This article may rely too heavily on sources with too close a tie to the subject to be verifiable and neutral. Please help improve it by replacing them with more appropriate citations to reliable, independent, third-party sources. (February 2012)

The African Film Festival of Cordoba (formerly African Film Festival of Tarifa or FCAT) is a annual festival devoted to African cinema organized by the NGO Al Tarab.

The event was founded in 2004 under the name of the Muestra de Cine Africano de Tarifa and changed its name to Festival de Cine Africano de Tarifa (African Film Festival of Tarifa) in the 2007 edition and to Festival de Cine Africano de Córdoba-FCAT from 2012 edition (Córdoba is the new host city).

History[link]

The African Film Festival of Tarifa, also known by the acronym FCAT, born in 2004 at the initiative of the NGO Al Tarab, based in Tarifa, in Cadiz province. During the first three years the event was intended as a sample of the best film production from Africa, to become the 4th in a Festival contest. The Festival was founded with the aim of publicizing a new image of Africa to the Spanish public, away from the stereotypes provided by the mass media, using Tarifa as a meeting point symbol for the meeting and exchange of cultures. This is aside from the beginning of particular interest to other art, creating a wide range of associated activities such as exhibitions of photography, painting, sculpture, concerts, workshops. It has always been given great importance also to the activities related to the young, through the creation of the School, which frames a series of activities on and off the Festival with schools in the province of Cádiz. The Festival also in recent years has sought to promote the film co-production market and the neighboring continent, through the organization of professional Conference, becoming one of the pillars of the event.

Structure of the festival[link]

The Festival is divided into a number of sections in competition and out of competition:

Competitive sections

• El sueño africano (The African Dream) section on feature films made ​​by African directors and / or produced by an African country in the last 2 years;
• Al otro lado del estrecho (Across the Strait) section dedicated to documentaries made by African directors and / or produced by an African country in the last 2 years;
• África en corto (Africa in Short) section dedicated to short films by African directors and / or produced by an African country in the last 2 years.

Sections out of competition

• Pantalla abierta (Open screen)
• Animáfrica

Section tribute

• Monographic section
• African Diaspora section

Awards[link]

Each year the international jury for feature film decides to grant the following awards:

• Griot de viento (Wind Griot) to the best feature film, delivered to the producer
• Griot de arcilla (Clay Griot) to the best fiction director, delivered the principal, Casa África Award
• Griot for Best Actress
• Griot for Best Actor
• Griot to the public the best feature film, delivered to the director, Caja Sol Award
• Signis Award for best feature film

The international jury of documentaries and short films will vote the following prizes:

• Griot for best documentary, delivered the principal, Aljazeera Documentary Channel Award
• Griot for best short film, delivered to the director
• El dilema Award for TV delivered film by RTVA - Radio Television of Andalusia

The Festival is not merely the projection of films during his days of programming, and complete your proposal through other actions can be summarized in the following areas:

• Other activities: meets all activities relate to the music, exhibitions, workshops, etc..
• Space School: draft framework for the activities with schools
• Professional Conference: FCAT space dedicated to working together and training of African professionals, Spanish and Europeans in general

Reference[link]

• http://www.fcat.es/FCAT_en/

This article may be expanded with text translated from the corresponding article in the Spanish Wikipedia. (May 2012) Don't speak Spanish? Click here to read a machine-translated version of the Spanish article. Click [show] on the right to review important translation instructions before translating. Google's machine translation is a useful starting point for translations, but translators must revise errors as necessary and confirm that the translation is accurate, rather than simply copy-pasting machine-translated text into English Wikipedia. Do not translate text that appears unreliable or low-quality. If possible, verify the text with references provided in the foreign-language article. After translating, {{Translated|es|Tarifa}} must be added to the talk page to ensure copyright compliance. For more guidance, see Wikipedia:Translation.

