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Porto-Novo, also known as Hogbonu and Ajashe, is the capital of Benin. The commune covers an area of 110 square kilometres (42 sq mi) and as of 2002 had a population of 223,552 people.
Afro-Cuban All Stars is a Cuban band led by Juan de Marcos González. Their music is a mix of all the styles of Cuban music, including bolero, chachachá, salsa, son montuno, timba, guajira, danzón, rumba and abakua.
Cinema of Africa is both the history and present of the making or screening of films on the African continent, and also refers to the persons involved in this form of audiovisual culture. It dates back to the early 20th century, when film reels were the primary cinematic technology in use. During the colonial era, African life was shown only by the work of white, colonial, Western filmmakers, who depicted Africans in a negative fashion, as exotic "others". As there are more than 50 countries with audiovisual traditions, there is no one single 'African cinema'. Both historically and culturally, there are major regional differences between North African and sub-Saharan cinemas, and between the cinemas of different countries.
Jom Tob Azulay Filmmaker and diplomat, born in Rio de Janeiro (1941). From 1971 to 1974 serves as deputy-consul of Brazil in Los Angeles while attending courses in film technique, history and aesthetics at University of Southern California (UCS), UCLA and California Institute of the Arts. Becomes familiar with the technique and aesthetics of direct-cinema in 16mm, which at the time became dominant in the production of the Documentary and which he considers appropriate for the development of an independent cinema in Brazil, including fiction. In 1972 takes a course with Hollywood's highly influential Slavko Vorkapich on Film as a Visual Art. In 1973, the experience of filming with Brazilian director of photography Fernando Duarte the recording of the LP Tom & Ellis will be decisive for the outcome of his future projects of musical documentaries in Brazil. In Los Angeles he is acquainted with the film Brazil: Report on Torture, a documentary about torture during the Brazilian military regime made in Chile by Haskell Wexler and Saul Landau (1971), which he helps to publicize clandestinely in Brazil and in the US. In 1975 he resigns for political reasons from the Ministry of Foreign Relations. Still in Los Angeles, he meets the Brazilian world-known filmmaker Alberto Cavalcanti (1897-1982) with whom he would later work influencing him in his conception of cinema. Returning to Brazil in 1974, he produces with the support of state-owned Embrafilme Um Homem e o Cinema, Cavalcanti's last work, and makes his first films as photographer-director: the medium-length documentary Exu Mangueira (1975) and the short Euphrasia (1975). Both point to his future aesthetic and thematic inclinations: the immediate rouchian apprehension of reality of direct-cinema and the reconstitution of the historical past. In 1975, he is one of the first to use portable-video equipment in Brazil, photographing video-art works by Rio de Janeiro's prominent plastic artists, as Annabela Geiger and Fernando Cochiaralli. His first feature films, The Sweet Barbarians about famed Caetano Velloso, Maria Bethania, Gilberto Gil and Gal Costa and Heart Pounding Beat (1983), are musicals about pop music using direct-cinema technique. Heart Pounding Beat uses direct-cinema technique in a fictional comedy language in which two actors improvise their dialogues as the real action - a Gilberto Gil tour from north to south of the country – takes place. The sound of the film in Dolby-Stereo, processed in Los Angeles, introduces this vital audio technology for the first time in Brazilian cinema. In 1993, he is the Brazilian producer of the ending of It's All True, unfinished film by Orson Welles, shot in 1942 in Brazil. In 1995, he releases O Judeu, a historical film, filmed in Portugal, first Portuguese-Brazilian official coproduction which he produces and directs with an international cast and technical crew. The Jew wins among others the prize of Best Movie at the 1995 Brasilia Film Festival and the HBO/Brazil (1996) award, as well as other national and international awards. Launched commercially in New York receives a positive review in the New York Times which critic Stephen Holden compares its photography, by the renowned Portuguese DP Eduardo Serra, to the painting of Caravaggio. This experience leads him to dedicate himself to the Portuguese-Afro-Brazilian cultural heritage as the thematic source for his future film projects, such as the film Estorvo by Ruy Guerra (1998), a Portuguese-Cuban-Brazilian coproduction of which he was delegate-producer. From 1999 to 2001, he works in public television as director of programs and documentaries, while also teaches cinema at Estácio de Sá University. From 2002 to 2007, acts as Head of Strategic Affairs at the recently created National Agency of Cinema (ANCINE), in which he contributes significantly to the formulation and execution of the agency's international policy. He publishes texts and gives lectures in Brazil and abroad on cinematographic politics and culture, such as the article For a Cinematographic Policy for the 21st Century in The World Film Industry, organized by Alessandra Meleiro. He acts also as audiovisual thesis examiner for the course of the Rio-Branco Institute / MRE (2006). In 2010, he is reinstated in the diplomatic career by the Amnesty Commission of the Ministry of Justice and assigned as cultural and audiovisual attaché to the Brazilian embassy in New Delhi, India. In his works, Azulay seeks to convey critical thematic objectivity with an aesthetic audiovisual look such as in: Aide-Memoire - Paths of Brazilian Diplomacy, first documentary on Brazilian diplomacy and foreign policy; Debret - A Watercolor of Brazil ,ocumentary about the French painter Jean Baptiste Debret, BNDES Selection award using puppet characters mixed with sophisticated digital special effects; Portrait of Cavalcanti, documentary for Canal Brasil about Alberto Cavalcanti; Five Times Machado, TV series based on Brazil's top writer Machado de Assis` short-stories of which he was producer and director apart from directing one of the episodes. This work used modern high-definition (HD) digital technology technique to attain a direct-cinema approach in the reconstitution of a 19th. Century historical time piece. Nowadays he is dedicated to the streaming production of the series Cartas Bahianas, once again a historical co-production with Portugal with screenplay by Millor Fernandes, Geraldo Carneiro and Ruy Guerra apart from also organizing reviews and preservation projects of his work and texts.
