This article explores the films of selected women directors, whose works span the breadth of African cinema. Focusing on Sarah Maldoror’s Sambizanga (1972), Safi Faye’s Peasant Letter (1975), Fanta Régina Nacro’s The Night of Truth (2004), Maria João
Ganga’s Hollow City (2004) and Nadia El Fani’s Laïcité, Inch’Allah!/Neither Allah, Nor Master! (2011), this article examines some of the narrative and aesthetic approaches used by the film-makers and considers how these films contribute to the ongoing evolution
of African cinema narrative and aesthetic strategies
The Journal of African Cinemas will explore the interactions of visual and verbal narratives in African film. It recognizes the shifting paradigms that have defined and continue to define African cinemas. Identity and perception are interrogated in relation to their positions within diverse African film languages. The editors are seeking papers that expound on the identity or identities of Africa and its peoples represented in film.