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By Josef Gugler

In African movie: Re-imagining a Continent, Josef Gugler offers an creation to African cinema via an research of 15 movies made by means of African filmmakers. those administrators got down to re-image Africa; their movies provide Western audience the chance to re-imagine the continent and its humans. As some degree of comparability, extra movies on Africa—one from Hollywood, the opposite from apartheid South Africa—serve to focus on African directors’ altogether various views.

Gugler’s interpretation considers the monetary and technical problems of African movie construction, the meant audiences in Africa and the West, the restrictions on distribution, and the serious reception of the movies.

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Additional info for African Film: Re-Imagining a Continent

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Indb 15 9/10/2006 8:31:49 PM 16 h history of film editing following shots could yield widely different results with an audience. In their famous experiment with the actor Ivan Mosjukhin, they used the same shot of the actor juxtaposed with three different follow-up shots: a plate of soup standing on a table, a shot of a coffin containing a dead woman, and a little girl playing with a toy. Audience responses to the three sequences sug­ gested a hungry person, a sad husband, and a joyful adult, and yet the first shot was always the same.

In attitude, Vertov’s work is more experimental and free form than the work of his contemporaries. This sense of freedom and free association becomes particularly important in the work of Alexander Dovzhenko in the Ukraine and Luis Buñuel in France. In terms of editing, Vertov is more closely aligned with the history of the experimental film than with the history of the documentary. In terms of his ideas, however, he is a forerunner of the cinema verité movement in docu­ mentary film, a movement that awaited the technical achievements of World War II to facilitate its development.

Many of his later critics in the Soviet Union believed that he was too academic and his respect for ideas would supersede his respect for Soviet realism, that his politics were too aesthetic, and that his aesthetics were too individualistic. 17 Potemkin, 1925. Courtesy Janus Films Company. Still provided by British Film Institute. 18 Potemkin, 1925. Courtesy Janus Films Company. Still provided by British Film Institute. 19 Potemkin, 1925. Courtesy Janus Films Company. Still provided by British Film Institute.

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