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landofwindandskyscrapers · 8 months ago

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12/52 “Africa is not a country” - A review

Is Africa a country?

This week, because I’m tired, something a bit different.

I’ve delegated my work to ChatGPT, but because I have my pride, I’m going to interject with my real, actual considerations.

Write a review of the book "Africa is not a country", by Dipo Faloyin. Pick out strengths and weaknesses

Hmm. I think I have more to say than that.

"Africa is Not a Country" by Dipo Faloyin presents itself as a significant contribution to the contemporary discourse on Africa, challenging the monolithic and often oversimplified perceptions of the continent. Through a blend of humor, critical analysis, and storytelling, Faloyin offers a mosaic of narratives that illuminate the diversity, complexity, and richness of the 54 countries that comprise Africa

Something that surprised me about this book is how it made Africa feel real, for lack of a better word.

There wasn’t much in the book that surprised me - after all, the basic news of civil wars, famines and colonialism is common knowledge - but it gave a face to the names, in a sense.

It’s one thing to hear about how borders made of straight lines are harmful - another to understand that in the few cases where African countries (see Somaliland) they come closest to flourishing.

Diversity of Perspectives: One of the book's most significant strengths is its commitment to showcasing the diverse cultures, histories, and peoples of Africa. Faloyin takes the reader on a journey across various countries, offering insights into their unique challenges, achievements, and historical contexts.

The book is divided into sections (colonialism, media portrayal, history, etc.) and a very interesting section was the one on dictators.

Paul Kagame is a figure I was marginally aware of, ever since a video on youtube made me aware that Rwanda has blood drones (they’re really cool! I wish western hospital had such cool things going on!), but skimming his wikipedia page had made me think he was a lot more democratic than he really was.

Still low-key a person worthy(?) of admiration perhaps - Rwanda is a country that this book made me wish to visit.

Challenges Stereotypes: Faloyin boldly addresses and challenges the stereotypes and misconceptions that have long plagued perceptions of Africa. By highlighting the continent's achievements and potential, alongside its challenges, he offers a more balanced and fair portrayal, contributing positively to changing narratives around Africa.

Nigeria has a huge film industry! Who knew!

It’s called Nollywood, and I really want to watch some of its films now.

Third film industry in the world, apparently 🤔

I’m also quite happy that this book made me learn what Jollof rice is - and how not to cook it.

(It’s a rice dish that a lot of west african countries claim as their very own traditional dish - and of course the author can’t help but let us know that the version from his country is the best).

Perhaps because I listened to this book as an audiobook instead of reading it physically I struggle to remember much of it - but my impression was positive.

It was a breezy, enjoyable read.

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bagiesupreme · 6 years ago

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Remakes and Sequels in Hollywood, and How it's Not a New Thing

Remakes and Sequels in Hollywood, and How it’s Not a New Thing

The common phrase that pops up when someone mentions Hollywood nowadays is that Hollywood has run out of ideas. This phrase comes up in particular when constant remakes and sequels comes up, mixed with only a sprinkling of original movies. However, the modern situation isn’t new. In fact, it’s not only been an old tradition in Hollywood, but also Nollywood and Bollywood as well.

Ever wonder about…

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#analysis #Bollywood #books #Disney #film #Hollywood #movies #Nollywood #pop culture #remakes #sequels #Shakspeare #stories #tradition

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acemywriter · 3 years ago

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What evidence is there to suggest hybridization of media and cultural products? Please choose one of the following cases for your analysis: Korean films/TV dramas; Japanese comics; Brazilian soap operas; Bollywood/Hollywood/Nollywood movies; Disney cartoons. You may focus on one film, one TV series or one cartoon only.

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#Religion and Theology

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sirsak308 · 3 years ago

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MINIMUM PARTICIPATION IN CROWD SALES: 0.0031 ETH [Approx. $32/640 BOTTOM LINE]

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Soft cap: $1,000,000

TOKEN ALLOCATION: 500,000,000

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Nwankwo, Gabriel is a renowned Software Engineer with over 7 years experience in designing and building Enterprise Systems. He is a Computer Science graduate and has extensive experience in Systems Analysis and Architectural Design, Database Architecture and Design, Devops and Programming. He has built a number of systems and applications for Government Agencies, Private Companies and Multinational Companies. Some of his web development and software engineering works include: BENUE MOEST: A fintech application for school tax collection. A project implemented for the Benue State Ministry of Education: SUBEB: Human Resource Management Application with Integrated Payroll and Pension System. A project implemented for the Benue State Universal Primary Education Agency; UAMASUUCOOPS: A fintech application for managing cooperative funds that is implemented in the Cooperative of the Academic Civitas of Makurdi Agricultural University; BIPPIIS: Human Resource Management Application with Integrated Verification, Payroll and Pension System. A project implemented for the Benue State Government of Nigeria; BSLGPENCOM: Fintech application for Pension management with integrated Payroll system; Churchio: Revolutionary Church Management App that helps churches manage all aspects of the church including, Membership, Worker, Finance and many more Fintech App for Retirement management with integrated Payroll system; Churchio: A Revolutionary Church Management App that helps the church manage all aspects of the church including, Membership, Workers, Finance, and many more fintech applications for managing Pensioners with an integrated Payroll system; Churchio: A Revolutionary Church Management App that helps the church manage all aspects of the church including, Membership, Workers, Finances and many more

