Cinema in the Postcolonial Period: African Filmmaking and the Politics of Cultural Independence

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Introduction

The emergence of African cinema in the postcolonial era is inseparable from the continent’s broader struggles for political liberation, cultural reclamation, and socio-economic empowerment. As colonial powers withdrew in the mid-20th century, a new wave of African filmmakers arose—not merely to entertain but to tell Africa’s stories from African perspectives. Scholars like Mbye B. Cham rightly refer to African cinema as “a child of African political independence,” born amid nationalism, decolonization, and a longing for cultural authenticity. This article explores the growth of postcolonial African cinema, its pioneers, obstacles, diversity, and the evolving debates surrounding its identity and aesthetics.

The Birth of African Cinema: A Political and Cultural Act

Though cinema had existed on the continent since the colonial period, serious film production by indigenous sub-Saharan Africans began in the 1950s, following the waning grip of colonial rule. A pivotal moment came in 1955, when Paulin Soumanou Vieyra, a Senegalese filmmaker, directed Afrique sur Seine (Africa on the Seine), a short documentary filmed in Paris that questioned identity, exile, and postcolonial existence.

African filmmaking, then, was not born of commercial enterprise but of resistance and cultural assertion. It emerged in tandem with the political liberation of African states, making it both an artistic and ideological phenomenon.

Pioneers and the Rise of Independent Cinema

Ousmane Sembene: The Father of African Cinema

Often hailed as the “father of African cinema,” Ousmane Sembene became a towering figure in postcolonial African film. His works mark a distinct break from the Eurocentric gaze of colonial filmmaking:

• Borom Sarret (1963): His first short film, which documented the life of a poor cart driver in Dakar, is considered the first indigenous African film made in Africa by an African.
• La Noire de… (Black Girl) (1965): Sembene’s first feature-length film, it tells the story of a Senegalese domestic worker exploited by a French couple. The film was a powerful metaphor for neocolonialism and post-independence disillusionment.

These early films established a new cinematic language—one grounded in African realities, voices, and aesthetics.

Francophone Dominance

Sembene's influence ushered in a generation of Francophone filmmakers such as:

• Djibril Diop Mambéty (Senegal) – Known for his experimental and avant-garde approach in films like Touki Bouki (1973).
• Gaston Kaboré (Burkina Faso) – His film Wend Kuuni (1983) exemplifies the “return to the source” genre, seeking to reclaim precolonial African values.

While the Francophone regions (especially Senegal, Mali, and Burkina Faso) flourished, Anglophone Africa lagged behind, largely due to unequal support systems and differing colonial legacies.

Structural and Institutional Challenges

Despite the creative potential of postcolonial African cinema, its development has been fraught with systemic challenges:

• Colonial hangover: Many African governments inherited and maintained colonial policies that did not prioritize cultural production or media development.
• Lack of infrastructure: Few African countries invested in studios, equipment, or national film schools.
• Funding deficits: Most African filmmakers relied on external support (especially from France and Belgium) for production and distribution.
• Hostile political climates: Postcolonial governments often viewed independent filmmakers with suspicion, particularly when their films criticized corruption, social injustice, or authoritarianism.
• Global market exclusion: Hollywood and European cinema dominated African screens, making it difficult for indigenous films to find audiences or commercial viability.

As scholar Kenneth Harrow notes, African cinema remains one of the cultural spheres most heavily controlled by neocolonial forces.

External Support and Francophone Advancement

Despite limited internal resources, many Francophone African countries saw greater progress in cinema thanks to:

• Governmental support: Countries like Senegal occasionally provided financial or logistical backing.
• French aid and cooperation: Organizations like La Francophonie, as well as bilateral cultural programs, helped fund films and establish training centers.
• Editing and training facilities: Partnerships with France enabled access to modern equipment and post-production services.

As a result, by the late 20th century, over 80% of African films were produced in Francophone countries.

In contrast, Anglophone regions were slower to establish such ecosystems. However, they found alternative modes of film production in the booming video industries of Nigeria and Ghana—a trend that would later give rise to Nollywood.

Defining African Cinema: Identity and Scope

The question “What is African cinema?” has sparked long-standing debate in academic and artistic circles. While early films focused on reclaiming indigenous traditions, contemporary African cinema reflects greater diversity, including:

• Films by diasporic Africans such as Isaac Julien, Euzhan Palcy, Sara Maldoror, and Raoul Peck
• Collaborative works between African and Western directors
• Films tackling global themes like migration, gender, and environmental justice

These evolving dynamics are visible in festivals like FESPACO (Festival Panafricain du Cinéma de Ouagadougou), which has become the premier platform for showcasing African cinema. FESPACO’s diversity of entries—from Francophone dramas to diasporic experimental films—illustrates the expanding borders of African identity and storytelling.

Aesthetic and Thematic Distinctiveness

African cinema has also distinguished itself through its oppositional aesthetics—deliberately contrasting the escapist tendencies of Hollywood and the stylized formalism of European cinema. Instead, African films:

• Address real socio-political issues (e.g., poverty, corruption, gender roles)
• Use local languages and oral traditions
• Reflect community values and collective histories
• Engage in cinematic storytelling rooted in African narrative forms

This approach aligns with Third Cinema theory, notably explored by Teshome Gabriel, which advocates for a cinema of liberation—one that challenges neocolonial dominance and empowers oppressed peoples through storytelling.

Conclusion

Cinema in postcolonial Africa is not just a form of art; it is a political, cultural, and historical document. Emerging in the wake of independence movements, African film evolved as a counter-narrative to colonial representations, voicing the aspirations, struggles, and identities of the continent’s people.

Despite structural barriers, lack of domestic support, and persistent neocolonial influence, African filmmakers have continued to innovate, resist, and create. The legacy of pioneers like Ousmane Sembene lives on in the expanding world of African cinema—one that now includes Nollywood, pan-African collaborations, and a vibrant diaspora of storytellers.

As the continent reclaims its visual narratives, African cinema remains a mirror of the past, a critique of the present, and a vision of the future.