Fanta Regina Nacro is well known for being the first woman from Burkina Faso to direct a feature film and is a founding member of the Guilde Africaine des Realisateurs et Producteurs. She is an artist who explores the themes of African cinema while tackling issues surrounding illness such as AIDS, and education for the girl child. She represents the "New African Wave". Nacro's films tend to question the traditions of Burkina Faso, while looking at the relationship between tradition and modernity in today's world].
The following outline is provided as an overview of and topical guide to Benin:
Ola Balogun is a Nigerian filmmaker and scriptwriter. He also ventured into the Nigerian music industry in 2001. Balogun, who has been making films for more than three decades, is part of the first generation of Nigerian filmmakers.
Joel Zito Araújo is a Brazilian film director, writer and producer of films and TV programs. Since 1984, Araújo has produced one feature film, two short films and 25 documentaries. Some of these works have won prizes or been selected for screeningd at film festivals throughout the world. From 2006 to 2007, Araújo was president of the Brazilian Filmmakers Association. He received his Ph.D. in Communication Sciences from the Escola de Comunicações e Artes at the University of São Paulo in 1999. He was Postdoctoral Fellow and Visiting Professor in the Departments of Radio, TV, and Film and Anthropology as well as the Center for African & African-American Studies at the University of Texas at Austin from August 2001 to May 2002.
Sara Gómez aka Sarita Gómez was a Cuban filmmaker. As a member of ICAIC during her early years, she was one of only two black filmmakers in attendance. She was the institute's first and for her lifetime, Cuba's only, woman director. Gómez is known for her first and final feature-length film De Cierta Manera (1974). Gómez was a revolutionary filmmaker, concerned with representing the Afro-Cuban community, women's issues, and the treatment of the marginalized sectors of society. Sara Gómez's filmmaking identifies the problems of colonialism, specifically experienced by previously marginalized communities who were unaware of the possibilities of a better future. "Exposing the roots of the world that had to be left behind and demanding the arrival of the future: her mission was to allow these communities to understand the process of what was happening in their lives, their needs, and possible departures." Gómez's work highlighted inequalities of social class, as well as racial and gender discrimination. She used the lens of her camera and ethnographic knowledge to narrate histories about everyday lives in revolutionary Cuba.
Manuel Mendive Hoyos is one of the leading Afro-Cuban artists to emerge from the revolutionary period, and is considered by many to be the most important Cuban artist living today.
The historiography of Haitian cinema is very limited. It consists only one double issue of the journal of the French Institute of Haiti Conjonction, released in 1983, devoted to film; a book by Arnold Antonin, published during the same year, entitled Matériel pour une préhistoire du cinéma haïtien ; and an article by the same author in the 1981 book Cinéma de l’Amérique latine by Guy Hennebel and Alfonso Gumucio Dagrón.
Sidiki Bakaba is an actor, scenario writer and director from Côte d'Ivoire.
Luis Armando Roche was a Venezuelan film director, screenwriter, producer and director of theatre and opera. Roche born in Caracas, Venezuela. In 1999, he won the most important prize of cinema in his country. He lives in Caracas.
The Draughtsmen Clash is a 1996 film directed by Balufu Bakupa-Kanyinda of the Democratic Republic of the Congo.
Cinema of the Democratic Republic of the Congo (DRC) originated with educational and propaganda films during the colonial era of the Belgian Congo. Development of a local film industry after the Democratic Republic of the Congo became independent in 1960 was handicapped by constant civil war.
Balufu Bakupa-Kanyinda is a filmmaker from the Democratic Republic of the Congo.
The following is a timeline of the history of the city of Cotonou, Benin.
Gloria Victoria Rolando Casamayor, known as Gloria Rolando, is a Cuban filmmaker and screenwriter. Her career as a director spans more than 35 years at the Cuban national film institute ICAIC, and she also heads Imágenes del Caribe, an independent film-making group. Her films, such as Reshipment (2014), characteristically document the history of people of the African diaspora.
Charles Mensah was a Gabonese filmmaker, screenwriter and production manager. Popularly known as "The Gentleman of African Cinemas", Mensah contributed in several critically acclaimed documentaries including Équateur, Les Couilles de l'éléphant and Lybek, the crunch of the alive. He worked as an activist for the development of independent southern cinema for a career spanned more than three decades.
Joël M'Maka Tchédré, is a Togolese director, producer, screenwriter. He is best known for the films such as Pacte and T’Bool. He is also an executive producer, and festival director.
References
- 1 2 FESPACO; L'Association des Trois Mondes (2000). "Adechoubou, N'Diagne". Les cinémas d'Afrique: dictionnaire. KARTHALA Editions. p. 21. ISBN 978-2-84586-060-5.
- ↑ N'diagne ADECHOUBOU
- ↑ Françoise Pfaff (2004). Focus on African Films. Indiana University Press. pp. 261–. ISBN 0-253-21668-0.
- ↑ Mathurin C. Houngnikpo; Samuel Decalo (2013). Historical Dictionary of Benin. Rowman & Littlefield. p. 165. ISBN 978-0-8108-7171-7.
- ↑ Blandine Stefanson; Sheila Petty (2014). Directory of World Cinema Africa: Directory of World Cinema Africa. Vol. 39. Intellect Books. pp. 93–4. ISBN 978-1-78320-391-8.