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bayyfirmansyah513 · 3 years ago

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GistCoin

GistCoin — The Official Gamification and Monetization Token For The Social Media Industry

About GISTCOIN

Gistcoin's goal is to enable content creators to unlock the economy around their community and take advantage of new monetization methods that work across multiple platforms.

Gistcoin allows Creators to build a loyal fan base and get rewarded for creating value for members of its user community.

How does it work?

GISTCOIN is a type of electronic money that can be secretly exchanged for digital content, products and services, and then converted into fiat currency.

It is a Third-Party-Independent exchange tool. Payments from Content Consumers to Content Creators can be made without intermediaries.

Removing national boundaries and local currency issues for the free flow of creative works. One exchange currency for content works globally.

User Anonymity Guaranteed

Latest encrypted daily transactions

Easy payments for micro purchases and payments for creative works

Price fluctuations are purely based on the principle of supply and demand

Transactions without restrictions on fees, times and places

Use on all international social media platforms.

AUDIO PLATFORM USING GISTCOIN MONETIZATION

Gistcoin allows content creators to unlock the economy around their community and take advantage of new monetization methods that work across multiple platforms. This not only creates an engaged community that can tip with Gist Coin and spend GistCoin to gain exclusive access to content, special access, events and merchandise, but also allows content creators to monetize their content as they see fit. expect. Gistcoin allows content creators to build a loyal fan base and is rewarded for creating value for members of its user community.

How do content creators make money with GistCoin?

GistCoin's goal is to empower content creators to unlock the economy around their community and take advantage of new monetization methods that work across multiple platforms. This not only creates an engaged community who can tip with GistCoin and spend GistCoin to get exclusive access to content, special access, events and merchandise, but also allows content creators to monetize without paying a fee. high platforms.

GISTCOIN STRUCTURE

Token Pre-Sale: 1 September to 30 September 2021

Token Crowdsale: October 1 to October 31, 2021

Supply: 500,000,000 GIST

Price: 1 GIST = 0.00001562 ETH [Approx. $0.05 USD]

1 ETH = 64,000 GIST

MINIMUM PARTICIPATION IN CROWD SALES: 0.0031 ETH [Approx. $32/640 BOTTOM LINE]

Total Softcap: 1,500 ETH

Soft cap: $1,000,000

TOKEN ALLOCATION: 500,000,000

TOTAL GIST OFFERED IN INITIAL CROWSALE: 50,000,000 [10%]

TOTAL OFFERED FOR CROWSALE: 200,000,000 GIST [40%]

Accepted Currencies: ETH, BTC and Wire Transfer

Token Distribution Date: November 15, 2021

TOTAL USED FOR BOUNTIES/AIRDROPS: 27,750,000[5.5%]

TOTAL FOR PARTNERS AND AFFILIATES: 25,000,000 [5.0%]

TOTAL RESERD FOR AIRDROP FOR GITHOUSE BETA LAUNCH: 100,000,000 [20%]

TOTAL DONE FOR FOUNDERS: 85,000,000 [17.00%]

TOTAL RESERD FOR GISTHOUSE DEVELOPMENT: 12,500,000 [2.50%]

ROADMAP

October 1, 2021 Release of MVP Mockup Release of MVP Mockup to technical team for development.

October 15th, 2021 Testing Beta Public Beta Testing for Public Gisthouse Gisthouse conducted and the feedback collected from the end user

1 Dec 2021 GISTHOUSE CREATOR GIFT PROGRAM LAUNCH

1 DES 2022 List GISTCOIN in Stock General Trading [At least 3]

1 JAN 2022 Launch of GISTCOIN Trading Platform [GISTtopia.Com):

Jan — Dec 2022 GISTCOIN Acceptance Partner Expansion Campaign

JUNE 1 2022 Official Launch of GITSHOUSE AUDIO DROP-IN Social Media Platform

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BUSINESS AND STRATEGY Advisory Board

