Vare le yelbulo

Women in African cinema

Yizie Wikipiideɛ
pɔgeba Afirika sima poɔ
aspect in a geographic region
Facet ofwomen's history Maale eŋ

Pɔgeba Afrikan sinii toma poɔbo, taa la yelerre gyamaa bee tonnoɔre gyamaa ba naŋ maŋ toŋ ka a sinii toɔ nyɛ maaloo, aneazaa ka ba da ba maŋ sage ba di ne a sinii maaloo.

Puoriŋ yɛlɛ

[maaleŋ | Maale eŋ yizie]

Atikile meŋa: Cinema naŋ be Afrika poɔ.

[maaleŋ | Maale eŋ yizie]

A saŋa na a nempeɛle naŋ da de a Afrika paaloŋ a kaara, Afrika noba da iri la nu yi a Western sinii maaloo toma poɔ, a yɛlɛ ama mine la wane ka Afrika ane Afrika noba enne a mãã, a taa sumaaroŋ ane toma.[1] A Afrikan naŋ zɔɔ faa baminne a yi a yuomo 1950 poɔ te tɔ a 1960 poɔ la ka ba de maale ne a sinii, a wager ŋa la ka be de enfuomo kompiita a ŋmaa ne enfuomo a ka anaŋ la are wuli lɛ a nempeɛle naŋ da maŋ nyɔge noba ka ba tona gbaŋgba toma. Pɔgeba da moɔ la nimiri yaga a Afrikan sinii maalo toma ŋa poɔ  a wagere na. kyɛ a yelbiri la ba tonnoɔre a sinii poɔ da maŋ e la fẽẽ lɛ kyɛ taa sommo gyamaa a sinii poɔ. A yelnimizeɛ naŋ wa ka pɔgeba kpɛ sinii maaloo yɛlɛ mine poɔ ka toɔ teɛ ba meŋ do saa Afrikan cinema[2] toma poɔ. A sini maalekare ba ma poɔ, gyamaa zie da e la pɔgeba, meŋ naŋ te piili ba meŋ meŋa sinii maalo kpaaroŋ ane tigiri maalo a kyaare ne a Afrika zaa sinii maalo tigiri a seŋ,  Panafrican Film and Television Festival of Ouagadougou (FESPACO) ane Pan African Federation of Filmmakers (FEPACI), a zaa ayi da laŋ maale a 1969/70[2][3] yuoni poɔ. A World Festival of Blaɔk Arts, na maŋ de kuu gbuli sinii saaŋkonnoŋ tigiri la, a sinii tigiri ŋa diibu wagere poɔ o maŋ vɛŋ la ka noba gyamaa yi wuli ba gɔɔloŋ naŋ seŋ bee ta lɛ.ka noba nyɛ aseŋ; pɔloŋ maaloŋ, yieluŋ, sinii, suuruŋ parɛɛ, bombeɛrɛ tɛɛtɛɛ, bommaale tɛɛtɛɛ, ane seɛrɛ tɛɛtɛɛ a yi neŋ tɛɛtɛɛ naŋ viirikoli a Afrika paaloŋ zaa poɔ, a zuo a zaa banaŋ naŋ maŋ maala sinii a United State poɔ.[2][4]

A 1970s yuomo na saŋa, kpaaroŋ kaŋa deme da boɔle la a tendaazaa pɔgeba naŋ voora kyɛ neŋ be a sinii maalo poɔ ka ba lantaa a maale kpaaroŋ kaŋ ba naŋ da boɔlɔ ka “women with the evolution of universal women's rights movemen”  a yele ŋa eebo da a second-wave feminism, a yelnimizeɛ ŋa da piili la ne a Senegal noba banaŋ naŋ wono kɔkɔɛ a ta ayi kyɛ e pɔgeba naŋ e peɛpeɛrebɛ ka ba laŋgbuli di “ Association of African Women for Research and Development (AAWORD), kyɛ naŋ ŋmɛ daworo a kyaare ne  United Nations Decade of Women naŋ piili a 1976 yuoni te tɔ a 1985 yuoni poɔ, a yɛlɛ mine ama taaba zaa la da toɔ soŋ a bɛlle pɔgeba eŋ karendie zannoo poɔ, aseŋ,  feminist film theory, ane the visual representation of women, globally. A kpaaroŋ ŋa da soŋ la a ko noba gyamaa a you vuo zagela lɛ ko noba ka ba te kyɛ ba yɔɔ kobo, a vuo ŋa pãã da you ko la ba pɔgetaaba yoŋ, a yi a be puoriŋ la ka ba kpɛ a nyɛ ka a seŋ ka ba e o ka o e tendaazaa bone.[2]

