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Cinema and Development in West Africa by James E. Genova

By James E. Genova

Cinema and improvement in West Africa indicates how the movie in Francophone West African international locations performed an enormous function in executing options of state development through the transition from French rule to the early postcolonial interval. James E. Genova sees the development of African identities and monetary improvement because the significant issues within the political literature and cultural creation of the time. targeting movie either as and aesthetic style, he demonstrates its certain position in financial improvement and offers a complete heritage of filmmaking within the zone through the transition from colonies to sovereign states.

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This is attested to by the frequent invocation of the Laval decree (especially after 1945) and its further systematic elaboration during the 1950s. For his part, Ukadike describes French colonial film policy as merely seeking to maintain the monopolies of the distribution cartels Compagnie afric- The Cinema Industrial Complex in French West Africa | 23 aine cinématographique industrielle et commercial (COMACICO) and Société d’éxploitation cinématographique africaine (SECMA) in the region. Ukadike reduces film politics, such as it existed, to the collusion between capitalist enterprises and the state.

The task of the colonial government was to figure out the most effective means for controlling that process and for harnessing film to the imperial project. Over the next two years the process Chappedelaine inaugurated generated a lively discussion among government officials; letters, reports, and intergovernmental meetings produced a wealth of new information about the place of cinema in the colonies, West Africa being a particularly rich site of activity. Government officials discovered that a network of film clubs already existed in their territories and that there was a growing interest among filmmakers in generating documentary, educational, and scientific films that could aid in France’s colonial mission.

French officials were thus anxious that the “progress” the colonizers had brought to benighted Africans be taken into account. , destabilizing) results that would call into question the colonial project from an entirely different direction. The first two chapters serve to frame the remainder of the book. Establishing the film politics and the battle over representation that already existed when the 18 | Cinema and Development transition to political sovereignty began enables a better appreciation of the context in which West African cultural activists operated.

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