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Postcolonial Nation and Narrative III: Literature & Cinema

Cape Verde, Guinea-Bissau and São Tomé e Príncipe


Edited By Ana Mafalda Leite, Hilary Owen, Ellen Sapega and Carmen Tindó Secco

This volume investigates literary and cinematographic narratives from Cape Verde, Guinea-Bissau and Sao Tome and Principe, analysing the different ways in which social and cultural experience is represented in postcolonial contexts. It continues and completes the exploration of the postcolonial imaginary and identity of Portuguese-speaking Africa presented in the earlier volume Narrating the Postcolonial Nation: Mapping Angola and Mozambique (2014).

Memory, history, migration and diaspora are core notions in the recreation and reconceptualization of the nation and its identities in Capeverdian, Guinean and Saotomean literary and cinematographic culture. Acknowledging that the idea of the postcolonial nation intersects with other social, political, cultural and historical categories, this book scrutinizes written and visual representations of the nation from a wide range of inter- and transdisciplinary perspectives, including literary and film studies, gender studies, sociology, and post-colonial and cultural studies. It makes a valuable contribution to current debates on postcolonialism, nation and identity in these former Portuguese colonies.

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Authorial Features in African Cinema: The Case of the Guinean Flora Gomes (Jusciele Conceição Almeida de Oliveira / Mirian Tavares)


Jusciele Conceição Almeida de Oliveira and Mirian Tavares

Authorial Features in African Cinema: The Case of the Guinean Flora Gomes


This paper is part of a PhD project that explores the field of African film, starting out from the idea of authorship and auteur theory, particularly in the work of the Guinean film maker Flora Gomes. Through analysis of selected films, I will examine strategies of mise-en-scène, narrative construction and some recurring themes in order to highlight the formal and stylistic features and content that may confirm this African film maker’s concern, conscious or not, with the idea of cinéma d’auteur. This work takes as its point of departure a theoretical review of the idea of authorship as transposed by cultural and film critics and some specialists in the field of African films, then examines the way this idea is accepted, negotiated and asserted in the work of some film makers, such as the Guinean Flora Gomes.

Introduction: Author and Authorship in the Cinema

The idea of authorship in the cinema, which derived first from the critics and later from the film makers of the French Nouvelle Vague, involved a different way of looking at films, recognizing them as works of art, notwithstanding the industrial production and distribution structure. At the same time, it led directors to take the central role in the film production team; their work was easily recognizable because of the stylistic features...

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