The Journal of African Cinemas is a double-blind peer-reviewed journal that will explore the interactions of visual and verbal narratives in African film. It recognizes the shifting paradigms that have defined and continue to define African cinemas. Identity and perception are interrogated in relation to their positions within diverse African film languages. The editors are seeking papers that expound on the identity or identities of Africa and its peoples represented in film.

• Vol-1 No-1 (2009)
• - Globalization and African Cinema: Distribution and Reception In The Anglophone Region
• - Home Video Films and The Democratic Imperative In Contemporary Nigeria
• - Reframing African Cinema and Democracy: The Case of Cameroon
• - Beyond Colonial Stereotypes: Reflections On Postcolonial Cinema In The African Great Lakes Region
• - The Rise of The African Musical: Postcolonial Disjunction In Karmen Geï and Madame Brouette
• Vol-1 No-2 (2009)
• - From Orality To Visuality: The Question of Aesthetics In African Cinema
• - Ruin and Renewal In Idrissa OuéDraogo'S Yaaba
• - Problematizing A ‘Fundamentalist’ Ideology: A Close Analysis of Atef Hetata'S The Closed Doors and...
• - Violence In Souleymane Cissé'S Films: A Cultural Perspective
• - Music and Narrative In Five Films By Ousmane SembèNe
• - Bumping Into Reality, Brutal Realism and Bafundi 2009: Some Thoughts On A Student Film Festival
• Vol-2 No-2 (2009)
• - Thematic Concerns In The Emergent Zimbabwean Short Film Genre
• Vol-2 No-2 (0000)
• - Funding, Ideology and The Aesthetics of The Development Film In Postcolonial Zimbabwe
• Vol-2 No-2 (2009)
• - Gender Wars Around Religion and Tradition In Sembene Ousmane'S Moolaade
• - Images of Childhood In Southern Africa: A Study of Three Films
• - Revis(IT)Ing Personal, Theoretical and National Histories: A Critical Review-Essay of Encountering Modernity:...
• Vol-3 No-1 (2011)
• - Mirror Communities and Straw Individualisms: Essentialism, Cinema and Semiotic Analysis
• - Thierry Henry As Igwe: Soccer Fandom, Christening and Cultural Passage In Nollywood
• - Exploring The Communicative Function of Light, Sound and Colour In Hotel Rwanda
• - Acculturation and Imagination As Social Practice In Heremakono
• Vol-3 No-1 (0000)
• - The Reception of Nigerian Video Drama In A Multicultural Female Community In Botswana
• Vol-3 No-1 (2011)
• - Visual Revision: Intersecting Art and Film In The Work of Jean-Marie Teno and Raoul Peck
• - ‘Provoking Situations’: Abderrahmane Sissako’S Documentary Fiction
• - Permissible Documentaries: Representation In Ateyyat El Abnoudy’S Documentaries
• Vol-3 No-2 (2012)
• - Cinema On The Cultural Front: Film-Making and The Mozambican Revolution
• - The Rise and Fall of An Experimental Documentary Series In Mozambique
• - In The Name of 'Cinema Action' and Third World: The Intervention of Foreign Film-Makers In Mozambican...
• - Viewing The Angolan Experience of War and Peace Through The Filmic Representation of Luanda In Maria JoãO...
• - Rebuilding The Angolan Body Politic: Global and Local Projections of Identity and Protest In O HeróI/The Hero...
• - Ambivalent Transnationality: Luso-African Co-Productions After Independence (1988–2010)
• - Ambivalent Transnationality: Luso-African Co-Productions After Independence (1988–2010)
• Vol-4 No-1 (2012)
• - The Capital Gap: Nollywood and The Limits of Informal Trade
• - Video Exposé: Metafiction and Message In Nigerian Films
• - Hustlers, Home-Wreckers and Homoeroticism: Nollywood'S Beautiful Faces
• Vol-4 No-1 (0000)
• - Nollywood and The Idea of The Nigerian Cinema
• Vol-4 No-2 (2012)
• - Aesthetic and Narrative Strategies In The Films of Selected African Women Directors
• - The Emergence of Women’S Film-Making In Francophone Sub-Saharan Africa: From Pioneering Figures To...
• Vol-4 No-2 (0000)
• - A Transnational Feminist Rereading of Post-Third Cinema Theory: The Case of Maghreb Documentary
• Vol-4 No-2 (2012)
