Project MUSE®: Black Camera - Latest Articles
https://muse.jhu.edu/journal/468
Project MUSE®: Latest articles in Black Camera.daily12026-05-11T00:00:00-05:00text/htmlen-USVol. 1 (2009) through current issueLatest Articles: Black CameraTWOProject MUSE®Black Camera1947-42371536-3155Latest articles in Black Camera. Feed provided by Project MUSE®Editor's Notes
https://muse.jhu.edu/article/978606
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It is with great pleasure that we present this issue of Black Camera featuring original Close-Ups on the work of two unforgettable diasporic Black female filmmakers, the French-Guadeloupian Sarah Maldoror and the Afro-Cuban Sara Gómez. Both were familiar names among scholars of Black cinema, and while their careers did not exactly overlap, the specter of the Two Sara(h)s has hovered over discussions of the fate of cinematic works produced in the latter part of the twentieth century in the teeth of political activism of the progressive kind. Bold, imaginative, visionary, and technically inventive, their outputs, slim as they are, remain collectively an undeniable contribution to the art and history of cinema.
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/468/image/coversmallEditor's Notes2026-01-06text/htmlen-USEditor's Notes2026-01-062026TWOProject MUSE®55422026-05-11T00:00:00-05:002026-01-06A Tribute to Mbye Cham (1947–2025)
https://muse.jhu.edu/article/978607
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Mbye Cham on the Washington, D.C. program, Reels of Colour, produced and hosted by Beti Ellerson, in December 1996. Screengrab by the author.Mbye Cham has joined the ancestors, reuniting with the pioneers of African cinema who left before him. They welcome their colleague, this exemplary scholar, theorist, critic, teacher, mentor, who made an indelible contribution to the research and study of African cinemas throughout the world. He joins as well, the giants of African culture—literature and the arts, whose works he taught and analyzed or with whom he collaborated as comrades in the struggle—using culture as a weapon.This tribute is also an expression of appreciation to Mbye, giving testimony to the merits of the
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/468/image/coversmallA Tribute to Mbye Cham (1947–2025)2026-01-06text/htmlen-USA Tribute to Mbye Cham (1947–2025)2026-01-062026TWOProject MUSE®239552026-05-11T00:00:00-05:002026-01-06Sinners (2025): Critical Approaches to Ryan Coogler's Groundbreaking Black Vampiric Horror Film
https://muse.jhu.edu/article/978608
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On April 18, 2025, acclaimed director Ryan Coogler released his fifth feature film, Sinners. Set to the backdrop of 1932 Clarksdale, Mississippi in the height of the Jim Crow era, Coogler blends elements of vampire horror, period films, and musicals to construct a narrative steeped in the histories of American Blackness and to critique various structures of power including anti-Black racism, colonialism, and imperialism. Sinners follows emerging bluesman Sammie, also known as "Preacher Boy" (played by Miles Caton and blues singer Buddy Guy), who helps his twin gangster cousins Smoke and Stack (both played by Michael B. Jordan) open a juke joint. The evening of its opening, Irish vampire Remmick (played by Jack
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/468/image/coversmallSinners (2025): Critical Approaches to Ryan Coogler's Groundbreaking Black Vampiric Horror Film2026-01-06text/htmlen-USSinners (2025): Critical Approaches to Ryan Coogler's Groundbreaking Black Vampiric Horror Film2026-01-062026TWOProject MUSE®97052026-05-11T00:00:00-05:002026-01-06Beyond the Text: New Cinema Histories in the Caribbean
https://muse.jhu.edu/article/978609
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Stories abound about the dynamic and volatile character of the cinema audience in the Caribbean. V.S. Naipaul recounts in The Middle Passage (1963), a Trinidadian patron's loud response: "You lie! You lie!", to Lauren Bacall's assertion in To Have and Have Not (dir. Howard Hawks, 1944) that she is a native of Port of Spain.1 There is also the legendary premiere of The Harder They Come (dir. Perry Henzell, 1972) in Kingston, Jamaica when patrons stormed the gates of the theater, preventing specially invited guests, members of the elite, from entering. Poet and historian Kamau Brathwaite described that event as "a dislocation in the socio-colonial pentameter, in the same way that [the film's] music, and its stars and
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/468/image/coversmallBeyond the Text: New Cinema Histories in the Caribbean2026-01-06text/htmlen-USBeyond the Text: New Cinema Histories in the Caribbean2026-01-062026TWOProject MUSE®109082026-05-11T00:00:00-05:002026-01-06The Future of African Filmmaking: A Roundtable Discussion