Pɔgeba wuliwulibo

[maaleŋ | Maale eŋ yizie]

A 1950 te tɔ a 1960 yuomo na poɔ, Afrikan noba a sinii deɛne poɔ yelerre da maŋ e la fẽẽ lɛ, a Afrikan noba naŋ wa piili a yɔɔrɔ faara ba mine a yiri ne a nempeɛle nuuriŋ poɔ la, ka pɔgeba meŋ pãã nyɛ vuo a sinii maalo yeltarre poɔ. Pɔgeba fẽẽ lɛ la da nyɛ a vuo a toɔ kpɛ a sinii maalo poɔ, ba sereŋ da wuli la ba nimizeɛ ka o gaŋ a toma meŋa. Safi Faye naŋ e a wuliwulo kaŋa naŋ e a Afrikan pɔgeba sinii maaloo wulo danweɛŋ la da wuli a sobiri ka ba toɔ a maale a 1975 sini ka onaŋ la Kaddu Beykat, ona la ka sinii maalo peɛpeɛrɛ kaŋa naŋ di N. Frank Ukadike a yeli ka a sinii  ŋa e la a sinii kpoŋ kaŋa a blaɔk sinii-maaleba a Afrikan paaloŋ zaa poɔ.[5] Sini maala ane Sini maale enne kaŋa naŋ di Tsitsi Dangarembga da manne wuli la yelfaare mine kyaare ne a Afrikan sini maaloo tontonnema.[6] Peɛpeɛrɛ kaŋa meŋ naŋ di Nancy Schmidt  meŋ da nyɛ a lɛ a 1997 yuoni poɔ, a wagere na poɔ la ka saseɛ dɔgere yɛlɛ pãã pore, daworo ŋmeɛbo, enfuomo sinii, sinii maaleba gyeremɛ terebo, sɛge bimmo,sinii ŋmaara ŋmaara, sinii kompiita saseɛ poɔ yelmanne boma, a yɛlɛ ama  mine la ka Afrikan Women (pɔgeba) maale bee wuli a sobie yuomo naŋ pare.[7]

Non-Profit Organization kaŋa da maale la kpaaroŋ kaŋa ka ba soŋ a toɔ vɛŋ ka Afrikan pɔgeba sinii poɔ kpeɛbo ane a sinii saseɛ poɔ kpeɛbo a saaŋ yeŋeŋ, aseŋ, Ladima Foundation, (Dada Trust) ane Women-Centred Sinii tigiri aseŋ International Image Film Festival a ko pɔgeba ane (Udada International Women's Film Festival) banaŋ da de ba wuli gyamaa.[6][8] A bondemanne mine aseŋ sinii de emm  a saseɛ poɔ boma mine a kyaare ne Afrikan Pɔgeba sinii poɔ toma, Beti Ellerson's Centre for the Study ane Research of African Women in Cinema, a yelŋa da piili la a 2008 yuoni poɔ ka Afrikan  Women sinii maaleba a kaara.[9][10]

Wuliwulibo mine aseŋ Sarah Maldoror da nyɛ la dɔgɛɛ a yi lɛ noba naŋ na e baŋ ka ba e la Afrikan sinii maale emmɛ, azuiŋ ba yoe da ba paale a Afrikan sinii maaleba poɔ, kyɛ ka ba sinii e bone ka Afrikan noba zanne, anaŋ dire dɛmmo a kyaare ni.[11] Paulin Soumanou Vieyra da kaa iri la Afrikan sinii maale emmɛ mine a yeli ka banaŋ la e naŋ ba e Afrika noba meŋa, Alexie Tɔheuyap ŋmɛ la nɔkpeɛne ka, onaŋ meŋa koŋ de sage de Sarah Maldoror bee Raoul Peɔk, ba ba paale, Afrikan sinii toma poɔ baba sɔre ba paale. Peɛpeɛrebɛ mine, aseŋ Beatriz leal Riesɔo da nyɛ la ka Maldoror e la Afrikan naŋ maŋ danna noba ka a e ba yelnyɔgeraa.[12]

Saadayel a kyaare Women naŋ be Afrikan Sinii poɔ.