DR OPE BANWO

Founder/ceo

AWESOME

Director of Business Development

AKIN OLAOYE

Founder/Chairman, House of Lunettes

JOHN OSEI BONSU

Director of Finance & Due Diligence

TECHNICAL DEVELOPMENT TEAM

The technical team consists of highly skilled web developers with a combined experience of over 30 years of web development experience. This team includes:

GABRIEL NWANKWO

Software Engineer

DANIEL ADASHO

Software Engineer

IFIOK NKEM

Web Developer & Software Builder

As one of Africa's most sought-after web consultants, Ifiok has been involved in more than 700 projects and has consulted for high-value individuals, businesses and companies including the governments of Nigeria and Angola. He has trained and mentored more than 10,000 people in web development through workshops, seminars, boot camps and in-house training tools. Ifiok Nk is a 'passionate Netpreneur', web consultant, author and digital product creator with many successful SaaS products including Mobimatic; PageNova, VantagePoint, Streamio, Videotours360 ; ViralLeadFunnels; Rape; PasarGee; Socicake Software; ADA Packages; Local Agent Box; Leadgrow360.

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Username:TWIXXER Link: https://bitcointalk.org/index.php?action=profile;u=2579938

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chisomfrom5to7 · 4 years ago

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Take 4 🎬

27/11/2020

As I previously mentioned, my proposed documentary project is going to be a video essay about film scoring in Nigerian cinema. As I also previously stated, there isn't a wealth of readily available resources or academic writing that focuses on that topic so I haven't had much to go by. While I still largely agree with those precious statements, I did manage to come by two particularly good pieces of contemporary writing by a Nigerian film and music scholar named Emaeyak Peter Sylvanus that have been really good starting points so far. I'd definitely recommend them to someone who doesn't know a lot about nollywood films in general as they offer rich analyses of the industry and it's films. They've definitely helped fill a lot of gaps in my knowledge regarding the topic of my documentary.

In preparation for the video essay, I also decided to revisit one of my favourite documentaries , Beyond Clueless (2014), which is really a feature length video essay about teen movies. Featuring over 200 teen movies released between 1995 and 2004, the documentary breaks down the various familiar visual and thematic patterns that were prominent in teen movies during that period. While its analysis is admittedly not very groundbreaking; featuring a lot of commonly understood conclusions about teen movies, it makes up for this with its distinct visual aesthetic, voice over narration (provided by iconic 90s goth teen idol Fairuza Balk) and a brilliant soundtrack performed by indie band Summer Camp. It'll definitely a great place to start in my journey to creating my own video essay.

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thegirlandfilm · 8 years ago

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Across the Niger: Authenticity and Internationality

West African film is not defined as a particular genre, like perhaps the Western or Film Noir is as considered by critics. These genre’s have particular notable aesthetics that are consistently reused as an act of fidelity to the artistic goals of the movement itself. West African film can be understood more simply as National Cinema. With this understanding in mind, it is much more difficult to discern whether a film ascribes to a particular aesthetic, and if this maintaining this aesthetic is even necessary to define a film as West African. This essay will discuss the elements of Ojukwu’s Across the Niger (2004) that are distinctly and intentionally part of the West-African aesthetic, the aspects that diverge from Nigerian culture to be globally appealing, and resolve that Nollywood films are capable of being both authentic and international. Across the Niger can be used as an example of Nollywood’s flourishing film industry that is capable of success beyond Nigeria’s boarders, while also maintaining an aesthetic that is culturally specific to Nollywood.