https://muse.jhu.edu/article/978610
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Our continent, ridden with so many internal and external problems, is more alive than ever. We have to be daring and reconquer our cultural and cinematographic space.Graphic for the "Best of FESPACO" programming at Indiana University. Image courtesy of the authors.This article is the transcript of an online event held on April 21, 2023, at Indiana University, Bloomington, and titled "The Future of African Filmmaking." The event was a panel discussion comprising filmmakers, curators, and festival directors, and as part of an inaugural series, Best of FESPACO, co-curated by Alicia Kozma, Director of IU Cinema; Michael T. Martin, former Editor-in-Chief of Black Camera: An International Film Journal; and Joshua
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/468/image/coversmallThe Future of African Filmmaking: A Roundtable Discussion2026-01-06text/htmlen-USThe Future of African Filmmaking: A Roundtable Discussion2026-01-062026TWOProject MUSE®705712026-05-11T00:00:00-05:002026-01-06Filming Precarious Subjects: A Conversation with Amandine Gay and Enrico Bartolucci
https://muse.jhu.edu/article/978611
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Amandine Gay. Image courtesy of the author.Amandine Gay (fig. 1) is a French scholar, artist, writer, filmmaker, producer, and Afro-feminist activist who dedicates most of her time to academic research and creation. A politically engaged author, she defines her writing, whether cinematographic, journalistic or literary, as an act of emancipation to reclaim her narrative. In 2017, along with her partner, Enrico Bartolucci, who has mastered various technical skills as a photographer, cinematographer, editor, director, and producer, they established their own film production and distribution company, called Bras de Fer Production. Combining their talents and artistic vision, they turn to documentary filmmaking as a
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/468/image/coversmallFilming Precarious Subjects: A Conversation with Amandine Gay and Enrico Bartolucci2026-01-06text/htmlen-USFilming Precarious Subjects: A Conversation with Amandine Gay and Enrico Bartolucci2026-01-062026TWOProject MUSE®429432026-05-11T00:00:00-05:002026-01-06Close-Up: Sambizanga (1972): Aesthetics and Politics in Sarah Maldoror's Film: An Introduction
https://muse.jhu.edu/article/978612
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Sarah Maldoror's film Sambizanga is one of the most important films of the twentieth century's second half. Set in the inaugural days of the struggle for liberation in Angola against the colonial Portuguese, Sambizanga shows the struggle and journey of a young mother, Maria, who searches for her husband, Domingos, after he is kidnapped and imprisoned by the colonial authorities. In part, Sambizanga is a film that presents Maria's becoming revolutionary, as she is initially ignorant of Domingos's participation in underground anti-colonial organizing. But it is equally, if not more so, a film that shows the revolutionary character of Maria herself, and the other women, children, elders, and able-bodied men, as they
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/468/image/coversmallClose-Up: Sambizanga (1972): Aesthetics and Politics in Sarah Maldoror's Film: An Introduction2026-01-06text/htmlen-USClose-Up: Sambizanga (1972): Aesthetics and Politics in Sarah Maldoror's Film: An Introduction2026-01-062026TWOProject MUSE®304622026-05-11T00:00:00-05:002026-01-06Sambizanga Unfolded: Nationality, Translation, and Feminism in a Revolutionary Film
https://muse.jhu.edu/article/978613
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Born in Condom (France), to a Guadeloupean father and French mother, Sarah Maldoror (1929‒2020), née Ducados, held an artistic trajectory that encompasses theater and mostly filmmaking, the art form and language in which she attained the most recognition. After completing her secondary studies, Maldoror settled in Paris, where she began her theatrical training at the Centre d'Art Dramatique de la Rue Blanche. In the following years, she performed some minor roles in several plays, soon becoming aware of the restricted range of parts available to African and black actors.2 In 1956, to counteract the white-dominated Parisian theater scene, Maldoror founded (with Timité Bassouri, Ababacar Samb, and Toto Bissainthe)
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/468/image/coversmallSambizanga Unfolded: Nationality, Translation, and Feminism in a Revolutionary Film2026-01-06text/htmlen-USSambizanga Unfolded: Nationality, Translation, and Feminism in a Revolutionary Film2026-01-062026TWOProject MUSE®1174402026-05-11T00:00:00-05:002026-01-06Sambizanga (1972/2021): The Thin Green Line Between Canons and Revolutions