Tarifa
—  Municipality  —
View of the Puerta de Jerez, the traditional entrance to the old city centre.
Flag Coat of arms
Location in the province of Cádiz
Tarifa Location in Spain
Coordinates: 36°1′N 5°36′W / 36.017°N 5.6°W / 36.017; -5.6Coordinates: 36°1′N 5°36′W / 36.017°N 5.6°W / 36.017; -5.6
Country	Spain
Autonomous community	Andalusia
Province	Cádiz
Comarca	Campo de Gibraltar
Judicial district	Algeciras
Government
• Mayor	Juan Andrés Gil García (2011) (People's Party[PP])
Area
• Total	419.67 km2 (162.04 sq mi)
Elevation	7 m (23 ft)
Population (2009)
• Total	17,793
• Density	42/km2 (110/sq mi)
Demonym	Tarifeños
Time zone	CET (UTC+1)
• Summer (DST)	CEST (UTC+2)
Postal code	11380
Dialing code	(+34) 956
Official language(s)	Spanish
Website	Official website

Tarifa is a small town in the province of Cádiz, Andalusia, on the southernmost coast of Spain. The town is located on the Costa de la Luz ("coast of light") and across the Straits of Gibraltar facing Morocco. The municipality includes Punta de Tarifa, the southernmost point in continental Europe. There are five smaller villages which depend economically on Tarifa. They are Tahivilla, Facinas, Bolonia and Zahara de los Atunes.

History[link]

During the Roman period, Tarifa was known as Julia Transducta (also known as Julia Joza, or just Transducta). Tarifa name was given after the attack of Tarif ibn Malik in 710, a Berber military commander of Musa bin Nusayr.^[1]

The city was also known as the place where citizens of Zelis (near Tingis) resettled. The village of Bolonia near Tarifa was also populated in Roman times (called Baelo Claudia). Roman ruins still exist near the village today.

After the Islamic conquest of southern Spain, the city was fortified starting from the 10th century. Later Tarifa was held by the taifa of Algeciras (1031) and by that of Seville (1057), and subsequently by the Almoravids. After the latter's fall, it lived a short period under another taifa of Algeciras (1231), until becoming part of the Kingdom of Granada. In 1292 it was conquered by Sancho IV of Castile, and two years later it resisted a siege by North African Islamic troops. The town resisted another siege in 1340 from Moroccan troops, eventually leading to the Battle of Río Salado.

In 1514 it become the seat of marquisate including also Bornos, Espera and Alcalá de los Gazules. In the course of the Peninsular War, Tarifa was besieged by French troops on 20 December 1810, and again on 18 October 1811.

Name[link]

Tarifa is sometimes credited with being the origin of the word "tariff, since it was the first port in history to charge merchants for the use of its docks, but other sources^[2] point to the Arabic word ta'rïf, as the origin. The name "Tarifa" itself is derived from the name of the Berber warrior, Tarif ibn Malik.

Main sights[link]

Tarifa seen from the Isla de Las Palomas

Sunshine in Punta Paloma beach.

Historical landmarks of the city include:

• the well-preserved Guzman castle, near the port, built by order of caliph Abd-ar-Rahman III (960). Annexed are the Guzmán el Bueno Tower (13th century) and the church of St. Mary, on the site of a former mosque
• remains of the medieval walls. Of three gates once existing, today only the Puerta de Jerez (13th century) has survived
• Church of St. Matthew, built in the early 16th century in Gothic style, also over a former mosque. The façade was redesigned by Torcuato Cayón de la Vega in 1774.
• The ruins of the Roman city of Baelo Claudia, located nearby.

Tarifa has become a popular spot for northern-Europeans to spend their summers. The coast of Tarifa is also popular with windsurfers and kitesurfers due to the strong winds of the straits. For this reason Tarifa is also dotted with hundreds of wind turbines.

Tarifa is a renowned place to watch migrating birds, in particular the storks which cross the Straits of Gibraltar in spring and autumn. Also whale and dolphin watching can be done on the 14 kilometer wide Straits.

Cinema[link]

Tarifa is renowned for its African film Festival, whose first edition took place in 2004.

