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36. Tommie Shelby, We Who Are Dark : The Philosophical Foundations of Black Solidarity (Cambridge
: Harvard University Press, 2005), 176.
37. Manthia Diawara, " The Iconography of West African Cinema ", dans Symbolic Narratives/African
Cinema : Audiences, Theory and the Moving Image, ed. June Givani (Londres : BFI Publishing, 2000), 81.
38. David Murphy et Patrick Williams, " Africans Filming Africa : Questioning Theories of an Authentic
African Cinema ", Journal of African Cultural Studies 13, no 2 (2000) : 240.
39. Diawara, African Film, 45.
40. Mwezé Ngangura, " African Cinema : Militancy or Entertainment ? " dans African Experiences of
Cinema, ed. Imruh Bakari et Mbye Cham (Londres : BFI Publishing, 1996), 61-62.
41. Idrissa Ouedraego cité par Barlet. Voir Barlet, African Cinemas, 75.
42.Ukadike, Questioning African Cinema, 219.
43. Michael T. Martin, " I Am Not a Filmmaker Engagé, I Am an Ordinary Citizen Engagé : A Black
Camera Interview with Joseph Gai Ramaka ", Black Camera 22, no. 2 et 23, no. 1 (2008) : 27-28.
44. Teresa Hoefert de Turégano, Cinéma africain et Europe : Close-up on Burkina Faso (Florence : Eu-
ropean Press Academic Publishing, 2004), 195.
45. Hoefert de Turégano, Cinéma africain et Europe, 194.
46. Kwame Anthony Appiah, In My Father's House : Africa in the Philosophy of Culture (New York :
Oxford University Press, 1992), 180.
47. Achille Mbembe, " African Modes of Self Writing ", trans. Steven Rendall, Public Culture 14, no.
1 (2002) : 263.
48. Arjun Appadurai, Modernity at Large : Cultural Dimensions of Globalization, Minneapolis, Uni-
versity of Minnesota Press, 2005, p. 158. 49.
49. David Murphy et Patrick Williams, Postcolonial African Cinema : Ten Directors (Manchester : Man-
chester University Press, 2007), 19.
50. Melissa Thackway, Africa Shoots Back: Alternative Perspectives Sub-Saharan Francophone African
Film (Bloomington: Indiana University Press, 2003).
51. Barlet, African Cinemas, 260.
52. Françoise Pfaff, Focus on African Films (Bloomington: Indiana University Press, 2004), 6.
53. Ukadike, Black African Cinema, 288.
54. Diawara, African Film, 61.
55. Paul Gilroy, The Black Atlantic: Modernity and Double Consciousness (London: Verso, 1993), 31.
emphasis added.
56. Jean-Pierre Bekolo, Africa of the Future: Bringing Out a New World of Cinema (Paris: Dagan &
Medya, 2009), 49.
57. Original French: "the national cinemas of this continent are not yet so important (. . .) that we are
led to separate the study by splitting it into Algerian, Senegalese, Nigerian, Moroccan, Guinean, Ivorian
or Nigerian cinema." See Vieyra, Le cinéma africain de dese origines à 1973, 7.
58. Barlet, Les cinémas africains.
59. It is interesting to note that in her latest book, 50 ans de cinéma maghrébin (Minerve, 2009), Denise
Brahimi also uses the plural to characterize the cinemas of Morocco, Algeria and Tunisia.
60. Hoefert de Turégano, Le cinéma africain et l'Europe, 13.
61. Ibid. 206.
62. Sheila Petty, Contact Zones: Memory, Origin, and Discourses in Black Diasporic Cinema (Detroit:
Wayne State University Press, 2008).
63. Petty, Contact Zones, 1.