The lack of funds available for production heavily influences Nollywood film’s aesthetic elements. This lack subsequently results in unintentional affects such as outdoor lighting and realistic settings. However, there are many aesthetics of Nollywood films that appear unintentional but have been critically and thoughtfully planned. In her work “Storytelling in Contemporary African Fiction Film and Video”, Dovey navigates through these aesthetics to determine which are formed unintentionally and which are developed through artistic thought. It is discussed in Dovey’s argument that the long takes, which are a signature of Nollywood editing, is an unintentional element. Many takes are elongated to ensure that the film lasts the length of a bus journey, or to delay the narrative in order to create sequels (Dovey 97). Although this editing staple may be unintentional, it has come to create a recognizable Nollywood aesthetic. Conversely, The themes of the films are intentionally focussed on themes of relatable social issues like legacy and inheritance, husband snatching, prejudice, and child abandonment, all set within a local context. Across the Niger demonstrates many of the “local aesthetics” that have come to define West African Cinema. This film diverges from Western standards of what should be presented in West African film; the film does not center around colonialism, though effects of colonialism are inevitably present, and does not feature the same issues that European financed Nollywood films do, such as HIV/AIDS, poverty, discrimination, or children on the street. (Okome 31). In the case of Across the Niger, the social issues and themes of Habiba and Dudems’s relationship are told through a journey that is set in the specific context of the Nigerian civil war between 1967-1970. Critics of Nollywood will often downplay the artistry of films, reducing them to amateur and overly dramatic works. However, Dovey contends that this dramatism is much more intentional than it appears. When thinking about film’s relation to Nigerian oral storytelling, “a particular kind of adaptation and visualization of oral and spoken narratives is thus at work in the video films” (Dovey 96). Nollywood films must not only be read in relation to “reality”, but must be acknowledged as a cultural transformation of story telling. Thus, the blatant dialogue and dramatic acting can be seen as a result of this transformation of West African oral storytelling into the film medium, and not merely as a cinema lacking in artistic thought. The editing is also more thoughtful than it may seem to those viewers accustomed to Hollywood films. Nollywood gives preference to wide and long rather than close ups, unless during a particularly emotional scene. The film’s use of editing is consistent with the majority of Nollywood films; most scenes are a compilation of long shots, with the exception of highly emotional scenes. When Habiba expresses emotional depth, close ups of her crying face fill the screen. This occurs twice - first when she tells Dudem to let her leave his village, and again during the film’s climax after Dudem is shot and she expresses that her love is “full like a river”. Nollywood also favours minimal editing and scenes that enhance the emotion through visual and aural effects. These techniques are thoughtfully used to tell the story in the most emotive way. Across the Niger exemplifies this style of storytelling through Habiba, Dubem, and Nneke’s complicated relationship. The drama and obviousness of the narrative can be seen in the scene in which Nneke attempts to seduce Dubem. In an alternative Hollywood rendition of this scene, Nneke’s motives might be more ambiguous. Yet in the film, Nneke’s motives are made clear by King Igwe’s advisor, who repeatedly tells her she must make Dubem fall in love with her by sleeping with him. This allows for the audience to understand the story without any confusion or ambiguity, much like the way traditional oral stories are narrated.

Across the Niger tells an authentic story through Nollywood techniques, while also subtly catering to a foreign audience. Ojukwu’s decision to film in the English language can be read as a small choice directors can make which allows their film to be potentially internationally successful. In his writing “Postcolonial Artists and Global Aesthetics”, Adesokan states, “most of the Nollywood films that circulate globally are in English and rely on standard generic conventions, even though, as the UNESCO figures show, more than half (56%) of Nollywood releases are in Nigeria’s three major local languages” (Adesokan 83). It is clear by this statistic that films that choose to use English, like Across the Niger, are allowing their film to be appreciated globally at the risk of being less culturally authentic. It could be argued that this film is less Nigerian due to its English language, and relinquishes its cultural specificity in order to cater to a global audience. However, the use of the English language does not affect the films local popularity, as “English language Nollywood films resemble television soap operas in Formal Terms, and travel better among Africans” (84). What may affect Across the Niger’s cultural authenticity is its apparent lack of African spiritual beliefs within the tribes culture. Andrew Rice notes the importance of these beliefs, “Nollywood movies, both old and new, often play on traditional African beliefs about magic and spirits” (Rice 1). Conversely, Across the Niger does not focus on spirituality, rather it replaces spirituality by focussing heavily on tradition and politics between tribes and families. The reason for this omittance could perhaps be explained by the desire for this film to be accepted by a foreign audience who may hold different beliefs. The stories in “Nigerian films with strong doses of the occult (or ‘black magic’) have had a particular hold on the popular imagination. These occult forces are banished in the narratives of many of the films via the Pentecostal Christian practices in scenes that are often a source of amusement for secularized, Western audiences...it is harnessed to a project of a Westernized system of commodity consumption” (Dovey 93). The lack of spiritual theme’s in Ojukwu’s film is not a commonality among Nollywood films, and reveals the desire to appeal to foreign audiences and also project a representation of modernizing Nigeria.

Across the Niger utilizes the aesthetic principles that have come to create the formula for as successful Nollywood film, yet the film is still understandable to a foreign audience. Many specific elements of the nation’s history and culture may loose their significant to a foreign viewer, but the human elements of romance, prejudice, love and sacrifice can be equally relatable to any viewer. The film is definitively West African and adheres to a very specific local aesthetic. However, the film is also able to reach beyond its Nigerian boarders and be relevant globally. Nollywood films are successful in St. Lucia, and trade to the Middle East, Hong Kong, United States and South Africa and the United Kingdom (Dovey 102). Unfortunately, the aesthetic elements of Nollywood are perceived as “awful, marred by slapdash production, melodramatic acting and ludicrous plots” (Rice 1). Okome notes that Nollywood is constantly criticized for “lacking depth, artistic and technical quality” (Okome 33). However, despite its lack of technical success, I found the films narrative and particularly Habiba’s struggle with love and discrimination to be particularly moving. In this sense, the film is full of narrative depth, and one cannot denounce its artistic elements. Despite the low budget effects, unrealistic battle and melodramatic acting, the film is still capable of evoking a high degree of emotion in a non-Nigerian viewer.

