In this Issue

Table of Contents

Editor's Notes

pp. 1-3
DOI: https://doi.org/10.2979/blc.00001
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"Oh, the Places It Did Go": The Diasporic Journeys of Blaxploitation

pp. 4-6
DOI: https://doi.org/10.2979/blc.00002
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Revisiting Sara Gómez

pp. 7-9
DOI: https://doi.org/10.2979/blc.00003
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Sambizanga (1972): Aesthetics and politics in the film of Sarah Maldoror—Black, African, anti-colonialist, feminist

pp. 10-11
DOI: https://doi.org/10.2979/blc.00004
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Renewing Black Radicalism and Labor Militancy with Finally Got the News (1970): An Introduction

Cole Nelson
pp. 12-19
DOI: https://doi.org/10.2979/blc.00005
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"A Component Part of the General Struggle of All the People of the World": Finally Got the News between Black Detroit and the World Revolution

Zachary Williams
pp. 20-51
DOI: https://doi.org/10.2979/blc.00006
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An American Dilemma? It's Happening in Detroit, or the Swedish History of Finally Got the News (1970)

John Sundholm
pp. 52-78
DOI: https://doi.org/10.2979/blc.00007
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Self-Defense and the Surround in Finally Got the News (1970)

Travis Williams
pp. 79-92
DOI: https://doi.org/10.2979/blc.00008
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Finally Got the News, on Another Continent

Ferruccio Gambino
pp. 93-99
DOI: https://doi.org/10.2979/blc.00009
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Finally Got the News: The Making of a Radical Film

Dan Georgakas, Cole Nelson
pp. 100-109
DOI: https://doi.org/10.2979/blc.00010
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An Interview with John Watson

Dan Georgakas, Giorgio Losi
pp. 110-120
DOI: https://doi.org/10.2979/blc.00011
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Dossier 1: Seizing the Means of Cultural Production—A Selection of Interviews on Finally Got the News

Chris Robé, Cole Nelson
pp. 121-157
DOI: https://doi.org/10.2979/blc.00012
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Dossier 2: Getting Out the News: Historical Documents

Cole Nelson
pp. 158-182
DOI: https://doi.org/10.2979/blc.00013
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Part I–Introduction: Journeys into the Cinematic Imaginary of the Africas/Diasporas of Women

Beti Ellerson
pp. 183-188
DOI: https://doi.org/10.2979/blc.00014
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Part II–(Re)imagining Cinematic Histories of Africa: African Women, Cinema, and the Tale of Kadidia Pâté

Beti Ellerson
pp. 189-196
DOI: https://doi.org/10.2979/blc.00015
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Part III–Women’s TransAfrican Cinematic Practice and Activism: Mapping the Trajectory of an African Women’s Cinematic Consciousness: Introduction: Blazing the Trail, Pioneering the Way

Beti Ellerson
pp. 199-207
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Part III–Women’s TransAfrican Cinematic Practice and Activism: Mapping the Trajectory of an African Women’s Cinematic Consciousness: A Memorial Tribute to Sarah Maldoror (1929–2020), the Quintessential TransAfrican Filmmaker: "Cinema is a Tool of Revolution"

Beti Ellerson
pp. 208-218
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Part III–Women’s TransAfrican Cinematic Practice and Activism: Mapping the Trajectory of an African Women’s Cinematic Consciousness: A Memorial Tribute to Safi Faye (1943–2023), the Exemplar Transnational Woman in Her Quest to Visualize African Histories

Beti Ellerson
pp. 219-220
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Part III–Women’s TransAfrican Cinematic Practice and Activism: Mapping the Trajectory of an African Women’s Cinematic Consciousness: Annette Mbaye d'Erneville, Journalist, Serving My Country

Beti Ellerson
pp. 221-224
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Part III–Women’s TransAfrican Cinematic Practice and Activism: Mapping the Trajectory of an African Women’s Cinematic Consciousness: Joy Nwosu Lo-Bamijoko: Cinema e Africa Nera and a Seminal Moment of Africa/Diaspora Cinematic Discourse in Italy

Leonardo De Franceschi, Beti Ellerson
pp. 225-239
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Part III–Women’s TransAfrican Cinematic Practice and Activism: Mapping the Trajectory of an African Women’s Cinematic Consciousness: The Fantastic Creative Possibilities Offered by Documentaries According to Moroccan Filmmaker Izza Genini

Thérèse-Marie Deffontaines
pp. 240-243
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Part III–Women’s TransAfrican Cinematic Practice and Activism: Mapping the Trajectory of an African Women’s Cinematic Consciousness: M'Bissine Thérèse Diop: La Noire de …, a Black Woman from Senegal, Outside the Frame

Beti Ellerson
pp. 244-252
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Part III–Women’s TransAfrican Cinematic Practice and Activism: Mapping the Trajectory of an African Women’s Cinematic Consciousness: Carrie Dailey, an African American in Her Search for a Cultural Heritage and Identity

Beti Ellerson
pp. 253-261
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Part III–Women’s TransAfrican Cinematic Practice and Activism: Mapping the Trajectory of an African Women’s Cinematic Consciousness: Françoise Pfaff: An Enduring Regard Croisé, Forging an African Cinema Studies in the United States

Beti Ellerson
pp. 262-273
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Part III–Women’s TransAfrican Cinematic Practice and Activism: Mapping the Trajectory of an African Women’s Cinematic Consciousness: Euzhan Palcy: "I Wanted to, in My Own Way, Make My Cinema a Miraculous Weapon."