Transportation[link]

There are regular ferry services between Tarifa and Tangier and bus services between Tarifa and Algeciras, about 20 km to the northeast, and Seville about 200 km to the north.

Climate[link]

Tarifa features a Mediterranean climate with Oceanic influences, with warm summers and very mild winters. Rain is concentrated in winter, with the summers being largely dry. Because of its proximity to the Atlantic Ocean, precipitation in the wet period is quite high; monthly averages exceed 80mm in the two wettest months, December and January. The influence of the ocean has the additional effect of creating a very small annual variation in temperature. Winters are much warmer than those of continental Spain - a phenomenon also due to its southerly location - and summers are less hot than those of other areas of southern Spain - the average daily high in the hottest month, August, is only 24°C, significantly cooler than the temperatures experienced further inland in the Guadalquivir valley, and also a little cooler than those felt further East along the Mediterranean coast in places such as Málaga and Almería.

Tarifa kite school.

References[link]

• Dictionary of Greek and Roman Geography

External links[link]

Wikimedia Commons has media related to: Tarifa

• Official website (Spanish)
• Estrecho Natural Park (Spanish)
• Lances Beach Natural Paraje (Spanish)

This article has multiple issues. Please help improve it or discuss these issues on the talk page. It relies on references to primary sources or sources affiliated with the subject, rather than references from independent authors and third-party publications. Tagged since October 2009. It may contain original research. Tagged since October 2009.

This article or section needs attention from an expert on the subject. The following WikiProjects or Portals may be able to help recruit one: • WikiProject Films • WikiProject Africa If another appropriate WikiProject or portal exists, please adjust this template accordingly. (February 2009)

The term African cinema refers to the film production in Africa, following formal independence. Some of the countries in North Africa (such as the cinema of Egypt, for example) developed a national film industry much earlier and are related to West Asian cinema. Often, African Cinema also includes directors from among the African diaspora.

History[link]

Film during the colonial era[link]

During the colonial era, Africa was represented exclusively by Western filmmakers. The continent was portrayed as an exotic land without history or culture. Examples of this kind of cinema abound and include jungle epics such as Tarzan and The African Queen, and various adaptations of H. Rider Haggard's 1885 novel titled King Solomon's Mines.^[1] In the mid-1930s, the Bantu Educational Kinema Experiment was carried out in order to educate the Bantu peoples.^[2]

In the French colonies Africans were, by law, not permitted to make films of their own. This ban was known as the "Laval Decree".^[3] In 1955, however, Paulin Soumanou Vieyra - originally from Benin, but educated in Senegal - along with his colleagues from Le Group Africain du Cinema, shot a short film in Paris by the name of Afrique Sur Seine (1955). Vieyra was trained in filmmaking at the prestigious Institut des Hautes Etudes Cinematographique (IDHEC) in Paris, and in spite of the ban on filmmaking in Africa, was granted permission to make a film in France.^[4] Afrique Sur Seine explores the difficulties of being an African in France during the 1950s and is considered to be the first film directed by a black African.^[5]

Before independence, only a few anti-colonial films were produced. Examples include Les statues meurent aussi by Chris Marker and Alain Resnais about European robbery of African art (which was banned by the French for 10 years^[6]) and Afrique 50 by René Vauthier about anti-colonial riots in Côte d'Ivoire and in Upper Volta (now Burkina Faso).^[7]

Also doing film work in Africa during this time was the French Ethnographic filmmaker, Jean Rouch. Rouch's work has been controversial amongst both French and African audiences. With films like Jaguar (1955), Les maitres fous (1955), Moi, un noir (1958), and La pyramide humaine (1959), Rouch made documentaries that were not explicitly anti-colonial, but which challenged many received notions about colonial Africa and gave a new voice to Africans through film.^[8] Although Rouch has been accused by Ousmane Sembene - and others^[9] - as being someone who looks at Africans "as if they are insects," Rouch was an important figure in the early development of African film and was the first person to work with several Africans who would go on to have important careers in African cinema (Oumarou Ganda, Safi Faye, and Moustapha Alassane, to name a few).^[10]