https://muse.jhu.edu/article/978614
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Sambizanga (Angola, 1972) is a fictional account of the beginning of the armed struggle for Angolan independence from Portugal. Set a decade before its release, Sambizanga is unique in that it is an anti-colonial film that was released while Angola was still fighting for independence. Its revolutionary status was reinforced by the participation of active members of the liberation group Movimento Popular de Libertação de Angola (MPLA) with the film's production, including Mário Pinto de Andrade, the Angolan poet and co-founder of the MPLA, who co-wrote the script with French writer Maurice Pons. MPLA guerrilla fighters participated in the film as non-professional actors, most notably Domingos Oliveira who played the
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/468/image/coversmallSambizanga (1972/2021): The Thin Green Line Between Canons and Revolutions2026-01-06text/htmlen-USSambizanga (1972/2021): The Thin Green Line Between Canons and Revolutions2026-01-062026TWOProject MUSE®1011022026-05-11T00:00:00-05:002026-01-06Anti-Colonial Public Service? Swedish Television and the Funding of Sambizanga
https://muse.jhu.edu/article/978615
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It is well known that Swedish television produced, programmed, and financed unique reportages, documentaries, and "solidarity films" from liberation struggles and anti-colonial movements in the postwar period. Swedish TV journalists and independent filmmakers reported from across the so-called Third World, particularly Africa, during decolonization. This has been documented in scholarship and popularized through films such as Concerning Violence (dir. Göran Hugo Olsson, 2014, Sweden) and Transmission from the Liberated Zone (dir. Filipa César, 2015, Sweden).1 Less well known is that the public-service broadcaster also co-funded non-Swedish radical filmmakers who were part of these very struggles, like Madubuko
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/468/image/coversmallAnti-Colonial Public Service? Swedish Television and the Funding of Sambizanga2026-01-06text/htmlen-USAnti-Colonial Public Service? Swedish Television and the Funding of Sambizanga2026-01-062026TWOProject MUSE®316072026-05-11T00:00:00-05:002026-01-06Aesthetics of Liberation: Carceral Intimacies in Sarah Maldoror's Sambizanga (1972)
https://muse.jhu.edu/article/978616
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The article “Aesthetics of Liberation: Carceral Intimacies in Sarah
Maldoror’s Sambizanga (1972),” signed by Dineo Maine and appearing
in the issue of Black Camera (vol. 17, no.1, p. 120–142) as part of the Close-Up
on Sambizanga is being retracted as partial plagiarism of the article “Militant
Mothers: Gender and the Politics of Anticolonial Action in Côte d’Ivoire”
(The Journal of African History (2022), 63(3), p. 348–367) by Elizabeth Jacob.
Readers are advised to desist from using the retracted item. We apologize
to readers and to the author of the previously published article for this very
serious oversight.—Black Camera Editorial TeamIn the depths of colonial darkness, a radiant glow of resistance flickered
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/468/image/coversmallAesthetics of Liberation: Carceral Intimacies in Sarah Maldoror's Sambizanga (1972)2026-01-06text/htmlen-USAesthetics of Liberation: Carceral Intimacies in Sarah Maldoror's Sambizanga (1972)2026-01-062026TWOProject MUSE®731982026-05-11T00:00:00-05:002026-01-06On Screening Sambizanga in Lagos: The Monangambee Film Collective in Conversation
https://muse.jhu.edu/article/978617
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The following is an edited transcript of a conversation held by the members of the Monangambee Film Collective via Zoom on April 6, 2025 on the occasion of this Close-Up.A good place to begin might be historicizing the events around the Carceral Frames, Fugitive Dreams screening of Sambizanga held on November 13, 2021, in Lagos. Afterwards, we may perhaps go into the specifics of the film, and the relevance of Sarah Maldoror as an anchor to the Monangambee Collective. And then also discuss Lagos screening cultures, et cetera. These are just some suggestions for how to frame the conversation.That sounds great. Carceral Frames, Fugitive Dreams was one of our earliest collaborations with hFACTOR, a Lagos-based queer
