In this Book

Wits University Press
summary
This collection of essays and interviews showcases the experiences of women working in film, either directly as practitioners or as curators, festival programme directors or fundraisers. It does not shy away from questioning the relations of power in the practice of filmmaking and the power invested in the gaze itself. Who is looking and who is being looked at; who is telling women’s stories in Africa and what governs the mechanics of making films on the continent? The interviews with film practitioners such as Tsitsi Dangarembga, Taghreed Elsanhouri, Jihan El-Tahri, Anita Khanna, Isabel Noronhe, Arya Lalloo and Shannon Walsh demonstrate the contradictory points of departure of women in film – from their understanding of feminisms in relation to lived experiences and the realpolitik of women working as cultural practitioners. Jyoti Mistry, Antje Schuhmann, Nobunye Levin, Dorothee Wenner and Christina von Braun are some of the contributors who provide valuable context, analysis and insight into, among other things, the politics of representation, the role of film festivals and the collective and individual experiences of trauma and marginality that contribute to the layered and complex work of Africa’s film practitioners.

Table of Contents

  1. Cover
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  1. Title Page, Copyright
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  1. Contents
  2. pp. iii-iv
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  1. Acknowledgements
  2. pp. v-vi
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  1. Foreword
  2. Katharina von Ruckteschell
  3. pp. vii-viii
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  1. Introduction: By way of context and content
  2. Jyoti Mistry, Antje Schuhm
  3. pp. ix-xxxiv
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  1. 1. African Women in Cinema: An overview
  2. Beti Ellerson
  3. pp. 1-9
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  1. 2. ‘I am a feminist only in secret’
  2. Taghreed Elsanhouri, Christina Von Braun, Ines Kappert
  3. pp. 10-17
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  1. 3. Staged Authenticity: Femininity in photography and film
  2. Christina Von Braun
  3. pp. 18-32
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  1. 4. ‘Power is in your own hands’: Why Jihan El-Tahri does not like movements
  2. Jihan El-Tahri, Antje Schuhmann, Jyoti Mistry
  3. pp. 33-43
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  1. 5. Aftermath – A focus on collective trauma
  2. Djo Tunda wa Munga, Rumbi Kate, Antje Schuhmann, Jyoti Mistry
  3. pp. 44-54
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  1. 6. Shooting Violence and Trauma: Traversing visual and social topographies in Zanele Muholi’s work
  2. Antje Schuhm
  3. pp. 55-80
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  1. 7. Puk Nini – A Filmic Instruction in Seduction: Exploring class and sexuality in gender relations
  2. Antje Schuhmann, Jyoti Mistry
  3. pp. 81-96
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  1. 8. I am Saartjie Baartman
  2. Nobunye Levin
  3. pp. 97-117
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  1. 9. Filmmaking at the Margins of a Community: On co-producing Elelwani
  2. Jyoti Mistry
  3. pp. 118-132
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  1. 10. On Collective Practice and Collected Reflections
  2. Shannon Walsh, Arya Lalloo, Jyoti Mistry
  3. pp. 133-147
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  1. 11. ‘Cinema of resistance’
  2. Isabel Noronha, Max Annas, Henriette Gun
  3. pp. 148-160
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  1. 12. Dark and Personal
  2. Anita Khanna
  3. pp. 161-167
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  1. 13. ‘Change? This might mean to shove a few men out’
  2. Anita Khanna, Antje Schuhmann, Jyoti Mistry
  3. pp. 168-173
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  1. 14. Barakat! means Enough!
  2. Katarina Hedrén
  3. pp. 174-181
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  1. 15. ‘Women, use the gaze to change reality’
  2. Katarina Hedrén, Jyoti Mistry, Antje Schuhm
  3. pp. 182-187
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  1. 16. Post-colonial Film Collaboration and Festival Politics
  2. Dorothee Wenner
  3. pp. 188-200
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  1. 17. Tsitsi Dangarembga: A manifesto
  2. Tsitsi Dangarembga, Jyoti Mistry, Antje Schuhmann
  3. pp. 201-211
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  1. Acronyms and Abbreviations
  2. p. 212
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  1. List of Contributors
  2. pp. 213-214
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  1. Filmography
  2. pp. 215-217
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  1. Index
  2. pp. 218-230
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  1. Back Cover
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