Because most of the films prior to independence were egregiously racist in nature, African filmmakers of the independence era - like Ousmane Sembene and Oumarou Ganda, amongst others - saw filmmaking as an important political tool for rectifying the erroneous image of Africans put forward by Western filmmakers and for reclaiming the image of Africa for Africans.^[11]

1960s and 1970s[link]

The first African film to win international recognition was Ousmane Sembène's La Noire de... also known as Black Girl. It showed the despair of an African woman who has to work as a maid in France. The writer Sembène had turned to cinema to reach a wider audience. He is still considered to be the 'father' of African Cinema.^{[citation needed]} Sembène's native country Senegal continued to be the most important place of African film production for more than a decade.^{[citation needed]}

With the of the African film festival FESPACO in Burkina Faso in 1969, African film created its own forum. FESPACO now takes place every two years in alternation with the film festival Carthago in (Tunisia).

The Federation of African Filmmakers (FEPACI) was formed in 1969 in order to focus attention on the promotion of African film industries in terms of production, distribution and exhibition. From its inception, FEPACI was seen as a critical partner organization to the OAU, now the AU. FEPACI looks at the role of film in the politico-economic and cultural development of African states and the continent as a whole.

Med Hondo's Soleil O, shot in 1969, was immediately recognized. No less politically engaged than Sembène, he chose a more controversial filmic language to show what it means to be a stranger in France with the 'wrong' skin colour.

1980s and beyond[link]

Open-Air-Cinema in Johannesburg with an inflatable movie screen

Souleymane Cissé's Yeelen (Mali 1987) and Cheick Oumar Sissoko's Guimba (Mali 1995) were well received in the west. Some critics criticized the filmmakers for adapting to the exotic tastes of western audiences

Many films of the 1990s, e.g. Quartier Mozart by Jean-Pierre Bekolo (Cameroon 1992), are situated in the globalized African metropolis.

A first African Film Summit took place in South Africa in 2006. It was followed by FEPACI 9th Congress.

Nollywood, a colloquial term for Nigerian Cinema, is a growing and commercially viable industry.

Themes[link]

African cinema focuses on social and political themes rather than any commercial interests, and is an exploration of the conflicts between the traditional past and modern times. The political approach of African film makers is clearly evident in the Charte du cinéaste africain (Charta of the African cinéaste) which the union of African film makers FEPACI adopted in Algiers in 1975.

The filmmakers start by recalling the neocolonial condition of African societies. "The situation contemporary African societies live in is one in which they are dominated on several levels: politically, economically and culturally."^{[citation needed]} African filmmakers stressed their solidarity with progressive filmmakers in other parts of the world. African cinema is often seen a part of Third Cinema.

Some African filmmakers, for example Ousmane Sembène, try to give back African history to African people by remembering the resistance to European and Islamic domination.

The role of the African filmmaker is often compared to traditional Griots. Like them their task is to express and reflect communal experiences. Patterns of African oral literature often recur in African films. African film has also been influenced by traditions from other continents such as Italian neorealism, Brazilian Cinema Novo and the theatre of Bertolt Brecht.

Women directors[link]

Ethnologist and filmmaker Safi Faye was the first African woman film director to gain international recognition.

In 1972, Sarah Maldoror had shot her film Sambizanga about the 1961-1974 war in Angola. Surviving African women of this war are the subject of the Documentary Les oubliées (The forgotten), made by Anne-Laure Folly twenty years later.

In 2008, Manouchka Kelly Labouba became the first woman to direct a fictional film in the history of Gabon. Her short film, Le Divorce, addresses the clash between modern and traditional values and its impact on a young Gabonese couple’s attempt to divorce.

