African Cinema Essay

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African cinema has evolved in multiple facets since postcolonialism milieu. Post-nationalist African cinema has transformed into a more complex network that simultaneously incorporates both global and national issues alike. Modern post-nationalist films aim to aim to repudiate a homogenized notion African Cinema while highlight the diversities in African cinema, unlike antithetical early nationalist variants which portrayed a generalized African identity. These post-nationalist film makers advocate the need for utilizing new film languages and ideals suitable to the contemporary cultural, social, political and economic situations of different African countries. Certain developments have been instrumental to this gradual cinematic evolution …show more content…

Hitherto, filmmakers considered African cinema to be a purely instructional form of art and thus repudiated the idea of African films as entertaining. Early african filmmakers used films for the sole purpose of pursuing political persuasions and instigating national reformation. As such, entertainment was likened to Western Cinema which was deemed an ‘escapist cinema’ as it neglected real-life complexities and thus, decelerated the perception process. (Tcheyuap pp 9). They believed that the superficiality of entertainment films digressed from the ‘mission’ of African filmmaking as an instrument of transformation. However, modern filmmakers are embracing these new genres, techniques and stylistic devices to achieve their own transformational goals. Cameroonian filmmaker, Jean Pierre Bekolo uses an extraordinarily imaginative narrative and exaggerated visual and verbal comedy to create the remarkably entertaining film ‘Les Saignantes’. Bekolo uses complex narrative structures and creative subject matters to display the contemporary Cameroonian society. Les Saignantes is a science fiction film based in the year 2025 and centered on the dubious activities of two Cameroonian girls. After Majolie finds the SGCC is dead in her bed, she calls up her friend Chouchou after which a series of grotesque events unfold as they hire people to cut and dispose. This is followed by a reattachment of a random cadaver to the SGCC’s head after they realize that the wake of such an important official (WIP) cannot be bypassed. This plot undoubtedly deviates from the conventional morally dense epic narratives of national freedom and reformation. Bekolo uses this imaginative narrative to express the subjects of corruption, socio-political hierarchies and gender roles in present-day Cameroon. He successfully

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