In conclusion, through the analysis of Across the Niger, it can be seen that Nollywood cinema has a specific framework of aesthetic principals that are intentional in their effects. It can also be seen through this film that subtle choices are made in order to cater to an international audience. Although the film is able to appeal to foreign audiences and strays from some of the typical tropes of Nollywood films, it is distinctively representative of West Africa and only West Africa, proving that a film need not reject all foreign influence in order to be authentically national.

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ufeministi · 5 years ago

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“The heterosexist definition of the sexual act fits neatly into the dominant patriarchal definition of women as subordinate to men in every way, including and especially in the sexual sense” (Patricia McFadden)

Queer women’s lives are lush. They are complex, multi – faceted and dynamic. This diverse terrain is often flattened by hetero-sexist representations and societal limitations. Popular cultural representations offer rare glimpses into the galaxies which lesbian and non – gender conforming women create. These glances are often alienating and insulting. From Cleo’s hypersexualised portrayal and dramatic death in 1996 American film, Set it off to the heroine’s ‘silencing by death’ in Karmen Gei, a Senegalese 2001 film, lesbian women are a portrayed as a menace which heterosexist patriarchy silences through metaphor. This silencing takes a literal dimension in the application of law and social sanction.

In Africa, dominant ante and post-colonial narratives circulate limiting portrayals of women. These depictions benefit from erasing lesbian women and non-gender confirming people from public space and its record. Dominant heteronormative narratives circulate limiting portrayal of women which benefit from erasing lesbian women and non-gender confirming people from public space and its record. Lesbian women and non – gender confirming people have also been subjected to denigrating readings like the bully archetypes in Nollywood films and hypersexualized portrayals of women who assert their sexuality. Resistance has been mounted to these mirages though scholarship and self-stylization. The social histories and identities of lesbian women have been artfully depicted in film, academia and popular culture.

Lesbian visibility matters, it should be a concern for cis-gendered and heterosexual people as well as other members of the LGBTIQ community. Regrettably, lesbian women’s presence and preference is perceived as a threat by heterosexist patriarchal institutions, individuals and ideals. Campaigns like #lesbianvisibility week add to a rich living archive of lesbian women which is being produced through social, political, academic and artistic initiatives. Visibility has implications for lesbian women’s freedom from violence, access to reproductive healthcare, the expression of social, economic and political freedoms as well as the safe navigation of digital spaces,

Lesbian women threaten hegemonic masculinity. Heterosexist patriarchy does not know what do to with the public presence of women who love women. In South Africa, women like Brenda Fassie have been vilified for declaring their love for women. It is not just Brenda’s male following who shunned her but women who didn’t agree with Brenda living her life on her own terms. Years after Brenda’s death, there was public outcry about the homophobic remarks reportedly made by then Minister of Arts and Culture Lulu Xingwana about artist Zanele Muholi’s work as immoral and posing a threat to nation unity. Similar sentiments caused uproar in Liberia when a Women’s rights organization leader attributed being lesbian to the trauma of war. In Gambia, Yaya Jameh’s government undertook a campaign of state funded, military executed homophobia and torture. The LGBTIQ community are conspicuously absent from the country’s ongoing Truth and Reconciliation Commission.

African Feminisms and womanisms are constrained by conservative social norms, religious fundamentalism and heterosexist images. Cis – gendered heterosexual women are often the gatekeepers of patriarchy. They are often depicted as the voice of ‘women’s rights’ and the advancement of dignity. However, without acknowledging and affirming lesbian women and non – binary identities, feminisms and womanisms, perpetuate the violence they seek to end.

Lesbian visibility is important for challenging heterosexist norms and affirming non – binary ways of being in the world. Lesbian visibility in the media, politics, academia and other spaces provides alternative archetypes for children who are being socialised out of the heteronormative constraints we currently deal with. It is important for children to grown up seeing lesbian women just being, occupying space and living their lives, unfettered by heterosexist patriarchy. It is equally important for adults to actively affirm lesbian and non – gender confirming personhood and dignity.

Heterogenous representations of womanhood are life giving. Seeing lesbian women living their lives fully, without discrimination and indignant aspersions passed on them will free humanity. Stella Nyanzi encourages us to transcend “myopic imaginings of a homogenous African – ness and pedestrian oblivion to pluralities within African sexualities.”

