham. (eds), African Experiences of Cinema, London:: British Film Institute;, pp. 4244.
    [Google Scholar]
  22. Diawara, Manthia. ( 1992), African Cinema: Politics & Culture, Bloomington, IN:: Indiana University Press;.
    [Google Scholar]
  23. Diawara, Manthia. ( 2010), African Film: New Forms of Aesthetics and Politics, Munich, Berlin, London and New York:: Prestel Verlag;.
    [Google Scholar]
  24. Dikongué-Pipa, Jean-Pierre. ( 1975), Muna Moto (The Child of Another), Cameroon:: Avant Garde Africaine;.
    [Google Scholar]
  25. Diop, Cheikh A.. ( [1974] 1978), Black Africa: The Economic and Cultural Basis for a Federated State, Westport, CT:: Lawrence Hill & Company;.
    [Google Scholar]
  26. Dovey, Lindiwe. ( 2015), Curating Africa in the Age of Film Festivals, New York and Basingstoke:: Palgrave Macmillan;.
    [Google Scholar]
  27. Dupré, Colin. ( 2014;), ‘ FESPACO film festival. ’, in Directory of World Cinema: Africa (eds B. Stefanson, and S. Petty., trans. M., Thackway.), vol. 30, Bristol and Chicago, IL:: Intellect Books;, pp. 4751.
    [Google Scholar]
  28. Dupré, Colin. ( 2020;), ‘ FESPACO film festival. ’, Black Camera: An International Film Journal, 12:1, pp. 28286, https://doi.org/10.2979/blackcamera.12.1.25. Accessed 11 October 2022.
    [Google Scholar]
  29. El-Maanouni, Ahmed. ( 1978), Alyam Alyam (O les jours/Oh the Days!), Morocco:: Rabii Film;.
    [Google Scholar]
  30. El-Maanouni, Ahmed. ( 1981), Trances, Morocco and Fracnce:: Interfilms andOhra-Sogeav;.
    [Google Scholar]
  31. Fanon, Frantz. ( [1961] 2001), The Wretched of the Earth, Penguin Modern Classics. , London:: Penguin Books;.
    [Google Scholar]
  32. FEPACI Constitution ( 2013), 9th Congress, 1–5 May, FEPACI Secretariat, Johannesburg, South Africa:.
    [Google Scholar]
  33. FEPACI Minutes ( 2013;), meeting between FEPACI-DAC-NFVF re: 9th Congress. , 12 February, FEPACI Secretariat, Johannesburg, South Africa:.
    [Google Scholar]
  34. FESPACO ( 2019a), Dossier de presse (Press Book), , 26th ed.., Ouagadougou:: FESPACO;.
    [Google Scholar]
  35. FESPACO ( 2019b), Symposium Document, Ouagadougou:: FESPACO;.
    [Google Scholar]
  36. Ganda, Oumarou. ( 1969), Cabascabo, Niger:: Argos Films;.
    [Google Scholar]
  37. Givanni, June. (ed.) ( 2000), Symbolic Narratives/African Cinema: Audiences, Theory and the Moving Image, London:: BFI;.
    [Google Scholar]
  38. Grieveson, Lee, and MacCabe, Colin. (eds) ( 2011a), Empire and Film, London:: British Film Institute;.
    [Google Scholar]
  39. Grieveson, Lee, and MacCabe, Colin. (eds) ( 2011b), Film and the End of Empire, London:: British Film Institute;.
    [Google Scholar]
  40. Hodgson, Dorothy L., and Byfield, Judith A.. (eds) ( 2017), Global Africa: Into the Twenty-First Century, The Global Square (Book 2), Oakland, CA:: University of California Press;.
    [Google Scholar]
  41. Hondo, Med. ( 1970), Soleil O (Oh, Sun), France and Mauritania:: Grey Films and Shango Films;.
    [Google Scholar]
  42. Hondo, Med. ( 1974), Les ‘bicots-Nègres’ vos voisins (Arabs and Niggers, Your Neighbours), France and Mauritania:: Les Films Soleil O;.