[maaleŋ | Maale eŋ yizie]

1960 ane 1970 yuomo poɔ

[maaleŋ | Maale eŋ yizie]

A saŋa a nempeɛle naŋ da kaara a Afrikan noba zu, saaŋkonnoŋ ane merɛ aseŋ 1934 Laval Deɔree, la da kaara a Frenɔh noba zu, Afrikan noba meŋa naŋ ba boɔrɔ ba naŋ meŋa sinii,  bonso ba da nyɛ la ka Afrikan sinii maŋ kyaare la paati paati yɛlɛ, saaŋkom yɛlɛ ane ba bommaale.[13][14][15] Aŋa Afrika naŋ zɔɔ faa ba menne a yi a meŋ are ba toɔraa lɛ. Afrikan da piili la ba meŋ meŋa zu kaabo.Afrikan paaŋ da piili maala ba meŋa sinii, be poɔ la ka pɔgeba pãã tu be a nyɛ sinii toma. Ane ka ba da nyɛ la vuo kpɛ a sinii toma poɔ kyɛ a ba vuo banaŋ da ko ba e la fẽẽ lɛ. A aneazaa ka ba wederɛ na, naŋ da poɔ a kyakya a ba di, a noba da de la ka onaŋ ba e naŋ ba e ba neɛ la so , bee ka onaŋ yi a koraa poɔ so bee noba la yeli ka ta neɛɛ a nu ko o, ŋaa ka Kenneth W ane o taa da di ba dɛmɛ. Harrow yeli ka “ A zɔɔre na ba naŋ da are ka ba zɔɔ faa ba menne a 1950 te tɔ a 1960 yuomo poɔ, a yelŋa da kyaare la a European nempeɛle naŋ da kaara ba, ba da de ba la ka ba e saama, naŋ wa ka ba wa fere ba , azuiŋ a pãã da e feroo ka ba leɛ kyaare ne a Afrikan paaloŋ noba aseŋ  kpaaroŋ ,paaloŋ nembɛrɛ, noba naŋ de yuori a teŋa poɔ, a paale noba gba naŋ de a paaloŋ libiyɛlɛ ane noba naŋ kaara a koraa deme noba zu. O da naŋ ŋmɛ nɔkpeɛne ka[16]  

A 1957 yuoni poɔ, Safi Faye da yi ne la sinii kaŋa ka a yelzu e Kaddu Beykat, a ŋa la ka Afrikan paaloŋ noba gyama sage de ka a sinii e la libi-bɔ bone, a yi be meŋ Afrikan pɔge la wuli a sinii ŋa maaloo sobiri. A ŋa puoriŋ kyɛ o da yi neŋ la sinii ŋmaa kaŋa gbaŋgbale ka a yelzu di, “La Passante” a yi be puoriŋ a te ta ŋa yuomo ata a yi a 1972 yuoni poɔ.[17]  O da la ba kaa iri ka o e a Afrikan pɔgeba  sinii sobiri wulibu ka a tendaazaa baŋ o, Kaddu Beykat la da di kyɔɔtaa gyamaa ka amine la FIPRESCI kyɔɔtaa.[18][19] A sinii mine onaŋ maale da yi la gbaŋgbale a saŋa na a Maldoror 1972 sinii Sambizanga.[20]

Pɔgeba naŋ be 1980S ane 1990s poɔ

[maaleŋ | Maale eŋ yizie]

Per Harrow, Afrikan sinii maala kaŋa da leɛ la sinii maalekara naŋ taa tɔnɔ yaga a 1980 ane 1990 yuomo na poɔ, a da maŋ sonnɔ ne ba yeltegere a gaŋ Sembene naŋ male ka o be la a be kɔɔre, a taa pɔgeba ane pɔgeyaare, kyɛ ka a zisoŋ zie fo naŋ na baŋ bɔ pɔge la a sinii maaloo poɔ, a sinii sobiri wulibu wagere bee maaloo poɔ onaŋ maŋ wa wulo pɔgeba a Afrikan baaba yɛlɛ. A saŋa na pɔgeba  sinii a Afrikan poɔ da ba taa tɔnɔ ko neɛzaa ba da ba maŋ sɔre a eŋ Afrikan saaŋkonnoŋ ane a Western meŋ saaŋkonnoŋ.