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/468/image/coversmallOn Screening Sambizanga in Lagos: The Monangambee Film Collective in Conversation2026-01-06text/htmlen-USOn Screening Sambizanga in Lagos: The Monangambee Film Collective in Conversation2026-01-062026TWOProject MUSE®336442026-05-11T00:00:00-05:002026-01-06Reflections on Sarah Maldoror's Sambizanga: An Interview with Annouchka de Andrade
https://muse.jhu.edu/article/978618
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Sambizanga was largely unavailable and relatively rarely screened for several decades, occasionally surfacing on the internet during the last decade or so. What was Maldoror's feeling on the film's relative unavailability during the decades after she made it? Given that Sambizanga was, in large part, intended to elevate the struggle of the Angolan independence movement, what importance did Maldoror assign to the film after that goal had been achieved? Did she make attempts to have the film re-released or re-circulated herself? And what was her feeling when someone finally did propose and follow through with the project of the film's restoration and re-release?Sarah Maldoror made the film in 1972. It was released in
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/468/image/coversmallReflections on Sarah Maldoror's Sambizanga: An Interview with Annouchka de Andrade2026-01-06text/htmlen-USReflections on Sarah Maldoror's Sambizanga: An Interview with Annouchka de Andrade2026-01-062026TWOProject MUSE®250952026-05-11T00:00:00-05:002026-01-06An Introduction
https://muse.jhu.edu/article/978619
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Odette Casamayor-Cisneros once described a scene in Sara Gómez's documentary En la otra isla / On the Other Island (Cuba, 1968) in which one of the film's subjects, an opera singer trained at the Instituto Superior de Arte, uncomfortably details a certain "apathy" he feels among his white women counterparts. He hesitates to attribute this apathy to racial prejudice, but he does question whether a Black man will ever be allowed to play great roles in productions like Giuseppe Verdi's La Traviata in Cuba. As Casamayor-Cisneros describes, the scene is filmed in such a way that the viewer experiences a sense of intimacy with the singer, Rafael. His discomfort is palpable as he tries to articulate his experiences while
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/468/image/coversmallAn Introduction2026-01-06text/htmlen-USAn Introduction2026-01-062026TWOProject MUSE®210182026-05-11T00:00:00-05:002026-01-06Agnès Varda, Sara Gómez, and the Communist Semidocumentary
https://muse.jhu.edu/article/978620
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After the overthrow of the Batista regime, one of the very first acts of Cuba's revolutionary government was the creation of the ICAIC, or Instituto Cubano del Arte e Industria Cinematográficos, in March 1959. The failed Bay of Pigs invasion in April 1961 signified a moment of optimism and potential for the new revolutionary state. In the early 1960s, Cuba invited many well-known European filmmakers to the new country, as the institute sought to become a center for Latin American and Caribbean leftist film culture.1It was also a moment of flourishing cinephilia on the revolutionary island. Susan Lord notes that Alfredo Guevara, who oversaw ICAIC with Julio García Espinosa and wanted to make Cuba into "a huge
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/468/image/coversmallAgnès Varda, Sara Gómez, and the Communist Semidocumentary2026-01-06text/htmlen-USAgnès Varda, Sara Gómez, and the Communist Semidocumentary2026-01-062026TWOProject MUSE®1195652026-05-11T00:00:00-05:002026-01-06Reviving Gestures and Insect Life in the Films of Sara Gómez: Ethical and Aesthetic Issues of Digital Restoration
https://muse.jhu.edu/article/978621
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In January 2022, I joined the Vulnerable Media Lab (VML) at Queen's University in Kingston, Ontario, as part of a work residency for a master's program in Film/Photo Preservation & Collections Management from Toronto Metropolitan University, funded by the Archive/Counterarchive Canada grant.1 I was brought in to be part of a two-person team whose goal was to learn DIAMANT software in order to digitally restore several documentaries made between 1962 and 1973 at the Instituto Cubano del Arte e Industria Cinematográficos (ICAIC) by the revolutionary Black Cuban filmmaker Sara Gómez. Gómez consistently granted a stronger presence to women and Black Cubans in her films than did her fellow directors, and her work was
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/468/image/coversmallReviving Gestures and Insect Life in the Films of Sara Gómez: Ethical and Aesthetic Issues of Digital Restoration2026-01-06text/htmlen-USReviving Gestures and Insect Life in the Films of Sara Gómez: Ethical and Aesthetic Issues of Digital Restoration2026-01-062026TWOProject MUSE®771042026-05-11T00:00:00-05:002026-01-06"Faire boutique": Reframing Safi Faye's Place in Petit à Petit, by Jean Rouch
