My doctoral project translates well the transnational extend of my research as I strove to make evident the interconnectedness between cinemas from Africa, Europe, and the Americas (mainly Brazil and the United States) via an articulation of shared experiences of diaspora and sites of memory. My approach centred first on the diasporic connections between Lusophone African and (African-)Brazilian cinemas. However, working intentionally on a South-to-South axis on the ‘Black Atlantic’ I focused on suggesting a viable alternative to the long-known and well-established North Atlantic outlook on this field of study. As the investigation evolved, I was able to enlarge the scope of my research project and include Black British and African-American cinemas, therefore encompassing further aspects of the legacy of Third World Cinemas in the Atlantic region.
This investigation covered a long timeline, from the early 1960s up to the end of the last decade. Its trajectory included from the revolutionary ideals that mar...
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...ial African Cinema: From Political Engagement to Postmodernism, Bloomington, Ind.: Indiana University Press; Chesham: Combined Academic.
Kasfir, S. L. (2007) African Art and the Colonial Encounter: Inventing a Global Commodity, Bloomington: Indiana University Press.
Murphy, D. and P. Williams (2007) Postcolonial African Cinema: Ten Directors, Manchester: Manchester University Press.
Ogbechie, S. O. (2010) The Curator as Culture Broker: A Critique of the Curatorial Regime of Okwui Enwezor in the Discourse of Contemporary African Art. [Internet]. Available at: http://www.africancolours.com/african-art-news/550/international/the_curator_as_culture_broker_a_critique_of_the_curatorial_regime_of_okwui_enwezor_in_the_discourse_of_contemporary_african_art.htm [Accessed 24 October 2011]
Pfaff, F. (Ed.) (2004) Focus on African Films, Bloomington: Indiana University Press.
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