Women’s sexuality is unfortunately framed within terms which privilege patriarchal definitions of personhood. Sexuality is personal but it also has various elements which encumber it like race, class and other social categorisations. Lesbian women’s expression of social and political rights is limited by the homophobic and heteronormative ideals which plague many families, organisations, religious institutions and whole countries. In heteronormative societies, women are often treated as ‘containers’ of cultures, they are treated as (current or future) ‘mothers’ of the nation or defined through other limited lenses determined by their proximity to men. In these heteronormative contexts, women are treated as vessels for hegemonic masculinity and the expression its desires. Women are portrayed as objects or at most, passive subjects. Women who are complicity with hegemonic masculinity sadly also accede to the demands of their societies to gain privilege and access to power / resources.

Women’s bodies are sometimes treated as community property. The idea of this property being distributed by women choosing to love and desire other women, threatens heterosexist patriarchy. It is in conflict with the wishes of institutions of like religious bodies and the heterosexual nuclear family. Grave consequences such as so – called ‘corrective rape,’ violence and exclusion are often visited on the lives of lesbian women who assert their own desires.

Lesbian artists have provided fluid representations of personhood which fly in the face of patriarchy. Pumla Dineo Gola writes that “[Zanele] Muholi’s work resists precisely such endeavours to name, tame and classify.” So does the work of filmmaker Cheryl Dunye whose Stranger Inside offers complex and affirming representations of black lesbian women. Wanuri Kahiu’s Rafiki is a Kenyan film that portrays the romance between Ziki and Kena. The film was banned by Kenya Film Classification board “due to its homosexual theme and clear intent to promote lesbianism in Kenya contrary to the law.” Kahiu sued the government and the ban was lifted. Kahiu and Muholi join part of long-standing tradition of artists documenting women loving women. There are many documented and undocumented practices which African scholars and writers have discussed. Ifi Amadiume’s 1987 work is seminal in documenting non – binary and heterogenous sexual practices. Same sex play and erotic attachments amongst Basotho women feature in the work of Kendall (1999.) Keletso Mafokane has documented same – sex sexualities and practices in Zimbabwe, Lesotho and Ruth Manga has written about subversive sexualities in Yaounde. Stella Nyanzi, Pumla Dineo Gqola and Frieda Ekotto write eye opening work. Sylvia Tamale’s writings are seminal and comprehensive, Makhosazana Xaba and HOLA Africa’s work also provide alternative representations.

Amina Mama encourages deviation by the scholar or advocate of African feminisms from outlooks which are “distinctly heterosexual, pro-natal, and concerned with many ‘bread, butter, culture, and power’ issues.” This deviation can be achieved through increasing and diversifying the archetypes of African womanhood to include #Lesbianvisibility.

Recommended reads

Coalition of African Lesbians Tool Kits

https://web.archive.org/web/20160303002020/http://www.cal.org.za/new/?page_id=68

HOLAA Africa http://holaafrica.org/

Queer African Youth Network

Tamale, Sylvia, 2011. African Sexualities: A Reader. Oxford, England: Pambazuka Press.

Ruth Morgan and Saskia Wieringa. 2005. Tommy Boys, Lesbian Men and Ancestral Wives: Female Same-Sex Practices in Africa

Keguro Macharia. 2015. “Archive and Method in Queer African Studies.” Agenda 22(1): 140–146.

https://www.tandfonline.com/doi/full/10.1080/10894160.2016.1146031?src=recsys#

Martin, Karen and Makhosazana Xaba, eds. 2013. Queer Africa: New and Collected Fiction. Braamfontein, South Africa: Ma’Thoko’s Books

McFadden, Patricia. 2003. “Sexual Pleasure as Feminist Choice.” Feminist Africa 2. http://www.feministafrica.org/index.php/sexual-pleasure-as-feminist-choice

Matebeni, Zethu. 2009. “Feminizing Lesbians, Degendering Transgender Men: A Model for Building Lesbian Feminist Thinkers and Leaders in Africa?” Souls 11(3): 347–354.

Nkabinde’s memoir Black Bull, Ancestors and Me: My Life as a Lesbian Sangoma

Interview with Zanele Muholi – https://l.facebook.com/l.php?u=https%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3Dz5IZEs_4ZmQ%26fbclid%3DIwAR0Bo4OmTC2gACwECVgd824j4dA-ku12omOyLCRafW_4MdQp6RZVkjBDZGw&h=AT0GiJS_j-zXczkkDbggKDcNzsSx5J4eh9EO_lDtehi9ie7219BjQAE7_MWFm7sFVyF7tev412dMlNzw674PtpenR5EIq0F0STSqmjpo7Oq-EKZamdzG3l5rXAfOEOoQhg

BETWEEN US: The complexities of Lesbians, Bisexual and Queer Women’s Organizing in Francophone Sub-Saharan Africa Case Studies Cameroon & Togo

Canaries in Coal mines: an analysis of spaces of LBGTI activism in Zimbabwe

http://theotherfoundation.org/wp-content/uploads/2017/02/Canaries_Zimbabwe.pdf

Baderoon, Gabeba. 2011. “‘Gender within Gender’: Zanele Muholi’s Images of Trans Being and Becoming.” Feminist Studies 37(2): 390–416.