    [Google Scholar]
  43. Hondo, Med. ( 1979), West Indies, France, Algeria and Mauritania:: Les Films Soleil O, Office National de Cinema Mauritanian, R.T.A., Redifusion Television Algerienne/Societe Interafricaine de Production Cinemagraphique and Yanek Films;.
    [Google Scholar]
  44. Jones, Nick Freand. ( 1992), Africa on Film, UK:: BBC Television;.
    [Google Scholar]
  45. Kabore, Gaston. ( 1982), Wend Kuuni, Burkina Faso:: Direction du Cinema de Haute Volta;.
    [Google Scholar]
  46. Khemir, Nacer. ( 1984), Les Baliseurs du Desert (Wanderers of the Desert), Tunisia and France:: France Média, LATIF and Satpec;.
    [Google Scholar]
  47. Krings, Matthias, and Okome, Onookome. (eds) ( 2013), Global Nollywood: The Transnational Dimensions of an African Video Film Industry, Bloomington, IN and Indianapolis, IN:: Indiana University Press;.
    [Google Scholar]
  48. Lakhdar Hamina, Mohamed. ( 1975), Chroniques des années de braise (Chronicle of the Years of Fire), Algeria:: Office National pour le Commerce et l’Industrie Cinématographique (ONCIC);.
    [Google Scholar]
  49. Mambety, Djibril Diop. ( 1973), Touki Bouki (The Journey of the Hyena), Senegal:: Cinegrit/Studio Kankourama;.
    [Google Scholar]
  50. Mambety, Djibril Diop. ( 1989), Parlons Grand-mère/ (Let’s Talk Grandmother), Senegal and Burkina Faso:: Diproci, Prince Film SA and Thelma Film AG;.
    [Google Scholar]
  51. Mambety, Djibril Diop. ( 1992), Hyenes Senegal, France, Switzerland, UK, the Netherlands and Italy:: ADR Productions, Thelma Film AG and Maag Daan;.
    [Google Scholar]
  52. Mambety, Djibril Diop. ( 1994), Le Franc, Senegal:: Waka Films;.
    [Google Scholar]
  53. Mambety, Djibril Diop. ( 1999), La Petite Vendeuse de Soleil (The Little Girl Who Sold the Sun), Senegal:: Waka Films, Maag Daan and Renardes Productions;.
    [Google Scholar]
  54. McCall, John C.. ( 2007;), ‘ The pan-Africanism we have: Nollywood’s invention of Africa. ’, Film International, 5:4, pp. 9297, https://doi.org/10.1386/fiin.5.4.92. Accessed 19 February 2016.
    [Google Scholar]
  55. Ngakane, Lionel. ( 1966), Jemima & Johnny, UK and South Africa:: Vukani Ventures and Derrick Knight & Partners;.
    [Google Scholar]
  56. Okome, Onookome. ( 2010;), ‘ Nollywood and its critics. ’, in M. Şaul, and R. A. Austen. (eds), Viewing African Cinema in the Twenty-First Century, Athens, OH:: Ohio University Press;, pp. 2641.
    [Google Scholar]
  57. Ouedraogo, Idrissa. ( 1983), Les Ecuelles (The Platters), Burkina Faso:: Ministère des affaires étrangères, Mae and Les films de l’avenir;.
    [Google Scholar]
  58. Ouedraogo, Idrissa. ( 1989), Yaaba, Burkina Faso, Switzerland, France and West Germany:: Arcadia Films, Les Films de l’Avenir and Thelma Film AG;.
    [Google Scholar]
  59. Owoo, Kwate Nii, and Owusu, Kwesi. ( 1988), Ouaga: African Cinema Now, UK and Ghana:: Channel Four Productions and Efiri Tete Films;.