Yelnyɔgyeraa

[maaleŋ | Maale eŋ yizie]

Yelnyɔgeraa  e la yelgyamaa naŋ be a sinii toma ane a Afrika sinii poɔ, a e la yɛlɛ naŋ maŋ e pɔge a gbaŋgbaaloŋ na banaŋ da nyɛ a saŋa a nempeɛle naŋ da kaara ba, a yelzuri mine maŋ e la yɛlɛ soŋ ka Afrikan[21] paaloŋ nyɔvore yɛlɛ gaa nimitoɔre. Sinii anaŋ Afrikan pɔgeba naŋ wuli a sobie ka a tu kyɛ maale yi gbaŋgbale yelnyɔgere mine la  eroticism, African feminism, objectification, bee pɔgeba bayi deebo bee kultaa[22][23]. A yelnyɔgere mine meŋ e la, kpimaroo, pɔgeba meŋa yoŋ arebo, a ŋa Cameroon sinii maala, Rosine Mbakam's Chez Jolie Coiffure.[24] A yelnycgere mine la sakuuri zannoo yeltarre, emmaaroŋ yeltarre, bibiiluŋ saŋa yeltarre, zɔɔre yeltarre, a yɛlɛ ama e la saaŋkompare yɛlɛ noba naŋ maŋ kaa nyɛ a yi lɛ  Beatriz Leal Riesco naŋ yeli,[12]

Afrikan Pɔgeba sinii poɔ are leɛroo

[maaleŋ | Maale eŋ yizie]

Afrikan Pɔgeba sinii poɔ are leɛroo e la bone ba naŋ nyɛ ka o taa yelnyɔgere gyamaa a ko pɔgeba banaŋ na maŋ wulo sinii maale emmo sobie, aseŋ Safi Faye ane Sarah Maldoror. Saadayel yeli la ka pɔgeba la maale bɔ yelnyɔgere gyamaa a kyaare ne a sinii yelpeɛre. Sinii mine aseŋ; Karmen Gei ane U-Carmen eKhayelitsha ka onaŋ la e deɛdeɛkaraa. Riesco, sɛge la biŋ kyɛ ka sinii wuli bee ekyaare ne pɔgeba yoŋ.[12]

Erotiɔism ane Sɛŋgaŋ yɛlɛ

[maaleŋ | Maale eŋ yizie]

N. Frank Ukadike da nyɛ la ka Afrikan pɔgeba la maŋ e soŋ  a kyaare sɛŋgaŋ yɛlɛ a saaŋkonnoŋ  a kyaare dɔba, anaŋ ka nansaala maŋ boɔle chauvinism; a yelbie[5] anaŋ be a Ousmane Sembene, ba zagre a o yelbie na bare aneazaa ka anaŋ la a yelmeŋa. Sinii mine, aseŋ Ceddo ane Sarraounia  da vɛŋɛɛ la ka neɛzaa teɛre ka Afrikan pɔgeba zaa noŋ sɛŋgaŋ yɛlɛ bee a maŋ boɔrɔ bɔtaa yɛlɛ wagere zaa, a be ka Ukadike yuori meŋ te pore a be bonso a nempeɛle naŋ da kaara a Afrikan paaloŋ a wagere na poɔ, a saaŋkompare teɛroŋ da la lɛ, ka o poɔ la a yelŋa poɔ.[5]

Pɔgeba laafeɛloŋ yɛlɛ.

[maaleŋ | Maale eŋ yizie]

Pɔgeba laafeɛloŋ yɛlɛ meŋ e la a yelnyɔgeraa kaŋa naŋ be sinii gyamaa poɔ a seŋ Ousmane Sembene Moolaade, a sinii ŋa yel-ekyaaraa zaa la pɔgeba degree iribu anaŋ ka bɔrefɔ kɔkɔre maŋ boɔle ka “female genital multilation,” wagere mine wa ta ka noba yeli ka noba maŋ tu be a de yɔ kpeɛrɛ ne bagere dire poɔ a Afrika paaloŋ ziiri mine. A pɔgeba dɛgere iribu ŋa wa e la nɔkpeɛne yaga, ka paaloŋ noba mine yele ka a e dɔgeroŋ kpoŋ kaŋ bale a ko pɔgeba, kyɛ ka paaloŋ noba mine meŋ ka a e saaŋkompare yeltuuri naŋ senne, bonso a maŋ pɛge la a pɔge balaa na yelfaare zaa bare, a dige sefaare yi o sɛŋ. Aneazaa ka ba ŋmɛ la nɔkpeɛne kyɛ Sembene naŋ are la o gbɛɛ poɔ ka a e la ba saaŋkompare yeltuuraa. A “pornotroping” noba naŋ nyɛ ka o yelseɛ, noba maŋ de la a enfuoni eŋ ba endaa enne ka are leɛre ne,  aseŋ a sinii poɔ.[25]