• - Women In Film In Cameroon: ThéRèSe Sita-Bella, Florence Ayisi, Oswalde Lewat and Josephine Ndagnou
• - Towards An African Women In Cinema Studies
• Vol-5 No-1 (2013)
• - Ecocinema In Senegalese Documentary Film
• - Anthro-Tourism, Documentary Film and Method
• - The United States of Africa: Afrofuturistic Pasts and Afropolitan Futures
• - Worth A Closer Look: A Comparative Study of Xala and Osuofia In London
• - ‘Army of Cars’: The Automobile In Flora Gomes’ The Blue Eyes of Yonta
• - Revisiting The Notion of Political Black Cinema: A Comparative Analysis of Melvin Van Peebles and Ousmane...
• - (AUTO)Biographical and Cinematographic Exposition of Dambudzo Marechera On Documentary Film and Video
• - Africa and Cinema In The Mirror of Godard’S Film Socialisme
• Vol-5 No-2 (2013)
• - Women and Posters As Heterotopias In Ousmane Sembene’S Xala
• - Audience Perception of The Reality In The Representations of Women In Nigerian Films
• - How Text Reflects Context: Representation of African Film Audiences In Aristotle’S Plot
• - Ousmane Sembene’S Vicious Circle: The Politics and Aesthetics of La Noire De …
• - ‘You Kiss In Westerns’: Cultural Translation In Moustapha Alassane’S Le Retour D’Un Aventurier
• - Eco-Cinema, Sustainability and Africa: A Reading of Out of Africa (1985), The Constant Gardener (2005) and...
• - Film Cities and Competitive Advantage: Development Factors In South African Film
• Vol-6 No-1 (2014)
• - Nollywood’S ‘Unknowns’: An Introduction
• - Nollywood Production, Distribution and Reception
• - The Perception/Reception of Dstv/Multichoice’S Africa Magic Channels By Selected Nigerian Audiences
• - Nollywood’S Aporias Part 1: Gatemen
• - Active Audiences of Nollywood Video-Films: An Experience With A Bukusu Audience Community In Chwele Market of...
• - Audience Pleasure and Nollywood Popularity In Uganda: An Assessment
• - The ‘Nigerianization’ of Ghanaian Eyes
• Vol-6 No-2 (2014)
• - Everyday Violence(S) and Visualities In Africa: An Introduction
• - The Violence In The Spectacle of Excessive Signification: Shooting Dogs (1995) and The Rwandan Genocide
• - Child Pornography and The Law: of Good Report (2013). Reopening Debates On Secrecy, Information and Censorship
• Vol-6 No-2 (0000)
• - Everything But ‘Ordinary’: Representations of Africa In Film
• Vol-6 No-2 (2014)
• - Tia (THIS IS AFRICA!): Colonial Violence In Edward Zwick’S Blood Diamond (2006)
• - Filming Violence In Kenya: From The Everyday To The Spectacular In Hillary Ng’Weno’S Documentaries
• - Violence As A Symbolic Tool of Enunciation: Film As An Artistic Response To Kenya’S Socio-Eco-Political...
• - HIV and AIDS: The Violence of Visuality and The Visuality of Violence
• - Making Room For Women In The Last Chapter of The War Story: Fanta RéGina Nacro’S La Nuit De La VéRité/The...
• Vol-7 No-1 (2015)
• - Accessing The Archive: A Tv History of Afrikaans Film
• - The Cultural Politics of Adaptation: Fools and The Politics of Gender
• - Violence As Intentionality For Survival and Power In Two Yoruba Films
• - Art’S Subtle, Liberating Ways: Violence, Trauma and Agency In Fanta Regina Nacro’S The Night of Truth...
• - The Gods Must Be Crazy: Sorry, But It’S Still Funny
• - Report On The International Workshop ‘Featuring Africa: Exploring The Plurality of African Digital Film...
• Vol-7 No-2 (2015)
• - Cinema In East Africa: Introduction
• - A Feminist Approach To Contemporary Female Kenyan Cinema: Women and Nation In From A Whisper (KAHIU, 2008) and...
• - Kenya’S Riverwood: Market Structure, Power Relations, and Future Outlooks
• - Film Production As A ‘Mirror of Society’: The History of A Video Film Art Group In Dar Es Salaam, Tanzania
• - Innovation and Its Obstacles In Tanzania’S Bongowood
• - The Slum Film Festival In Nairobi: Exploring Cinematic Representation From The Urban Margins
• - Screening Ethiopia: A Preliminary Study of The History and Contemporary Developments of Film Production In...
• - Cinematographic Techniques In Three Kenyan Films