Bauer, Heike. 2004. “‘The Hand That Stirs the Pot Can Also Run the Country’: Electing Women to Parliament in Namibia.” Journal of Modern African Studies 42(4): 479–509.

Böhme, Claudia. 2015. “Showing the Unshowable: The Negotiations of Homosexuality through Video Films in Tanzania.” Africa Today 61(4): 63–82.

Boy-wives and Female Husbands: Studies in African Homosexualities, edited by WillRoscoeand Stephen O. Murray

Chacha, Babere Kerata, and��Kenneth Nyangena. 2006. “Globalisation of Sex and the Problematics of Gender Identities in Africa: From Human Rights to Women’s Rights to Sexual Freedom.” CODESRIA Bulletin 1–2: 29–36

Ekotto, Frieda. 2013. “For an Endogenous Critique of Representations of African Lesbian Identity in Visual Culture and Literature.” African Women in Cinema Blog.

Ifi Amadiume. 2009. “Family and Culture in Africa.” In A Companion to Gender Studies, edited by PhilomenaEssed, David TheoGoldberg, and Audrey Kobayashi, 357–369. Malden, MA: Blackwe

Alleyn Diesel” Reclaiming the L-Word: Sappho’s Daughters Out in Africa

Off the map: how HIV / AIDs programming is failing same – sex practicing people in Africa. https://outrightinternational.org/sites/default/files/6-1.pdf

Homophobia is unAfrican: #lesbianvisibility & Non Conforming sexualities in Africa “The heterosexist definition of the sexual act fits neatly into the dominant patriarchal definition of women as subordinate to men in every way, including and especially in the sexual sense” (Patricia McFadden)

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michy-diva-blog · 6 years ago

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Regrann from @uchemaduagwu - CHIOMA is as beautiful as @alex_unusual but she is not your WIFE...😄😀😄 @davidoofficial Na wa oh, some celebs have been calling me for more analysis on my prophecy, after my previous post where i said ☎ "Chioma is not @davidoofficial wife"😀 firstly, a girl you haven't paid her bride price in Igbo land is not yet a WIFE,🎁 secondly, that was only a prophecy, and thirdly, Chioma has brought so much #goodness and favor into the life of @davidoofficial 🍎💰🍚so why e never propose #MARRIAGE yet?😀 Honestly, Chioma is as humble, intelligent and #beautiful as my little sister @alex_unusual Alex is not like all the other abominable and SEX hungry pikins in #BBnaija, who lacks proper home training,😄 @alex_unusual proved to all that she is from a good home, also, i believe Chioma is from a good home too, so why @davidoofficial never propose marriage yet?💎 #repost #BBnaija2018 #pics #good #post #tag #nollywood #actor #instagram #naija #facebook #blog #regrann #quote #fashion #model #lagos #abuja #picture #nigeria #dailyquote #film #movie - #regrann

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newssplashy · 6 years ago

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Femi Odugbemi: Producer becomes a voting member of The Academy of Motion Picture Arts and Sciences in USA

Femi Odugbemi just got formally invited to become a voting member for The Academy of Motion Picture Arts and Sciences in the United States of America.

Femi Odugbemi is beside himself with excitement and who wouldn't be? Afterall he just got formally invited to become a voting member for The Academy of Motion Picture Arts and Sciences in the United States of America.

As you can imagine, this is a huge honour for the Nollywood filmmaker, as he noted in his Instagram post which he shared today, Monday, June 25, 2018.

ALSO READ: Africa Magic's Telenovela is in a league of its own

Big congrats to him!

American Universities to study Nollywood with filmmaker's works

Femi Odugbemi has been invited by two International Universities - the Illinois State University and Northwestern University, Chicago - to discuss the meteoric growth of the Nigerian film industry.

Also, three of his best works will be screened and used for a study on the Nigerian film industry.

The filmmaker's credits famously include: "Gidi Blues," "Battleground," "Tinsel," "Maroko," "Bariga Boy" among others.

"I think every opportunity for an artiste to engage the academic community and subject his or her work to critical analysis can only be an opportunity to grow," the filmmaker told Pulse Nigeria.

"I am personally excited to be invited to do so in two universities with a solid reputation for cultural and artistic explorations beyond the mundane."

