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AFRICAN CINEMA: ADDRESSEE UNKNOWN Thirty years after Sembene's pioneering Borom Sarret, this is a moment of celebration but also of self-assessment for emergent African cinema -- an opportunity to think through questions of funding, the basis of production, and the way that various African films address their different audiences. Pieces of Identity In Europe and North America a nebulous imaginary unity is projected onto Africa. This lazily assumed misconception continues to underpin the distorting insularity and ignorance of the north. It is precisely an imaginary, implicit unity and not to be confused with the distinct political unity proposed by the project of Pan-Africanism, built from conscious political and cultural alliances. One does not have to be too familiar with the continent to understand that there are also many Africas -- culturally, politically, socially. Indeed more than a thousand languages are spoken in Africa and there are as many.

The following is an excerpt from a larger manuscript HOMOSEXUALITY AND AFRICAN CINEMA, a co-operative effort of Dr Botha (CityVarsity, Film & Television and Multimedia School in Cape Town, South Africa) and Professor Dethier and Dr. Willemse at the Free University of Brussels. IN A GLITTERING ceremony at the 49th Berlin International Film Festival a full-length South African film, The Man Who Drove With Mandela won the Documentary Teddy Prize. It was rewarded for its unique contribution to gay and lesbian history and for bringing forward a challenging and politically engaging subject. The Man Who Drove With Mandela was directed by Greta Schiller and researched by the co-writer of the outstanding compilation on South African lesbian and gay lives, Defiant Desire, namely Mark Gevisser. No other film in South African history chronicled the lives of lesbian and gays in the way Gevisser's documentary has done(1). It is a.

There are probably a billion videocassettes in the United States. Yet few, probably under a thousand, are African films. I want to ask why this is and describe a strategy to change it.How can one of the least known and most under-funded cinemas in the world, African cinema, find a place in the most lavishly promoted and capitalized media marketplaces on earth, the U.S. feature film market?

NEW DIRECTING VOICES IN SOUTH AFRICAN CINEMA: GRADUATES FROM FILM SCHOOLS IntroductionAlthough1994 saw the birth of democracy in South Africa our film industry is much older; in fact, our great documentary film tradition dates back to 1896 and the Anglo Boer War.(1) While celebrating the past ten years of democracy we shouldn't forget those filmmakers, who created films against all the odds. Jans Rautenbach (Jannie Totsiens)(2), Ross Devenish (Marigolds in August)(3) and the younger generation of the 1980s challenged moral and political censorship, a severe lack of audience development and inadequate film distribution to shape progressive texts, which became the foundation of a new, critical South African cinema during the 1990s. Publications by Balseiro and Masilela (2003), Botha and Van Aswegen (1992), Blignaut and Botha (1992), Botha and Dethier (1997), Davis (1996), Gutsche (1972), Louw and Botha (1993) and Tomaselli (1989) documented developments in South.