This volume is based on the results of a survey about film spectatorship and the uses of films today that was carried out in two North African (Morocco and Tunisia), and two Sub-Saharan (Tchad and Togo) countries. The survey with 3000 respondents used a similar questionnaire adapted to local specificities in the different countries. The analysis of

In countries with an enormous film supply coming essentially from other continents, but with its own (albeit irregular and sometimes non-existent) film production, what have been the dominant modes of production? What has been the impact of the digital revolution on the modes of production? What are the economic, industrial and social issues raised

At the crossroads of cultural history and aesthetic analysis, this book plunges us into the exploration of a pivotal period in the history of cinema.

After almost three decades since the collapse of the GDR, the image of East Germany is still present in television and film, mainly thanks to productions such as Good Bye, Lenin! and The Lives of Others that have deeply influenced our perception of the fall of the Berlin Wall and of life under communism. The primary scope of this book is to not...

An original and exhaustive approach to a new cinematographic practice.

While cinemas have been closing across the African continent, film production has boomed and access to film has considerably increased for urban dwellers. How do people watch films today? Which films do they watch? Does this still count as cinema? The essays in this volume explore spectatorship in Africa.

Film exchanges between the East and West of the Iron Curtain played a decisive role in the cinema of the second half of the 20th century. Tracing the history of film relations between France and the GDR from an unprecedented cross-referencing of sources, from the post-war era until the fall of the Berlin Wall, reveals the circulation of films ...