Africa's Lost Classics: New Histories of African Cinema
- Submitting institution
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University of Glasgow
- Unit of assessment
- 34 - Communication, Cultural and Media Studies, Library and Information Management
- Output identifier
- 34A-03951
- Type
- B - Edited book
- DOI
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- Publisher
- Maney
- ISBN
- 9781907975516
- Open access status
- -
- Month of publication
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- Year of publication
- 2014
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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0
- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- Yes
- Additional information
- Africa’s Lost Classics was the result of research efforts shared equally between the two editors, Bisschoff and Murphy. Bisschoff’s substantial research contribution included a 50% input into all aspects of the project’s development and delivery. The underpinning research drew significantly upon Bisschoff’s investigations into African women filmmakers during her doctoral thesis (2006-2009), which was intertwined with her establishing of the Africa in Motion Film Festival – independently of Murphy –in 2006. Bisschoff and Murphy collaborated on the curation and contextualisation of the classics screened at the festival. At the first edition of the festival, four ‘lost’ francophone West African classics by male directors were screened, and at the second edition three ‘lost’ films by female African directors from Tunisia, Zimbabwe and Angola respectively (the latter wholly curated by Bisschoff based on the findings of her doctoral studies). This emphasis on screening classic films from the archives of African cinema continued in subsequent festival editions, culminating in the Bisschoff and Murphy’s joint-vision for the Africa’s Lost Classics volume. The identification of the films to be included in the volume –over 35 films, broadly representative in terms of geography, history, language, gender, genre and theme –was undertaken by Bisschoff and Murphy in equal measure. Similarly, the respective commissioning of the chapters from contributors with the relevant expertise involved an ongoing process of negotiation and dialogue also undertaken jointly by Bisschoff and Murphy. The process of editing the pieces was also shared out equally, with each editor taking the lead on 50% of the chapters, focused on their respective research expertise (Murphy: francophone North and West African cinemas, and Bisschoff: anglophone, lusophone, East and South African cinemas). The introduction was written collaboratively, with the structure jointly determined, and all the sections containing input from both editors (again, focused around their respective research expertise).
- Author contribution statement
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- Non-English
- No
- English abstract
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