By Roy Armes
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Extra resources for African Filmmaking: North and South of the Sahara (Traditions in World Cinema)
5. Richard W. Hull, Modern Africa: Change and Continuity (Englewood Cliffs, NJ: Prentice-Hall, 1980), p. 243. 6. , p. 189. 7. Benedict Anderson, Imagined Communities: Reflections on the Origin and Spread of Nationalism (London and New York: Verso, 1991, revised edition), pp. 6–7. 8. , p. 7. 9. Donal B. Cruise O’Brien and Richard Rathbone, ‘Introduction’, in Donal B. Cruise O’Brien, John Dunn and Richard Rathbone (eds), Contemporary West African States (Cambridge: Cambridge University Press, 1989), p.
62. 63. 64. 65. 66. 67. 68. 69. 70. 71. 72. 73. 74. 75. 76. 77. 18 Troin, Maghreb-Moyen Orient, p. 218. Oliver, The African Experience, p. 304. Fanon, The Wretched of the Earth, p. 30. Ibid. Oliver, The African Experience, p. 283. Ibid. Eric Hobsbawm and Terence Ranger (eds), The Invention of Tradition (Cambridge: Cambridge University Press, 1983), p. 247. , p. 248. Achille Mbembe, cited in Richard Werbner and Terence Ranger (eds), Postcolonial Identities in Africa (London: Zed Books, 1996), p.
The GPRA thought the role of film important enough for it to send another young filmmaker, Mohamed Lakhdar Hamina, to study film at FAMU in Prague in 1959. Vautier himself, who was wounded three times in his various frontier crossings into Algeria, set up a film school, whose pupils made two collective documentaries in 1957–8. But before the end of the hostilities, four of the five students had been killed. 53 They found an audience not only in the Arab countries and eastern Europe, but also on Western television, where they served to counter French propaganda efforts.