Cinema in Mozambique: New Tendencies in a Complex Mediascape
2014; Taylor & Francis; Volume: 8; Issue: 2 Linguagem: Inglês
10.1080/19301944.2014.940245
ISSN2326-411X
Autores Tópico(s)African history and culture studies
ResumoClick to increase image sizeClick to decrease image size Notes1 See DVD Edition: O mundo em Imagens. Filmes do Arquivo do Instituto Nacional de Audiovisual e Cinema; two DVDs containing Mueda – memória e massacre (1979), Canta meu irmão – e ajuda-me a cantar (1982) and Kuxa Kanema. Episódios 001–012 (1981), edited by Ute Fendler. Berlin: Arcadia Film, 2012.2 See documentary by Margarida Cardoso: Kuxa Kanema. The Birth of Cinema, 52 minutes, Filmes do Tejo, 2004.3 See for example Magarida Cordoso's documentary, Kuxa Kanema.4 Interviews with Camilo de Sousa, Licínio Azevedo and Luís Carlos Patraquim, September 2012 and 2013.5 In Mozambique, this is the most powerful supporter of cultural and artistic projects.6 Including 'Do outro lado da linha' (Behind the line, 1971), although records fail to mention directorial credit for Margaret Dickinson. It was released in August 2013 and distributed at INAC and through Olá Africa.7 Samora vive, Estas são as Armas, Ofensiva, Um Povo nunca morre, 25 de Junho. A festa 10 anos depois. The digitization of these films was realized with the financial support by UNESCO, and 2000 DVDs were produced and distributed by Globe Musica in Mozambique.8 Partners were INAC, the FLCS, the University of Bayreuth (Germany), INAC and the Instituto Cultural Moçambicano-alemão.9 The program is called "Kulturerhalt" (Culture Preservation).10 Two more DVDs were launched at the end of 2013: Kuxa Kanema, 0–10 and Kuxa Kanema, 13–22, plus a feature film.11 The German title is Kino und Dekolonisation: Wessen Geschichte, wessen Bilder?12 Guido Convents dedicates a chapter to the main production companies (2011).13 All had worked as film directors or directors of photography or in production for Kuxa Kanema and on documentaries.14 ZDF, second channel of public television in Germany.15 Still, as we will see later on, this vacuum as a consequence of the European economic crisis gives some space to younger film makers and spurs on new ideas.16 The film was selected at various international film festivals. In Montreal, it was awarded best film at the festival Vues d'Afrique in April 2013.17 Ondjaki: AvóDezanove e O Segredo do Soviético.18 See http://www.mahlafilmes.com/portfolio/movies/19 Interviews with João Ribeiro (Kanema Production) and Mickey Fonseca (Mahla films) in September 2012 and April 2013.20 Lusomundo at the Maputo Shopping Center, the Charlot with mainly Indian films and the halls of Scala and Teatro Avenida that also function as theater halls.21 Centro Franco-Moçambicano, ICMA, Centro Cultural Brasileiro.22 Since 2008, an auditorium had been equipped with technical facilities for high-quality screenings, thanks to the efforts of the Dean of the Faculdade de Letras e Ciencias Sociais, Professor Armando Jorge Lopes.23 There were two parallel programs: one with classical of African cinema and another one with very recent films that are representative of thematic and aesthetic trends.24 The program was also supported by ICMA, Iodine and a partnership with the University of Bayreuth and FLCS. Miguel Prista is responsible for the film screenings during Dockanema on campus as well as the organization of thematic film cycles.25 Such as, for example, Victor Sousa. A trance madura, by Lionel Moulinho, 2012.26 Spanish cooperation has been working toward this end.Additional informationNotes on contributorsUte FendlerUte Fendler (ute.fendler@uni-bayreuth.de) is a Professor for Romance Cultural and Media Studies at the University of Bayreuth (Germany) since 2007. Her main research interest are transmediality, intercultural phenomenon, literature, film and television (French, Portuguese speaking regions in Africa, Caribbean and Canada). Since 2008, one of her foci has been cinema and arts in Mozambique.
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