https://muse.jhu.edu/article/978622
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I am a young woman who came to do '68: "it is forbidden to forbid"; a young woman who wore miniskirts and boots, who spent her nights in clubs … but who was always [studying]. … I want to show that I chose my life. That I lived freely, without interdictions.2An elegant woman coiffed in a head wrap driving a cabriolet suddenly appears among the cacophony of cars on the Champs-Élysées. Her name is Safi, interpreted by Safi Faye herself. She spots two men, Damouré and Lam, in their newly acquired Bugatti convertible. They hit it off instantly. Her commanding presence immediately changes the dynamics of the film; shifting the narrative that heretofore focused on the two protagonists as they navigated by foot, taxi, and
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/468/image/coversmall"Faire boutique": Reframing Safi Faye's Place in Petit à Petit, by Jean Rouch2026-01-06text/htmlen-US"Faire boutique": Reframing Safi Faye's Place in Petit à Petit, by Jean Rouch2026-01-062026TWOProject MUSE®944992026-05-11T00:00:00-05:002026-01-06The Sembène and Vieyra Archives in Bloomington: An Interview with Alain Sembène, Jacques Vieyra, and Stéphane Vieyra
https://muse.jhu.edu/article/978623
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We are here in Bloomington in the company of researchers who have come to work on your families' pasts. How do you feel about that?It was very difficult to get these archives brought over. It took several years. This is the first time that I have come to Bloomington and it's very moving. I was afraid that the archives would disappear, but here they are saved, and in excellent conditions. I am highly satisfied with the result. Everything has been digitalized, both the texts and the films. These archives have brought together researchers from the world over, and will help better know and understand my father.I was already invited to a workshop in 2019, the aim of which was to study Paulin Soumanou Vieyra's importance
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/468/image/coversmallThe Sembène and Vieyra Archives in Bloomington: An Interview with Alain Sembène, Jacques Vieyra, and Stéphane Vieyra2026-01-06text/htmlen-USThe Sembène and Vieyra Archives in Bloomington: An Interview with Alain Sembène, Jacques Vieyra, and Stéphane Vieyra2026-01-062026TWOProject MUSE®332032026-05-11T00:00:00-05:002026-01-06Professional Notes and Research Resources
https://muse.jhu.edu/article/978624
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African Cinema and UrbanismMarie-Paule Macdonald, Anthem Press, 2024African Energy Worlds in Film and MediaCarmela Garritano, Indiana University Press, 2025The African Gaze: Photography, Cinema and PowerAmy Sall, Mamadou Diouf, Yasmina Price, and Zoé Samudzi, Thames and Hudson, 2024Black Caesars and Foxy Cleopatras: A History of Blaxploitation CinemaOdie Henderson, Abrams Books, 2024Black Girl (Le noire de …) (BFI Film Classics)\Vlad Dima, British Film Institute, 2025.Blaxploitation Cinema Word Search: 50 Puzzles for AdultsHazmat, Stevie, Independently Published, 2025The Essential Writings of Robert A. HillAdam Ewing, University Press of Florida, 2024The Ethnographic Optic: Jean Rouch, Chris Marker, Alain Resnais
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/468/image/coversmallProfessional Notes and Research Resources2026-01-06text/htmlen-USProfessional Notes and Research Resources2026-01-062026TWOProject MUSE®52662026-05-11T00:00:00-05:002026-01-06Close-Up Proposal Guidelines
https://muse.jhu.edu/article/978625
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Black Camera will consider proposals for Close-Ups. Guest Editors must first provide a Call for Papers to be accepted by the Editor. Guest Editors should keep the following in mind:Close-Ups must follow the submission guidelines for Black Camera.Black Camera accepts up to three images per article and requires the image quality to be 300 dpi, in JPG format. Contributors are responsible to obtain permission to print these images.Black Camera is open to suggestions Guest Editors may have for the issue cover image.Generally, Close-Ups consist of an introduction by the Guest Editor and three to eight pieces on the topic of the Guest Editor's curation, 150 to 250 manuscript pages. If the page count for a Close-Up falls
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/468/image/coversmallClose-Up Proposal Guidelines2026-01-06text/htmlen-USClose-Up Proposal Guidelines2026-01-062026TWOProject MUSE®34152026-05-11T00:00:00-05:002026-01-06