NOTES FOR CONTRIBUTORS 2011

1. ​​Research articles will be evaluated by double-blind peer review

• Contain original research or scholarship
• Not be under consideration by any other publication
• Not normally exceed 8000 words
• Conform to the instructions outlined below

2. Format of submitted articles

• Submissions to “The Journal of African Cinemas” should be sent as an attachment to an e-mail message to the editor at .
• Electronic copies should be submitted by Word format.
• Data required before publication of any article: Articles accepted for publication cannot be sent to the publishers until they contain:

– Correct Harvard style references (see below for details)
– Title, name of author, author institutional affiliation, author biography, contact details and acknowledgements
– Abstract (max. 150 words)
– Keywords (max. 6), in lower case
– A list of ‘References’ containing only works cited in the article
– 1.5 spacing

• Quotations should be used sparingly and be identified by ‘single’ quotation marks if they are embedded in the text. Longer quotations (i.e. longer than 45 words) should be indented on both sides, without quotes. Both should be referenced using the Harvard system. The page number(s) must be included.
• Non-English words and phrases inserted in the text should be in italics.
• Images need to be submitted separately from the article, i.e. not embedded in the paper. The images must be production-ready high-resolution images in JPEG, TIFF or PDF. The minimum resolution is 300 dots per inch (dpi). Captions are advisable with all images. In addition, please number all images, so as to include the sequential number and title.
• Photocopies are not advisable, only for rare documents.
• Diagrams and sketches can be supplied in one of the following formats: JPEG, TIFF or PDF. The minimum resolution is 300 dpi.
• Art reproductions should include title, medium, size, year and copyright details.
• The responsibility of obtaining copyright regarding reproduction of images lies with the contributor.
• A list needs to accompany the images in order as they should appear.
• It is best to supply tables in both Word and PDF documents. The table can be included in the text or supplied separately.

3. Book review title format

• Please ensure that the title of the book and other media reviews are stated in the following order:

Title of publication, First name and last name of author, (Date of publication), Edition number

Place of publication, name of publisher, number of pages (nnn pp.), First ISBN, Hardback/Paperback, Price, (if appropriate) Second ISBN, Hardback/Paperback, Price.

4. Notes

• ‘Explanatory notes’ should be kept to a minimum.
• The notes will appear at the side of appropriate pages, but the numerical sequence runs throughout the article.
• Please use the Word (or equivalent) ‘Footnote’ facility and ensure that they are submitted as endnotes, not footnotes.
• Place endnote marks outside the punctuation (after the comma or full stop). The note mark must be in superscripted Arabic (1, 2, 3), not Roman (i, ii, iii).
• The endnotes should be placed after the references.

5. Cited films

• References embedded in the text, on the first occurrence, give the Title (Surname of director, year of the film’s release). For a foreign film, Original Title/English Translation appears in italics, if a distributor is known. Alternatively, a literal English translation is given in brackets, in Roman script.
• A list of Cited films precedes the Reference list. Enter Surname, first name, (year of release), Title (min.), Name(s) of Producer(s), (Country/Countries of production), dist. (Name) if distributor is known. For a foreign film, enter Original title(s)/Translation, otherwise give the English translation in brackets. Examples:
• Roodt, Darrell James (1992), Sarafina (117 min.), Buena Vista/BBC/MPAA, South Africa/UK/USA.
• Sissako, Abderrahmane (2002), Heremakono/En attendant le bonheur/Waiting for Happiness (95 min.), Duo Films/Arte, France, dist. New Yorker Films.
• Idrissa Ouedraogo (1994), Le cri du coeur (Cry of the Heart) (85 min.), Les Films de la plaine/Les films de l’avenir/Le Centre Européen Cinématographique Rhône/Alpes, Burkina Faso/France, dist. Médiathèque des Trois Mondes.

6. References

• Harvard references embedded in the main text should use the following format (Armes 2006: 110). This format also applies to an author published in an edited book; do not give the editor’s name in the embedded reference, for example, (Gabriel 1989: 60). Likewise, quotations from websites should be identified with the author’s name and date of the website if available and/or mention of the year accessed (Mhando 2002: accessed 2008). (If no author is available, quote (Anon. followed by the first words of the title: accessed year)
• Publications not mentioned in the text should not be included in this list, although they may be included under a separate ‘Further reading’ list.

