Article Per Year (5 Year)
p-Index From 2021 - 2026
0.408
P-Index
This Author published in this journals
All Journal Journal of Multidisciplinary Academic and Practice Studies
Achibi Samuel Dede
University of Port Harcourt, Choba, Nigeria
Humanities Decision Sciences, Operations Research & Management Languange, Linguistic, Communication & Media Social Sciences Other

Published : 2 Documents Claim Missing Document
Claim Missing Document
Check
Articles

Found 2 Documents
Search

 1 
Third Cinema Under Pressure: African Film Aesthetics and the Limits of Revolutionary Film Theory Achibi Samuel Dede
Journal of Multidisciplinary Academic and Practice Studies Vol. 4 No. 2 (2026): May
Publisher : Goodwood Publishing

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.35912/jomaps.v4i2.4077

Abstract

Purpose: This study explores how contemporary African cinema challenges the assumptions of Third Cinema, particularly its focus on linear temporality, clear ideology, and a uniform, politically educable audience. African filmmakers, through narrative innovation, ritualized performance, spiritual cosmologies, and non-linear temporalities, show that resistance can be subtle, multifaceted, and not always overt or ideologically prescriptive. Research Methodology: The study employs qualitative analysis, examining contemporary African films and their narrative techniques, ritualized performances, and spiritual themes. It critiques the impact of digital platforms, streaming economies, and global festival circuits on audience reception and political engagement in African cinema. Results: The research finds that African cinema transcends the limitations of Third Cinema by demonstrating that resistance in films emerges from form, rhythm, and interpretive complexity, rather than overt political messaging. It highlights how African cinema challenges colonial and postcolonial representations, particularly through its portrayal of women and ethical, social, and historical engagement. Conclusions: The study concludes that Third Cinema serves as a critical point of departure, not a rigid framework, for understanding African cinema. It shows that revolutionary potential lies in subtlety, multiplicity, and temporal depth, offering a reflective and relational form of resistance. Limitation: The study is limited to contemporary African cinema and may not address earlier works or other global film theories outside Third Cinema. Contributions: This paper contributes to the discourse on African cinema by positioning it as a challenge to revolutionary film theory. It highlights how African cinema negotiates power, circulation, and audience interpretation, reframing resistance for the twenty-first century.
Counter-Anthropological Narratives: Colonial and Postcolonial Social Life in the Literature and Cinema of Sembène Ousmane Achibi Samuel Dede
Journal of Multidisciplinary Academic and Practice Studies Vol. 4 No. 2 (2026): May
Publisher : Goodwood Publishing

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.35912/jomaps.v4i2.4081

Abstract

Purpose: This study explores the counter-anthropological approach of Sembène Ousmane’s novels and films, examining how his works interrogate African social life by challenging colonial and postcolonial epistemologies. The research highlights the role of literature and cinema as instruments of ethical, social, and historical knowledge, with a focus on the portrayal of women as central ethical actors. Research Methodology: The study uses a qualitative methodology, combining literary analysis, film studies, and social theory to analyze Sembène’s works, such as God’s Bits of Wood, Xala, Ceddo, Borom Sarret, and Moolaadé. It explores Sembène’s cinematic techniques, including close-ups, spatial framing, and ensemble staging, to understand how these techniques reveal moral and social agency within African communities. Results: The research finds that Sembène’s works challenge colonial and postcolonial misrepresentations of African societies, emphasizing agency, relationality, and moral deliberation. Women are shown as central figures in shaping communal life and challenging patriarchal structures. Religious practices are depicted as dynamic frameworks for ethical reasoning, not static rituals. Conclusions: Sembène constructs a counter-anthropological methodology that provides an insider perspective of African life. His works depict African societies as historically conscious and morally reflective, contrasting with reductive colonial portrayals. Limitation: The study focuses on selected works, which may limit a broader understanding of Sembène’s entire oeuvre. Contributions: This paper contributes new insights into African literature and cinema, offering a nuanced counter-anthropological lens to explore social life, agency, and women’s roles in postcolonial Africa.
Co-Authors