A window on whose reality? The emerging industry of Senegalese cinema

Abstract

Thanks to a rapidly spreading intellectual and commercial interest, there is no shortage of speculation as to what cinema should be. Manthia Diawara concludes his comprehensive work Cinema with a chapter on African Cinema Today. Referring to the films at the 1989 PanAfrican Film Festival at Ouagadougou (FESPACO), he defines three narrative movements-the return to the sources, the historical confrontation between Africa and Europe, and the social realist (140). He goes on to contextualize these movements within the discourse that surrounds cinema:

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