Directors by country[link]

• Burkina Faso: Idrissa Ouedraogo, Gaston Kaboré, Dani Kouyaté, Fanta Régina Nacro, Pierre Yameogo
• Cameroon: Jean-Pierre Bekolo, Jean-Pierre Dikongué Pipa
• Chad: Issa Serge Coelo, Mahamat Saleh Haroun
• Côte d'Ivoire: Desiré Ecaré
• Democratic Republic of the Congo: Zeka Laplaine^[12]
• Egypt: Salah Abu Seif, Youssef Chahine, Yousry Nasrallah, Ezzel Dine Zulficar, Sherif Arafa, Khaled Youssef, Marwan Hamed, Mohamed Khan, Shady Abdel Salam, Khairy Beshara, Samir Seif
• Ethiopia: Haile Gerima
• Gabon: Imunga Ivanga
• Ghana: Kwaw Ansah, Leila Djansi
• Guinea: Mohamed Camara
• Guinea-Bissau: Flora Gomes
• Kenya: Wanuri Kahiu
• Mali: Souleymane Cissé, Cheick Oumar Sissoko, Abdoulaye Ascofare, Adama Drabo, Manthia Diawara
• Mauritania: Med Hondo, Abderrahmane Sissako
• Niger: Oumarou Ganda
• Nigeria: Ola Balogun, Izu Ojukwu
• Rwanda: Eric Kabera
• Senegal: Ousmane Sembène, Djibril Diop Mambéty, Safi Faye, Ben Diogaye Beye, Mansour Sora Wade
• Sudan: Gadalla Gubara
• South Africa: Lionel Ngakane, Gavin Hood, Zola Maseko
• Zimbabwe: M.K. Asante, Jr.

Films about African cinema[link]

• Caméra d’Afrique, Director: Férid Boughedir, Tunisia/France 1983
• Les Fespakistes, Directors: François Kotlarski, Eric Münch, Burkina Faso/France 2001
• This is Nollywood

Bibliography[link]

• Mahir Şaul and Ralph Austen, eds. Viewing African Cinema in the Twenty-First Century: Art Films and the Nollywood Video Revolution, Ohio University Press, 2010, ISBN 978-0-8214-1931-1
• Roy Armes: Dictionary of African Filmmakers, Indiana University Press, 2008, ISBN 0-253-35116-2
• Olivier Barlet, African Cinemas : decolonizing the gaze, Zed Books, London, 2001
• Fernando E. Solanas, Octavio Getino, "Towards a Third Cinema" in: Bill Nichols (ed.), Movies and Methods. An Anthology, University of California Press 1976, pp. 44–64
• Nwachukwu Frank Ukadike, Black African Cinema, University of California Press 1994
• Nwachukwu Frank Ukadike, Questioning African Cinema: Conversations with Filmmakers, University of Minnesota Press 2002, ISBN 0-8166-4005-X
• Melissa Thackway, Africa Shoots Back: Alternative Perspectives in Sub-Saharan Francophone African Film, Indiana University Press 2003, Includes a comprehensive bibliography and a select filmography
• Africultures : see www.africultures.com (French and English)
• Samuel Lelievre (ed.),Cinémas africains, une oasis dans le désert ?, CinémAction no 106, Paris, Télérama/Corlet, 1st trimester 2003
• Écrans d’Afriques (1992–1998) - French and English - to read on www.africine.org or www.africultures.com

See also[link]

Africa portal

• Somaliwood
• African literature
• List of African films
• Political cinema
• Third Cinema
• Women's cinema
• World cinema
• African Movie Academy Awards

References[link]

This article includes a list of references, but its sources remain unclear because it has insufficient inline citations. Please help to improve this article by introducing more precise citations. (July 2009)

