MENU   

Instructional Cinema and African Audiences in Colonial Kenya, 1926–1963

by

Type
Studies
Subject
Countries
Keywords
Africa, documentary, education
Publishing date
Publisher
Lexington Books
1st publishing
2022
Language
English
Size of a pocketbookRelative size of this bookSize of a large book
Relative size
Physical desc.
Paperback166 pages
6 x 9 inches (15 x 23 cm)
ISBN
978-1-79364-926-3
User Ratings
no rating (0 vote)

Average rating: no rating

0 rating 1 star = We can do without
0 rating 2 stars = Good book
0 rating 3 stars = Excellent book
0 rating 4 stars = Unique / a reference

Your rating: -

Book Presentation:
In Instructional Cinema and African Audiences in Colonial Kenya, 1926–1963, the author argues against the colonial logic instigating that films made for African audiences in Kenya influenced them to embrace certain elements of western civilization but Africans had nothing to offer in return. The author frames this logic as unidirectional approach purporting that Africans were passive recipients of colonial programs. Contrary to this understanding, the author insists that African viewers were active participants in the discourse of cinema in Kenya. Employing unorthodox means to protest mediocre films devoid of basic elements of film production, African spectators forced the colonial government to reconsider the way it produced films. The author frames the reconsideration as bidirectional approach. Instructional cinema first emerged as a tool to “educate” and “modernize” Africans, but it transformed into a contestable space of cultural and political power, a space that both sides appropriated to negotiate power and actualize their abstract ideas.

About the Author:
Samson Kaunga Ndanyi is assistant professor of African history and Africana studies at Rhodes College, Memphis, Tennessee.

Press Reviews:
In this scholarly text, Ndanyi discusses the aims, strategies, expectations, content, and ulterior motives of colonial instructional cinema in Kenya, arguing that the racially stratified cinematic space aimed to consolidate colonial power and white hegemonic control over Black bodies. Ndanyi's versatility as a film producer and history professor shines throughout this illuminating work on African colonial cinema…. The marketing of products from companies like Unilever and Cadbury midway through the shows and the inclusion of propaganda about the British royal family and instructions on agriculture all exposed the colonizers' preoccupations and were effectively confronted by anti-colonial nationalists and movements such as Harry Thuku, Dedan Kimathi, and the Mau Mau rebellion (1952–60). Recommended. General readers through faculty
― Choice Reviews

See the

> On a related topic:

Documentary Objectives:Filming Africa from Colonialism to Independence

(2026)

Filming Africa from Colonialism to Independence

by

Subject: Countries >

Uncovering Memory:Filming in South Africa, Germany, Poland and Bosnia/Herzegovina

(2023)

Filming in South Africa, Germany, Poland and Bosnia/Herzegovina

by

Subject: Genre >

Across the World with the Johnsons:Visual Culture and American Empire in the Twentieth Century

(2016)

Visual Culture and American Empire in the Twentieth Century

by , and

Subject: Genre >

The Adventure of the Real:Jean Rouch and the Craft of Ethnographic Cinema

(2010)

Jean Rouch and the Craft of Ethnographic Cinema

by

Subject: Director >

Building Bridges:The Cinema of Jean Rouch

(2008)

The Cinema of Jean Rouch

Dir.

Subject: Director >

Black (Post-)Cinemas:Genealogies, Practices, Aesthetics

(2025)

Genealogies, Practices, Aesthetics

by

Subject: Countries >

16917 books listed   •   (c)2024-2026 cinemabooks.info   •  
Books in French are on www.livres-cinema.info