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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. 1. Ibid. Ibid. Bernard Lewis, The Multiple Identities of the Middle East (London: Weidenfeld and Nicolson, 1998), p.

Gabriel56 – totally impossible. The situation of post-independence filmmakers instead echoes that of Samama Chikly in Tunisia in the 1920s, in that they have no option but to work totally independently but within strict, state-defined limits, finding finance where they can, working as total creators (producing, directing, scripting) in a context lacking in technically trained local collaborators. It is to the very different contexts, constraints and opportunities facing the filmmakers of the Maghreb and francophone Sub-Saharan West Africa that we now turn.

This is reflected in the narrative structures and the shaping of protagonists of African cinema, as it is in much African literature. As Tunisian film theorist Tahar Cheriaa has noted, in African films ‘the individual is always pushed into the background, and the hero – African films are rich in characters in the classic sense – never occupies the foreground. 77 Notes 1. Émile Mworoha and Bernard Nantet, ‘Des raisons d’espérer’, in Rémy Bazenguissa and Bernard Nantet (eds), L’Afrique: Mythes et réalités d’un continent (Paris: Le Cherche Midi Éditeur, 1995), p.

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