Ukadike: The Realism Of Black African Cinema

Amid the provincial period, Western movie producers solely spoke about Africa and depicted the landmass as a fascinating area without history or culture notwithstanding that African cinema is comprehensive when it totalizes the African culture by standing for various continental African identities. The film industries in Africa try to present themselves by displaying realities on the screen, but by the influence of the Western world, there seem to be different views on how films educate the audience. Realism paints things in a monolithic way; sometimes, what you see in cinema is not the truth. FESPACO, the largest running African film festival in the world creates the sensation that African Cinema is not simply an imagined body of films, but

The author, Nwachukwu F. Ukadike supports the notion that Black African cinema did not develop under the same circumstances as the European or American Cinema because of the dominance by the western civilization to portray what they taught to be African, when it is not in reality. Using his book, “Black African Cinema” Ukadike informs the audience that there are multiple reasons why Adorno criticizes the film industries for mimicking the cultures without accuracy. In fact, Africans did not control the African cinema until the 1960s, the same decade that most African countries declared independence to receive a name although some of the countries were still dependent economically. In contrast, Fanon as a philosopher wanted to show the violence so that the audience would know what happened and try to prevent it during the

The incidents that occurred with the play due to insecurities, “Divided into a prologue and four acts, On Joue La Comedies opens on the streets of Johannesburg, South Africa where bands of street performers decide to create a play about apartheid. Just when the play is about to begin, the police officers entered the stage, interrupting the performance by conducting a background check on the actors to see if they are terrorists"(pg.55). The actors were trying to perform a show, but it is such an irony that the show involved the audience as they began to experience the monolithic events that promoted nation building through South African