    [Google Scholar]
  60. Petty, Sheila. (ed.) ( 1996), A Call to Action: The Films of Ousmane Sembene, Cinema Voices Series. , Trowbridge:: Flicks Books;.
    [Google Scholar]
  61. Rice, Tim. ( 2019), Films for the Colonies: Cinema and the Preservation of the British Empire, Oakland, CA:: University of California Press;.
    [Google Scholar]
  62. Sanogo, Aboubakar. ( 1996), FESPACO 1995, Burkina Faso:: SAS Films;.
    [Google Scholar]
  63. Sanogo, Aboubakar. ( 2018;), ‘ Africa in the world of moving image archiving: Challenges and opportunities in the 21st century. ’, Journal of Film Preservation, 99, October, pp. 815.
    [Google Scholar]
  64. Şaul, Mahir, and Austen, Ralph A.. (eds) ( 2010), Viewing African Cinema in the Twenty-First Century, Athens, OH:: Ohio University Press;.
    [Google Scholar]
  65. Sembene, Ousmane. ( 1963), Borom Sarret, Senegal and France:: Filmi Domireve and Les Actualités Françaises;.
    [Google Scholar]
  66. Sembene, Ousmane. ( 1966), La Noire de… (Black Girl), Senegal and France:: Filmi Domireve and Les Actualités Françaises;.
    [Google Scholar]
  67. Sembene, Ousmane. ( 1968), Mandabi, France and Senegal:: Filmi Domireve, Comptoir Français du Film Production (CFFP) and StudioCanal;.
    [Google Scholar]
  68. Sherzer, Dina. (ed.) ( 1996), Cinema, Colonialism, Postcolonialism: Perspectives from the French and Francophone Worlds, Austin, TX:: University of Texas Press;.
    [Google Scholar]
  69. Sides, Carolyn. ( 1987), FESPACO ’87, USA and Jamaica:: Caribbean Media Services;.
    [Google Scholar]
  70. Tomaselli, Keyan. ( 1988), The Cinema of Apartheid: Race and Class in South African Film, London:: Routledge;.
    [Google Scholar]
  71. Ukadike, Nwachukwu F.. ( 1994), Black African Cinema, Berkeley, CA:: University of California Press;.
    [Google Scholar]
  72. Ukadike, Nwachukwu F.. ( 2002), Questioning African Cinema, Minneapolis, MN and London:: University of Minnesota Press;.
    [Google Scholar]
  73. Vieyra, Paulin Soumanou. ( 1955), Afrique-sur-Seine (Africa on the Seine), France:: Groupe Africain de cinéma;.
    [Google Scholar]
  74. Vieyra, Paulin Soumanou. ( 1963), Lamb, Senegal and France:: Les Films PSV, Présence Africaine and Ministère de l’information et des télécommunications;.
    [Google Scholar]
  75. Wong, Cindy. ( 2011), Film Festivals: Culture, People, and Power on the Global Screen, New Brunswick, NJ and London:: Rutgers University Press;.
    [Google Scholar]
  76. Wynter, Sylvia. ( 2000;), ‘ Africa, the West and the analogy of culture: The cinematic text after man. ’, in J. Givanni. (ed.), Symbolic Narratives/African Cinema: Audiences, Theory and the Moving Image, London:: Bloomsbury;, pp. 2576.
    [Google Scholar]
  77. Bakari, Imruh. ( 2022;), ‘ Memory and/in the mirror: FESPACO, a platform for a global Africa?. ’, Journal of African Cinemas, 14:1, pp. 6587, https://doi.org/10.1386/jac_00062_1
    [Google Scholar]
http://instance.metastore.ingenta.com/content/journals/10.1386/jac_00062_1
Loading
  • Article Type: Article
Keyword(s): colloquium; FEPACI; FESPACO; film archives; JCC; Pan-African cinema
This is a required field
Please enter a valid email address
Approval was a success
Invalid data
An error occurred
Approval was partially successful, following selected items could not be processed due to error