Although it’s true that by the 1950s, European empires were in decline as African leaders were successfully forcing an end to colonial rule, the absence of the European empires still has a huge effect on how African governments and societies are governed and ran. The European empires leaving the continent of Africa is ultimately good for Africa in the long run, however I feel as though the colonizing countries owe something to their African colonies. For European colonizers to simply take over African countries, utilize their people and resources for profit, and then leave them all alone after being driven out is incredibly unfair. For a statement to say that the influence of Western powers on the continent “dwindled because, out of respect for the interests of the majority of Africans, Western nations and multinational corporations have chosen not to maintain ties with independent African states”, discredits everything that the African countries and citizens had to go through during the colonization period. It makes it sound as though the Europeans used the African countries, left, and didn’t try to repay them in any way.
Fundamentally, Ukadike asks three basic questions which resonate with this research. Our differences lie in how we respond to these questions: “Even if this cinema is derived from Western technological invention, isn’t it also necessary to have a working definition that incorporates the meaning of the nature of black Africa cinema?” (ibid., 10) “How might we discover the way in which cultural identity is pursued in the film medium?” (ibid., 11) “How do we compare and contrast aspects of black cinema’s militancy with those of some other Third World cinemas?
Since deletion of memory is a condition for fruitful absorption, the internment of African dialects by Africans themselves guaranteed that the digestion procedure into pilgrim society was finished. Ngugi calls this marvel a "desire to die" that happens in social orders which have never completely recognized their misfortune—like
For Kaboré, reception is the product of a construct of the symbiosis between the filmmaker, the audience and the critic. Kaboré reasons that the questions which critics asked about cinema was, to a large extent, conditioned by what they wanted to see in it. If the aesthetics of the West remained the same, critics will accentuate the negative aspects and never see the positive aspects of African cinema in the making. For Kaboré, the filmmaker, the audience and the critic together have a crucial part to play in the indigenization of film in the continent. Filmmaking for Kaboré as a cinéaste was giving “social significance to the struggle I am involved in” (ibid., 187).
(Achebe 129)” Chenowa Achebe speaks his thoughts on imperialism here by saying that even though the white imperialists thought they were doing good, they didn’t bother to even try to understand the natives’ feelings towards them. Although imperialism brought government stability and education, the long term effects of imperialism in Africa were negative because natives were made slaves, borders were poorly placed, and European religion/education was forced upon them. All in all, British Imperialism hurt Africa much more than it
In this novel he speaks through his main character Marlow about white settlers colonizing Africa, harming, exploiting and, portraying the natives in many inhumane ways. Chinua Achebe, a Nigerian author, found this work particularly racist and wrote a response to it, “An Image of Africa”. Through Achebe’s work, we realize Heart of Darkness contained a single story leaving naive readers with a single image of African natives.
Joseph Conrad’s novella Heart of Darkness, which describes the colonization of Africa and its ramifications, was published in 1899 when colonialism and imperialism were still at their full strength. Many have praised the story as an excellent example of anti-imperialism, but some have condemned it as well. In my opinion, Heart of Darkness does provide subtle criticism of imperialism, but racist and dehumanizing descriptions of Africa and its natives are much more prominent. In the 19th and 20th century it was a universal truth that black people are inferior and uncivilized beasts and that it is white people’s duty to bring them on the right track – to civilize them. That ideology was widespread in the West and few dared to speak against it because it is difficult to fight the belief which is inhered in the society.
This establishes how the white men degrade African people of their humanity while they are thinking only about the white population, othering the Africans from humanity itself. While it is a cruel depiction of the acts that correspond to slavery, Conrad made it clear that slavery is just another example of othering and his vivid imagery can give readers just another perspective into the world of
The apartheid authorities desired to put off black Africans (which includes coloureds and Indians) out of the picture of South African developed and economic system. Their homelands protected Transkei, Bophuthatswana, Venda, KwaZulu-Natal and many others. The apartheid authorities divided residential areas because of thoughts like mobilization of the oppressed against the oppression and revolution states, that each member of the society ought to be equal to every different and at some stage in that time blacks have been the majority. Lastly After the cease of apartheid in 1994. These days anybody stays anywhere for example blacks and whites may be friends without breaking any law.
In observing, comparing and contrasting both our local African film industry and internationally acclaimed Hollywood productions it can be noted that the is a lot of room for growth in our local African film industry, The fact that any successful movie must be built on the precepts of a strong plot should be enough to stress the importance of prioritizing the art of compelling story telling, you could have a brilliant story Idea but if it is not structured well it could fail at making the necessary impact it deserves and reaching a more discerning