Yelwonni

[maaleŋ | Maale eŋ yizie]

A yelwonni mine naŋ kyaare Afrikan pɔgeba a sinii toma poɔ la, sɛŋgaŋ ferebo yeltarre  ane bɔtaa, a pãã de ne toma ane nensaala nyɔvore yeltarre.[26] Lucy Gebre-Egziabher bigiri la a Afrikan pɔgeba sinii maaleba ka ba e “zɔɔzɔɔreba”  ba maŋ nyɛ yelkabegere ane yelwonni gyamaa , N na la leɛ teɛre la ka n nyɛ la Kenyan sinii maala kaŋa enfuoni […] o da mare o bie a puoriŋ kyɛ wulo noba noba deɛnɛ deɛne a sinii maaloo poɔ. Wagere ŋa yoŋ da yelkpeɛŋaa n naŋ nyɛ n nyɔvore poɔ, anaŋ waana ŋaa a yelbiri naŋ be la n zie.[27] Maa yoŋ eŋɛ N da de la ka Afrikan pɔgeba sinii maala la. A mine meŋ aseŋ; Kenyan sinii wuliwulo kaŋa naŋ di Wanjiru Kinyanjui yeli la o meq yelferaa, a yi o neŋ neɛ kaŋ naŋ da dire dɛmɛ ka ba sooro o yelsoore mine a kyaare ne a sinii zannoo yeltarre a  Deutsche Film und Fernsehakademie a Berlin paaloŋ. A lammo ŋa yelboɔraa la ka toɔ nyɛ a tuure paaloŋ noba banaŋ ne a blaɔk woman banaŋ yeli ka zugbuli la ka ba laŋ tontoma ka ba nyɛ.[28]

A yelwonii mine meŋ la, pɔgeba mine maŋ di la dɔgɛɛ a kyaare ne a sini maaloo a yi lɛ a sinii naŋ maŋ poŋi eŋ ziiri ayi Afrikan paaloŋ ane a Tendaazaa poɔ nyɔvore ane lɛ noba naŋ maŋ de ba taaba ka waa. Benin sinii maale ennɛ kaŋa naŋ di  Giovannia Atodjinou-Zinsou meŋ yeli ka a yelwonnaa naŋ na ferɛ a Afrika  pɔgeba la “ Pɔgeba noɔre yelyaga ba maŋ taa kpɛzie.  

Sexual harassment and abuse

[maaleŋ | Maale eŋ yizie]

Pɔgeba gyamaa naŋ naŋ wuli ka ba maŋ wulo la sini maaloo sobie, ŋmɛ daworo gbɛɛ yaga a kyaare ne noba na maŋ boɔrɔ ka gaŋ ne ba ka ba ba bɔ ba. Deutsche Welle, noɔre yelyaga la lɛ. A South Afrikan pɔgeba naŋ tona a sinii toma ane a TV toma nyɛ la ka a South Afrika pɔgeba gyamaa toma ama ba maŋ gaa toɔre .[26]