"Northwestern University in Chicago and Illinois

State University in Normal Illinois have very strong interrogative exchange programmes in African Studies and are particularly interested in Nollywood and its place as an art form that has done a lot to reinvent the global narrative of the African experience."

Odugbemi will be sharing his thoughts and optimism about the rapid growth of Nollywood as a film industry but more importantly, he will be tracking the evolution of the stories of the Nigerian cinema and how it is beginning to advance its narratives within the context of contemporary history, politics and sociology as can be seen in films like "76," "93 Days," "Slow Country," "Gidi Blues," "Makoko," "The Meeting," "The Wedding Party", among others.

"For Nollywood to achieve potential as a global force, we have to bring intellectual rigour to it as well," he said.

"We must keep telling stories of Africa, yes, but to expand distribution of our films internationally, we also must find new storytelling techniques to attract global audiences to watch and enjoy our films."

"The sorts of interrogative exchange I will be having at Northwestern University and at Illinois State University are one of the ways of harvesting ideas towards that goal."

At Northwestern University, three of Odugbemi's documentaries will be critically analysed. They include "Makoko: Future Afloat," which won the best film at the Slum Film Festival in Nairobi and was nominated for the AMVCA and the AMAA awards in 2016 and 2017 respectively.

The second is "Bariga Boy," which won the Best Documentary award at the 2009 AMAA, and lastly, the 2005 film "Oui Voodoo."

In addition, the 2016 feature film "Gidi Blues" will be screened at the Block Theatre to wrap up his stay.

For his visit to the Illinois University, the filmmaker will be joined by Prof. Jonathan Haynes to discuss "Nollywood as Africa's Popular Cinema."

To Odugbemi, this feat is a welcome opportunity for him to articulate his creative philosophy, examine his creative process and internalize new ideas and opinions to feed his creative development.

"I am hopeful that i will be able to represent our film industry well and as well find new exposure for my films," he said.

source https://www.newssplashy.com/2018/06/femi-odugbemi-producer-becomes-voting.html

#News

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inezhess7100-blog · 7 years ago

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bagiesupreme · 6 years ago

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Remakes and Sequels in Hollywood, and How it's Not a New Thing

Remakes and Sequels in Hollywood, and How it’s Not a New Thing

Ever wonder about…

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#analysis #Bollywood #books #Disney #film #Hollywood #movies #Nollywood #pop culture #remakes #sequels #Shakspeare #stories #tradition

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salmankhanbd857 · 3 years ago

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ladonnastanford-blog · 7 years ago

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naija4071-blog · 8 years ago

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Entertainment News and the Critic

nollywood

Entertainment news publications and online editions have actually sections written by experts. These could be movie reviews for a film that has released at a theater near you. It could also be the music reviews for an album that is gradually climbing up the maps. Critics have been panned by performers for centuries. Many artists relegate critics to the sidelines aided by the strong belief because they have not been able to create art themselves that they have taken up criticism only. But that opinion is not free from fallacy. Experts do their job and that job has a purpose. The main job regarding the critic is to inculcate good style among audiences and viewers. Entertainment news portals are their media. The critics can reach out to more people with their views and opinion about things because a large chunk of the people read these entertainment news sites. The movie reviews they can expect from the movie that they write tell the audience what. You are told by them if the film ticket will probably be worth your money or not. I'm not saying they must have some reason for doing so that you accept their opinion as gospel truth, but when learned critics say something. In the field of music, critics have actually a special to play as well. Music reviews inform and educate listeners about the trends of modern music. Being a connoisseur in music and arts that are performing the critic manages to pack in his knowledge about music as he writes music reviews. The opinion associated with critic is very important to music reviews because the critic is well-aware of different genres of music, be it Eastern, Western, jazz, blues or reggae. The critic pours out his knowledge regarding the entertainment news pages. Readers among these columns can only take advantage of the wisdom that is learned of critic.

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Experts hold a complete lot of sway over the business enterprise aspect of the activity industry. Viewers go right to the theaters mainly on just what the viewpoint associated with movie reviews is. They often tend to visit the theaters with a pre-conceived idea created by the reading of the critic's opinion. The same takes place in case of music reviews. Sales of albums feel the effect of a critic's analysis, and if the critic happens to be someone of repute or from a respected publication, the impact is deeper. Music reviews are also essential links in understanding the flow and way modern music is taking.

Having said every one of these, I'm not saying that the critic is always right in their assessment. You will find numerous examples of movies trashed by experts in the movie reviews but they went on to become blockbusters. Some, that your experts hailed as cinematic masterpieces, didn't find an audience. The viewer or the listener, in case of music reviews, could be the ultimate judge. Critics writing for entertainment news publications can only claim to be guides. They mention aspects that are certain the viewer needs to decide if he agrees with the sensibilities associated with the critic in those aspects.

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