Reference list:

A single list of references should be included at the end of the article. Websites addresses are listed in the same way as any other publications and not in the endnotes. State the authors first name if available. For multi-authored books, initials might be preferred.

Books

(Capitals are expected in English but not in French titles except for proper nouns.)

Givanni, June (ed.) (2000), Symbolic Narratives/African Cinema: Audiences, Theory and the Moving Image, London: BFI.

Niang, Sada (ed.) (1996), Littérature et cinéma en Afrique francophone: Ousmane Sembène et Assia Djebar, Paris: L’Harmattan.

Chapter or article in an edited book

Gabriel, Teshome H. (1989), ‘Third Cinema as Guardian of Popular Memory: Towards a Third Aesthetics’, in Jim Pines and Paul Willemen (eds), Questions of Third Cinema, pp. 53–64.

Tomaselli, Keyan G., Shepperson, Arnold and Eke, Maureen (1999), ‘Towards a Theory of Orality in African Cinema’, in Kenneth W. Harrow (ed.), African Cinema: Postcolonial and Feminist Readings, Trenton, NJ/Asmara, Eritrea: Africa World Press, pp. 45–71.

Journal Articles

Beittel, M. (1990), ‘Mapantsula: Cinema, Crime and Politics on the Witwatersrand’, Journal of Southern African Studies, 16: 4, pp. 751–760.

Internet Sources

Please state when the site was accessed.

Mhando, Martin (2002), ‘Approaches to African cinema study’, http://www.sensesofcinema.com/contents/00/ 8/african.html, Accessed 07 January 2008.

Newspaper Articles

Richie, P. (2007), ‘Bunnychow a Taste of South Africa’, Sunday Times, 28 September, p. 15.

Thesis

Oosthuysen, C. (1997), Intertextuality in the Soap Opera Egoli: Culture and Consumption, Masters Thesis: University of KwaZulu-Natal at Durban.

Interviews

When the informant says something directly to the author, state in brackets (personal communication).

A more formal interview would be cited as (Robinson 21 December 2007 interview).

Robinson, G. (2007). Interview with author, 21 December: Durban.

• Use ‘Anon.’ for items for which you do not have an author.
• (ed.) and (eds) must be used.
• Commas, not full stops, must be used between parts of item.
• Place the name of the translator of a book within brackets after the title and preceded by ‘trans.’.
• Do not add in ‘no.’ for the journal number.
• Insert a colon between the journal volume and number.
• Use p. or pp. before page extents.
• Insert page references for the whole article or chapter.
• Place a full stop at the end of all references in the list.

Keyan G. Tomaselli 


Editor

Martin Mhando 


Editor

Claire Andrade-watkins, Emerson College

Member

Roy Armes, Middlesex University

Member

Imrah Bakari, King Alfred’s College

Member

Olivier Barlet, Africultures

Member

Boulou Ebanda De B’béri, University Of Ottawa

Member

Martin Botha, University Of Cape Town

Member

Mbye Cham, Howard University

Member

Michael Dearham, M-net: Head Of Sales & Library Acquisitions

Member

Dominica Dipio, Makerere University

Member

Lindiwe Dovey, School Of African And Oriental Studies (soas)

Member

Maureen N. Eke, Central Michigan University

Member

Marie-hélène Gutberlet, J.w.goethe-universität

Member

Kenneth W. Harrow, Michigan State University

Member

Augustine Hatar, University Of Dar Es Salaam

Member

Jonathan Haynes, Long Island University

Member

Edwin Hees, Stellenbosch University

Member

David Kerr, University Of Botswana

Member

Samuel Lelievre, Cems / Ehess And Lcp / Cnrs

Member

Jacqueline Maingard, Bristol University

Member

Ntongela Masilela, Pitzer College

Member

Pinky Mekgwe, Council For The Development Of Social Science Research In Africa (codesria)

Member

Alessandra Meleiro, Universidade Federal Fluminense (uff)

Member

Bhekizizwe Peterson, University Of Witwatersrand

Member

Sheila Petty, University Of Regina

Member

David Slocum, Steinbeis University

Member

Blandine Stefanson, University Of Adelaide

Member

Sylvia Vollenhoven, Vision In Africa, The Thomson Foundation

Member

David Wiley, Michigan State University

Member

Janina Wozniak, Nelson Mandela Metropolitan University

Member