Sommo Yizie

[maaleŋ | Maale eŋ yizie]
  1. ↑ Hayward, Susan. "Third World Cinemas: African Continent" in Cinema Studies: The Key Concepts (Third Edition). Routledge, 2006. p. 426-442
  2. 1 2 3 4 Ellerson, Beti (2015). "African Women in Cinema". Gaze Regimes. Wits University Press. pp. 1–9. ISBN 978-1-86814-856-1. JSTOR 10.18772/22015068561.6.
  3. ↑ Martin, Michael T. (Fall 2020). "The Long Take: Gaston Kaboré on the Formation, Evolution & Challenges to FEPACI & FESPACO". Black Camera. 12 (1). Indiana University Press: 208–236. ISSN 1947-4237. Retrieved 16 June 2025.
  4. ↑ "Little Known Black History Fact: World Festival Of Black Arts". Black America Web. 2019-04-01. Retrieved 2019-12-16.
  5. 1 2 3 Ukadike, N. Frank (1994). "Reclaiming Images of Women in Films from Africa and the Black Diaspora". Frontiers: A Journal of Women Studies. 15 (1): 102–122. doi:10.2307/3346615. JSTOR 3346615.
  6. 1 2 Dangarembga, Tsitsi (29 April 2019). "OPINIONISTA: Double bind: Women film makers in Africa are edited too soon". Daily Maverick. Retrieved 2019-12-16.
  7. ↑ Schmidt, Nancy J. (26 April 1997). "Sub-Saharan African Women Filmmakers: Agendas for Research with a Filmography". Matatu. 19 (1): 163–190. doi:10.1163/18757421-90000264.
  8. ↑ Vourlias, Christopher (2019-02-07). "Female Filmmakers in Africa Take Control of Their Careers". Variety. Retrieved 2019-12-16.
  9. ↑ "MISSION STATEMENT | LETTRE DE MISSION". African Women in Cinema. Archived from the original on 2020-09-15. Retrieved 2019-12-14.
  10. ↑ Williams, James S. (2019-03-21). Ethics and Aesthetics in Contemporary African Cinema: The Politics of Beauty. Bloomsbury Publishing. ISBN 978-1-350-10506-5.
  11. ↑ Tcheuyap, Alexie (January 2011). "A frican C inema(s): Definitions, Identity and Theoretical Considerations". Critical Interventions. 5 (1): 10–26. doi:10.1080/19301944.2011.10781397. S2CID 193267410.
  12. 1 2 3 Riesco, Beatriz Leal. "The woman in Contemporary African Cinema: Protagonism and Representation | BUALA". Buala.org. Retrieved 2019-12-17.
  13. ↑ Halhoul, Khalid. "Using African Cinema to Shift Cultural Perceptions". Utne.
  14. ↑ Barlet, Olivier (2012). "The Ambivalence of French Funding". Black Camera. 3 (2): 205–216. doi:10.2979/blackcamera.3.2.205. JSTOR 10.2979/blackcamera.3.2.205. S2CID 143881053.
  15. ↑ Diawara, Manthia (1992). African Cinema: Politics and Culture. Bloomington, Indiana: Indiana University Press, pp. 22–23.
  16. ↑ Harrow, Kenneth W. (1999). African Cinema: Postcolonial and Feminist Readings. Africa World Press. p. xiv. ISBN 978-0-86543-697-8.
  17. ↑ "La PASSANTE (1972)". BFI. Archived from the original on April 27, 2018. Retrieved 2019-12-17.
  18. ↑ Armes, Roy (2006). African Filmmaking: North and South of the Sahara. Indiana University Press. p. 177. ISBN 978-0-253-34853-1.
  19. ↑ Beti Ellerson, "African through a Woman's Eyes: Safi Faye's Cinema" in Focus on African Cinema(ed) Francoise Pfaff, (Bloomington: Indiana University, 2004), 185
  20. ↑ Petty, Sheila (1 October 2012). "Aesthetic and narrative strategies in the films of selected African women directors". Journal of African Cinemas. 4 (2): 145–155. doi:10.1386/jac.4.2.145_1.
  21. ↑ Mh, Martin; o (2000-07-18). "Approaches to African Cinema Study". Senses of Cinema. Retrieved 2019-12-17.
  22. ↑ The Women's Companion to International Film by Annette Kuhn and Susannah Radstone. University of California Press, 1990, pp. 85
  23. ↑ Schuhmann, Antje; Mistry, Jyoti (2015). "Puk Nini – A Filmic Instruction in Seduction". Gaze Regimes. Wits University Press. pp. 81–96. ISBN 978-1-86814-856-1. JSTOR 10.18772/22015068561.12.
  24. ↑ "Meet The Filmmaker Reinventing How African Women Are Portrayed In Movies". NPR.org. Retrieved 2019-12-17.
  25. ↑ Chikafa-Chipiro, Rosemary (1 December 2017). "The representation of African womanhood in Sembene's Moolaade: An Africana womanist reading". Journal of African Cinemas. 9 (2): 243–258. doi:10.1386/jac.9.2-3.243_1.
  26. 1 2 "African women filmmakers break down barriers and challenge taboos". Deutsche Welle. August 3, 2018. Retrieved 2019-12-17.
  27. ↑ "Lucy Gebre-Egziabher, Ethiopia." In Sisters of the Screen. Women of Africa on Film, Video and Television, 109–24. Trenton, NJ; Asmara, Eritrea: Africa World Press, Inc., 2000.
  28. ↑ "Wanjiru Kinyanjui, Kenya." In Sisters of the Screen. Women of Africa on Film, Video and Television, 146–57. Trenton, NJ; Asmara, Eritrea: Africa World Press, Inc., 2000.
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