Black and White Bioscope recovers a neglected chapter in the histories of world cinema and Africa. It tells the story of movie production in Africa that long predated francophone African films and Nollywood that are the focus of most histories of this industry. At the same time as Hollywood was starting, a film industry in Southern Africa was surging ahead in integrating production, distribution, and exhibition. African Film Productions Limited made silent movies using technical and acting talent from Britain, the United States, and Australia, as well as from Africa. These included not only the original "long trek movie" and the prototype for the movies Zulu and Zulu Dawn but also the first King Solomon's Mines and the original Blue Lagoon, featuring African actors such as Goba, Tom Zulu, and Msoga Mwana, who starred as the black revolutionary in Prester John. In this lavishly illustrated book, fifty movies are reconstructed with graphic photographs and plot synopses--plus quotations from reviews--so that readers can rediscover this long-lost treasure trove of silent cinema.

Essays by prominent scholars examining film distribution in the early years of cinema. This collection of essays explores the complex issue of film distribution from the invention of cinema into the 1910s. From regional distribution networks to international marketing strategies, from the analysis of distribution catalogs to case studies on individual distributors, these essays written by well-known specialists in the field discuss the intriguing question of how films came to meet their audiences. Contributors include Richard Abel, Marta Braun, Joseph Garncarz, André Gaudreault, François Jost, Charlie Keil, Martin Loiperdinger, Viva Paci, Wanda Strauven, Gregory Waller, and many more.

It took the former South African Defence Force (SADF) less than four hours to kill more than eight hundred Namibian refugees at Cassinga on May 4, 1978. Thousands of survivors were left with irreparable physical and emotional injuries. The unhealed trauma of Cassinga, a Namibian civilian camp in southern Angola before the massacre, is beyond the worst that the victims of the attack experienced on the ground. Unacceptable layers of pain and suffering continue to grow and multiply as the victims’ grievances and other issues arising out of the aftermath of the massacre have been ignored, particularly following Namibia’s political independence. In this book, the afterlife of the victims’ traumatic memories and their aspiration for justice vis-à-vis the perpetrators’ enjoyment of blanket impunity from prosecution, in spite of their ongoing denial of killing and maiming innocent civilians at Cassinga, are explored with the aim to create public awareness about the unfortunate circumstances of the Cassinga victims.

Defining more than 10,000 words and phrases from everyday slang to technical terms and concepts, this dictionary of the audiovisual language embraces more than 50 subject areas within film, television, and home entertainment. It includes terms from the complete lifecycle of an audiovisual work from initial concept through commercial presentation in all the major distribution channels including theatrical exhibition, television broadcast, home entertainment, and mobile media. The dictionary definitions are augmented by more than 700 illustrations, 1,600 etymologies, and nearly 2,000 encyclopedic entries that provide illuminating anecdotes, historical perspective, and clarifying details.

Films recreating or addressing 'the past' - recent or distant, actual or imagined - have been a mainstay of British cinema since the silent era. From Elizabeth to Carry On Up The Khyber, and from the heritage-film debate to issues of authenticity and questions of genre, British Historical Cinema explores the ways in which British films have represented the past on screen, the issues they raise and the debates they have provoked. Discussing films from biopics to literary adaptations, and from depictions of Britain's colonial past to the re-imagining of recent decades in retro films such as Velvet Goldmine, a range of contributors ask whose history is being represented, from whose perspective, and why.

Originally published: Auckland Park, South Africa: Jacana Media, 2009.

In recent decades historians and film scholars have intensified their study of colonial cinema in Africa. Yet the vastness of the continent, the number of European powers involved and irregular record keeping has made uncovering the connections between imagery, imperialism and indigenous peoples difficult. This volume takes up the challenge, tracing production and exhibition patterns to show how motion pictures were introduced on the continent during the "Scramble for Africa" and the subsequent era of consolidation. The author describes how early actualities, expeditionary footage, ethnographic documentaries and missionary films were made in the African interior and examines the rise of mass black spectatorship. While Africans in the first two decades of the 20th century were sidelined as cinema consumers because of colonial restrictions, social and political changes in the subsequent interwar period--wrought by large-scale mining in southern Africa--led to a rethinking of colonial film policy by missionaries, mining concerns and colonial officials. By World War II, cinema had come to black Africa.

In the age of video, nearly every film ever made is available on video somewhere. The only problem is finding it. This guide lists, both title and producer, nearly 3000 animated films, the sources of their video copies, with the sources' telephone, fax numbers, postal address, and e-mail. Included are many hard-to-find films. This is the only source of information you will need to track it down. An added bonus is a listing of more than 200 films that have won major prizes at animation festivals and/or placed on animation polls.