Cinema of Africa

Cinema of Africa represents a vast and diverse collection of film industries across the continent. It encompasses the history, the present-day production, and the screening of audiovisual works. Because there are more than 50 countries with their own audiovisual traditions, there is no single, unified "African cinema." Instead, the continent features major regional differences. These variations exist between North African and sub-Saharan cinemas, as well as between individual nations. This field includes the many people involved in creating and sharing these stories.

The process of filmmaking involves complex layers of production and storytelling. In the early days, filmmakers relied on film reels as their primary technology. Modern productions involve many roles, including directors, actors, and scriptwriters. For example, the 1963 epic *Saladin the Victorious* required a massive production scale. It featured a script by the prominent author Naguib Mahfouz. The film also utilized thousands of extras to portray the 12th-century liberation of Jerusalem. This high-budget landmark demonstrated the massive scale possible within African cinema.

Different regions and countries host distinct types of cinematic traditions. Egypt has one of the oldest and most established industries in the world. It is the largest industry in Africa regarding both revenue and popularity. In contrast, the Nigerian film industry leads in terms of volume. Nigeria produces the highest number of annual films and is the second-largest film producer globally. In 2016, this industry contributed 2.3% to Nigeria's gross domestic product (GDP).

The history of African film began in the late 19th century. In 1896, the pioneers Auguste and Louis Lumière screened films in Alexandria, Cairo, and Tunis. Albert Samama Chikly became a pioneer of indigenous cinema by screening short documentaries in Tunis in 1905. Egypt produced its first feature-length film, *Laila*, in 1927. By 1935, Studio Misr in Cairo began producing musicals and comedies. The Egyptian industry reached a "Golden Age" during the 1940s, 1950s, and 1960s.

During the colonial era, Western filmmakers often controlled the cinematic narrative. These filmmakers frequently depicted Africans through biased or "exoticized" lenses. Films like *Kings of the Cannibal Islands* (1909) and *Congorilla* (1932) portrayed Africans as submissive or savage. In French colonies, the 1934 Laval Decree actually prohibited Africans from making their own films. This ban stunted the growth of film as a tool for African political and artistic expression. However, some filmmakers like Paulin Soumanou Vieyra found ways to work, such as filming *Afrique-sur-Seine* in Paris in 1955.

Post-independence, African filmmakers used cinema to reclaim their own identities. Many creators saw film as a political tool to correct the racist images created by Westerners. Sembène Ousmane is often called the "father of African cinema." His film *Black Girl* won the Prix Jean Vigo in 1966 and gained international recognition. Other filmmakers, like Med Hondo, used controversial language to explore themes of identity. Festivals also emerged to support these voices. The FESPACO festival in Burkina Faso was created in 1969 to provide a forum for African film.

African cinema connects deeply to broader political and cultural systems. The Pan African Federation of Filmmakers (FEPACI) was formed in 1969 to promote production and distribution. FEPACI works closely with the African Union to support the continent's development. Filmmaking serves as a way to explore the politico-economic realities of African states. From the historical epics of Egypt to the high-volume output of Nigeria, cinema remains a vital way to share the African experience with the world.