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Appadurai, Arjun, 15, 63, 211n1 Appiah, Jackie, 170 Arase, Frank Rajah, 170 Aryeetey, Sam, 31, 33, 47, 48, 52, 53 Asem, 169 Asimo, 169, 170 audience: as addressed and imagined in video movies, 10, 19, 23, 55, 64, 67, 70, 74, 75, 77, 92, 94, 95, 102, 110, 114, 126, 143, 155, 167, 172–74, 188–90, 195, 198; of African film, 1, 196, 197; of films made by GFIC, 48, 50–52; movies’ appeal to local audiences, 1, 2, 84, 199, 203n3; movies’ appeal to transnational audiences,10, 131–34, 175, 202n6. See also spectator Awoonor, Kofi, 47 Aya Minnow, 53 Back Home Again, 54 Back to Ghana, 138 Back to Kotoka, 137, 146, 211n4 Barber, Karin, 14, 26, 155 Barlet, Olivier, 2 Beyoncé: The President’s Daughter, 170–71 Big Time, 21, 63, 73, 75, 81–83 Bishop, Terry, 33, 51 Boateng, Alex, 99–100, 163, 209n12 Bollywood, 12–13, 142, 144, 175, 195, 197–98; Hindi cinema, 49, 66, 122, 161 Bontempi, Giorgio, 53 Bosompra, Nana, 68, 206n10 Bourdieu, Pierre, 87–88 Boy Kumasenu, The, 21, 24–26, 31–46, 52, 56, 58, 59–60 Brown, Wendy, 180 Buari, Nadie, 170 Burton, Julianne, 8 Butler, Judith, 18, 125 Buud Yam, 195 Abbeyquaye, Ernest, 47, 49 Aboa Bone, 113 Abrokyire Bayie, 147–48 Abyssinia, 68 Accra Mall, 176, 186 Adejunmobi, Moradewun, 3, 9, 10, 15, 119, 131, 154–55, 190, 202n7, 202n10, 207n15 Adesokan, Akin, 3, 7, 9, 198, 202n8 Adu, Kofi. See Agya Koo Afolayan, Kunle, 6, 175, 202n8 African Brothers Band, 52 African film, 1, 7; scholars of respond to popular video, 4–6, 7; ways of reading, 7–8 African tradition, 21, 24, 26, 37–41, 46–50, 86, 88; as opposed to modernity, 56–59; oral tradition, 48 Agya Koo, 150, 173, 183 Agya Koo in Libya, 150, 212n Agya Koo Sakawa, 183, 187 Akuffo, William, ix, 2, 4, 11–14, 61–63, 67–70, 86, 88–89, 91, 94, 207n12, 207n17 Alexiboat, 99 Ali-Balogun, Mahmood, 175 America (United States): accents in movies, 171; mass media, 155, 166; representation of, 121, 143, 147–48, 151, 152; television programming, 65, 201n10. See also soap opera; television American movies, 28, 33, 65, 98; action films, 6; early cinema, 98; shown in Gold Coast, 27–29. See also Hollywood American popular culture, 143, 171, 179 Ampaw, King, 24, 53, 54 Amsterdam Diary, 22, 137–43, 145–46, 212n Amugi, Fred, 99, 208n5 Ansah, Kwah, 24, 53, 61, 72, 85–86, 88–89, 95, 207n18 Index 242 / Index Dark Sands, 113 Debut for Dede, A, 21, 25–26, 55–60, 68 de Graft, Joe, 48, 51, 52 de Lauretis, Teresa, 38 Deliverance from the Powers of Darkness, 68 diaspora: audiences in, 9, 15, 135, 153, 170, 173, 175, 176; movies made in, 132, 143, 138; piracy in, 135; representation of in movies, 132, 142, 147, 148, 150, 152 Diawara, Manthia, 7, 24, 31, 32, 154–55 Djansi, Leila, 175, 199 Dogbe, Esi, 111, 112 Doing Their Thing, 52 Dons in Sakawa, 183, 186, 188 Dovey, Lindiwe, 5, 7 During, Simon, 95, 103, 196 Europe by Road, 137 Ferguson, James, 13–14, 19–20, 22, 102–3, 151, 152, 172 Festival Panafricain du Cinéma et de la Télévision de Ouagadougou (FESPACO), 4, 86, 89 Film and Video Producers Association of Ghana (FIPAG), 13, 98, 172, 175 Foucault, Michel, 188 Friedberg, Anne, 144–45 Frimpong-Manso, Shirley, 23, 156, 174, 182, 186, 190, 194, 199 Garuba, Harry, 192, 194 Gbormittah, Françis, 175, 199 gender, 17, 18, 40, 42, 57, 108, 113, 115, 142, 152, 181, 182, 215; activism in Ghana, 115; avenging woman, 126; gender discourses, 93, 116, 126–27; gendered gaze, 44; good-time girl, 17, 63; and modernity, 21, 26, 60; mother Africa trope, 17, 43, 59, 142; performative, 125; representations of women, 18, 63, 81, 84, 126; video as gender apparatus, 14. See also women videomakers Genesis Chapter X, 53 Ghallywood, ix, 11–14 Café Guys, 183, 186–88 capitalism, 22, 30, 63, 81, 153, 180, 182, 192, 194; videos as critique of, 11; changing nature of value, 71 Captan, Munir, 28, 65, 96, 206n2, 207n19 censorship, 66, 85, 98, 158; colonial, 28, 29, 47; Ghana National Censorship Board, 158; records, 203n7, 207n12, 210n18; violation of censorship laws, 65, 66, 165 Checkmate, 175 cinema exhibition: in Africa 1, 4, 16; in Ghana, 22, 27–31, 33, 47, 55, 61, 64–66, 69–70, 84–85, 96–99, 175, 176, 205n1 city. See...


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