Fills a gap in the international literature by offering new insights into the heterogeneous ways in which African men are performing, negotiating and experiencing masculinity. Through their analysis of the depictions in film and literature of masculinities in colonial, independent and post-independent Africa, the contributors open some key African texts to a more obviously politicized set of meanings. Collectively, the essays provide space for rethinking current theory on gender and masculinity: - how only some of the most popular theories in masculinity studies in the West hold true in African contexts; - howWestern masculinities react with indigenous masculinities on the continent; - how masculinity and femininity in Africa seem to reside more on a continuum of cultural practices than on absolutely opposite planes; - andhow generation often functions as a more potent metaphor than gender. Lahoucine Ouzgane is Associate Professor of English & Film Studies, University of Alberta, Canada.

Set in the 1950s, this book tells of Diaw Falla, a docker for whom work exists merely to finance his true obsession - his writing. As his novel nears completion, he meets Ginette Tontisanne whose good connections ensure he is published - but, to his dismay, under her name.

The must-read new bold and immersive West African-inspired fantasy series, as featured on Cosmo, Bustle and Book Riot. In this world, girls are outcasts by blood and warriors by choice, perfect for fans of Children of Blood and Bone and Black Panther. "Namina Forna Could Be The Toni Morrison Of YA Fantasy." Refinery 29 Sixteen-year-old Deka lives in Otera, a deeply patriarchal ancient kingdom, where a woman's worth is tied to her purity, and she must bleed to prove it. But when Deka bleeds gold - the colour of impurity, of a demon - she faces a consequence worse than death. She is saved by a mysterious woman who tells Deka of her true nature: she is an Alaki, a near-immortal with exceptional gifts. The stranger offers her a choice: fight for the Emperor, with others just like her, or be destroyed... "An enthralling debut. The Gilded Ones redefines sisterhood and is sure to leave readers both inspired and ultimately hopeful." Stephanie Garber, #1 New York Times bestselling author of Caraval "Haunting, brutal, and oh-so-relevant. This book will suck you into a world where girls bleed gold, magic fills the air, and the real monsters hide behind words instead of claws." Roseanne A. Brown, New York Times bestselling author of A Song of Wraiths and Ruin "The Gilded Ones is a fierce, unflinching fantasy that marks Forna as a debut to watch." Kiersten White, New York Times bestselling author of And I Darken

In the small African republic of Kinjanja, British diplomat Morgan Leafy bumbles heavily through his job. His love of women, his fondness for drink, and his loathing for the country prove formidable obstacles on his road to any kind of success. But when he becomes an operative in Operation Kingpin and is charged with monitoring the front runner in Kinjanja’s national elections, Morgan senses an opportunity to achieve real professional recognition and, more importantly, reassignment. After he finds himself being blackmailed, diagnosed with a venereal disease, attempting bribery, and confounded with a dead body, Morgan realizes that very little is going according to plan.

Winner, Rollins Book Award, Southwest Texas Popular Culture Association/American Culture Association, 2008 Science fiction film offers its viewers many pleasures, not least of which is the possibility of imagining other worlds in which very different forms of society exist. Not surprisingly, however, these alternative worlds often become spaces in which filmmakers and film audiences can explore issues of concern in our own society. Through an analysis of over thirty canonic science fiction (SF) films, including Logan's Run, Star Wars, Blade Runner, Back to the Future, Gattaca, and Minority Report, Black Space offers a thorough-going investigation of how SF film since the 1950s has dealt with the issue of race and specifically with the representation of blackness. Setting his study against the backdrop of America's ongoing racial struggles and complex socioeconomic histories, Adilifu Nama pursues a number of themes in Black Space. They include the structured absence/token presence of blacks in SF film; racial contamination and racial paranoia; the traumatized black body as the ultimate signifier of difference, alienness, and "otherness"; the use of class and economic issues to subsume race as an issue; the racially subversive pleasures and allegories encoded in some mainstream SF films; and the ways in which independent and extra-filmic productions are subverting the SF genre of Hollywood filmmaking. The first book-length study of African American representation in science fiction film, Black Space demonstrates that SF cinema has become an important field of racial analysis, a site where definitions of race can be contested and post-civil rights race relations (re)imagined.

The remarkable, award-winning film, Son of Man (2005), directed by the South African Mark Dornford-May, sets the Jesus story in a contemporary, fictional southern African Judea. While news broadcasts display the political struggles and troubles of this postcolonial country, moments of magical realism point to supernatural battles between Satan and Jesus as well. Jesus' Judean struggle with Satan begins with a haunting reprise of Matthew's 'slaughter of the innocents' and moves forward in a Steve Biko-like non-violent, community-building ministry, captured in graffiti and in the video footage that Judas takes to incriminate Jesus. Satan and the powers seemingly triumph when Jesus 'disappears', but then Mary creates a community that challenges such injustice by displaying her son's dead body upon a hillside cross. The film ends with shots of Jesus among the angels and everyday life in Khayelitsha (the primary shooting location), auguring hope of a new humanity (Genesis 1.26). This book's essays situate Son of Man in its African context, exploring the film's incorporation of local customs, music, rituals, and events as it constructs an imperial and postcolonial 'world'. The film is to be seen as an expression of postcolonial agency, as a call to constructive political action, as an interpretation of the Gospels, and as a reconfiguration of the Jesus film tradition. Finally, the essays call attention to their interested, ideological interpretations by using Son of Man to raise contemporary ethical, hermeneutical, and theological questions. As the film itself concisely asks on behalf of the children featured in it and their politically active mothers, 'Whose world is this'?