Beti Ellerson
pp. 274-277
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Part III–Women’s TransAfrican Cinematic Practice and Activism: Mapping the Trajectory of an African Women’s Cinematic Consciousness: Mariama Hima: Reflections on Double Colonization as an African Woman Filmmaker

Beti Ellerson
pp. 278-281
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Part IV–Building a Legacy, Preserving a Heritage of African-Diasporic Cinematic Experiences: Introduction

Beti Ellerson
pp. 283-285
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Part IV–Building a Legacy, Preserving a Heritage of African-Diasporic Cinematic Experiences: A Tribute to Chantal Bagilishya: "To Work on a Project about Africa Provides Me with a Connection with Africa"

Beti Ellerson
pp. 286-294
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Part IV–Building a Legacy, Preserving a Heritage of African-Diasporic Cinematic Experiences: A Tribute to D. Elmina Davis (1958–1995): D. Elmina Davis, Sister D. of Ceddo Film & Video

Imruh Bakari
pp. 295-297
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Part IV–Building a Legacy, Preserving a Heritage of African-Diasporic Cinematic Experiences: The Practice of Curating the June Givanni Pan African Cinema Archive: A Conversation with the Founding Director (Introduction)

Michael T. Martin
pp. 298-300
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Part IV–Building a Legacy, Preserving a Heritage of African-Diasporic Cinematic Experiences: Journeying and Researching Ghanaian/Diaspora Women's Filmmaking Practices

Joyce Osei Owusu
pp. 301-307
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Part IV–Building a Legacy, Preserving a Heritage of African-Diasporic Cinematic Experiences: Visions for Empowerment and Development of the 7th Art in Africa: A Conversation with Souad Houssein

Beti Ellerson
pp. 308-313
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Part IV–Building a Legacy, Preserving a Heritage of African-Diasporic Cinematic Experiences: An African Film Festival in New York through an African Woman's Eyes: In Conversation with Mahen Bonetti

Beti Ellerson
pp. 314-328
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Part V–Alternative Discourses: Theorizing Lived Experiences in African Women’s Cinematic Practice, Meaning-Making, and Shaping of Knowledge: Introduction: Alternative Discourse, Meaning-Making, and Shaping of Knowledge

Beti Ellerson
pp. 330-332
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Part V–Alternative Discourses: Theorizing Lived Experiences in African Women’s Cinematic Practice, Meaning-Making, and Shaping of Knowledge: African Women's Voices as Alternative Discourse: In Conversation with Anne-Laure Folly Reimann

Beti Ellerson
pp. 333-341
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Part V–Alternative Discourses: Theorizing Lived Experiences in African Women’s Cinematic Practice, Meaning-Making, and Shaping of Knowledge: On the Outside Looking in, the Insider Reporting Out: In Conversation with Ngozi Onwurah

Beti Ellerson
pp. 342-349
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Part V–Alternative Discourses: Theorizing Lived Experiences in African Women’s Cinematic Practice, Meaning-Making, and Shaping of Knowledge: Navigating Multiple Spaces: In Conversation with Jihan El-Tahri

Beti Ellerson
pp. 350-360
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Part VI–Mediating Diasporic Cinematic Experiences and Practice: Introduction: Storytelling and the Renegotiation of Histories

Beti Ellerson
pp. 362-365
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Part VI–Mediating Diasporic Cinematic Experiences and Practice: "It Is a Quest to Question, to Probe, to Rediscover Qualities Using Cinema as a Tool": In Conversation with Wanjiru Kinyanjui

Beti Ellerson
pp. 366-372
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Part VI–Mediating Diasporic Cinematic Experiences and Practice: "My Country, I Take within Me": In Conversation with Najwa Tlili

Beti Ellerson
pp. 373-376
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Part VI–Mediating Diasporic Cinematic Experiences and Practice: "Do They Remember Us?": In Conversation with Shirikiana Aina

Beti Ellerson
pp. 377-383
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Part VI–Mediating Diasporic Cinematic Experiences and Practice: Reflections on a Digital Sankofa Storytelling Experience: In Conversation with Jacqueline Nsiah

Beti Ellerson
pp. 384-387
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Part VII–Critiquing Africas/Diasporas: Intersecting Dialogues—In Conversation with Claire Diao, Leyla Bouzid, Mati Diop, and Cornélia Glele

Falila Gbadamassi
pp. 388-400
DOI: https://doi.org/10.2979/blc.00020
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Part VIII–Reconciling Africas, Identities, Diasporas: Introduction: Who's African Anyway? An Evolving Story

Beti Ellerson
pp. 402-407
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Part VIII–Reconciling Africas, Identities, Diasporas: A Mirage in the Desert? African Women Directors at FESPACO

Claire Andrade-Watkins
pp. 408-415
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Part VIII–Reconciling Africas, Identities, Diasporas: In the Mouth the Teeth Sometimes Bite the Tongue: Reflections on the Women's Meeting at FESPACO 1991 and Beyond

Beti Ellerson
pp. 416-432
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Part VIII–Reconciling Africas, Identities, Diasporas: Reconsidering Positionality and Subjectivity within African Cinema Discourse

Beti Ellerson
pp. 433-451
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Part IX–Image Gallery: African/Diasporan Women Reframing Screen Identities

Beti Ellerson
pp. 452-463
DOI: https://doi.org/10.2979/blc.00022
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FESPACO 2023, Pt. 3: The Political Is Never Far Removed

Olivier Barlet, Melissa Thackway
pp. 464-472
DOI: https://doi.org/10.2979/blc.00023
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Professional Notes and Research Resources

pp. 473-480
DOI: https://doi.org/10.2979/blc.00024
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