1. ^ Murphy, David (2000). "Africans Filming Africa: Questioning Theories of an Authentic African Cinema". Journal of African Cultural Studies 13 (2): 239–249. DOI:10.1080/713674315. JSTOR 1771833. 
2. ^ Notcutt, L.A. and G.C. Latham, The African and the Cinema : An Account of the Work of the Bantu Educational Cinema Experiment during the Period March 1935 to May 1937 (London: Edinburgh House Press, 1937).
3. ^ Diawara, Manthia. (1992). African Cinema: Politics and Culture. Bloomington, IN: Indiana University Press, pp. 22-23
4. ^ Diawara, Manthia. (1992). African Cinema: Politics and Culture. Bloomington, IN: Indiana University Press, p. 23
5. ^ Gugler, Josef. (2003). African Film: Re-Imagining a Continent. Bloomington, IN: Indiana University Press, p. 3
6. ^ Ukadike, Nwachukwu Frank. (1994).Black African Cinema. Berkeley: University of California Press, p. 49
7. ^ Thackway, Melissa. (2003). Africa Shoots Back: Alternative Perspectives in Sub-Saharan Francophone African Film. Bloomington, IN: Indiana University Press, see p. 7 and p. 32
8. ^ see Cine-Ethnography (1994) edited by Steven Feld, and The Adventure of the Real: Jean Rouch and the Craft of Ethnographic Cinema (2010) by Paul Henley for more on Rouch's work
9. ^ see, for example, Black African Cinema (1994) by Nwachukwu Frank Ukadike, pp. 48-58
10. ^ Diawara, Manthia. (1992). African Cinema: Politics and Culture. Bloomington, IN: Indiana University Press, pp. 23-24. See also, Henley, Paul. (2010) The Adventure of the Real: Jean Rouch and the Craft of Ethnographic Cinema Chicago: University of Chicago Press, pp. 310-337
11. ^ Thackway, Melissa. (2003). Africa Shoots Back: Alternative Perspectives in Sub-Saharan Francophone African Film. Bloomington, IN: Indiana University Press, pp. 1-6
12. ^ Melissa Thackway (2003). Africa shoots back: alternative perspectives in Sub-Saharan Francophone African film. Indiana University Press. ISBN 978-0-253-34349-9. http://books.google.com/books?id=iA--kyw_FhsC. Retrieved 13 October 2010. 

External links[link]

• The Heavy Flag of Pan-African Cinema
• Harvard Film Archive
• African Cinema in the 1990s
• African Media Program Comprehensive database of African media
• Library of African Cinema in California
• Panafrican Film and TV Festival of Ouagadougou (FESPACO)
• Wiki of the African Film Festival of Tarifa

Kunle Afolayan is a Nigerian actor and director. He is the son of the famous theater and film director and producer Ade Love and member of Yoruba people.^[1][2] Afolayan is economist by education, but since 2005 he is active in Nigerian film industry. He has made several extremely popular titles including 'Araromire' ('dolly'), who won five major awards of the African Film Academy and experienced tremendous success in the Nigerian movie theaters.^[1] Among many other activities, Kunle Afolayan is 2011 appeared at Subversive Film Festival where with his colleague Zeb Ejiro, he represent the second largest film industry in the world-Nigerian film industry.^[1]

Early life[link]

Kunle Afolayan father Ade Love was renowned Nigerian artist of the second half of the 20 century which is from traveling theater turned to filmmaking industry.^[3] Because his father felt for him education is the most important, Afolayan completed his studies in accounting.^[3]

He started out working in banking, while doing some casual acting, before deciding to move into full-time filmmaking and taking a course at the New York Film Academy.^[2]

References[link]

1. ^ ^{a b c d} http://www.tportal.hr/showtime/film/125163/Mi-smo-nova-filmska-revolucija.html
2. ^ ^{a b} http://234next.com/csp/cms/sites/Next/ArtsandCulture/Film/5481791-147/story.csp
3. ^ ^{a b} http://www.youtube.com/watch?v=HZAT1farmaM

This Nigerian biographical article is a stub. You can help Wikipedia by expanding it. v t e

This article about an African actor or actress is a stub. You can help Wikipedia by expanding it. v t e

Youssouf Djaoro
Born	Chad
Years active	2000 -

Youssouf Djaoro is a Chadian film actor.^[1]

He made his debut by appearing in the film Daresalam in 2000 in which he played the character of Tom. It was directed by the critically acclaimed Issa Serge Coelo and was the first of several films they have collaborated with. Tartina City, also directed by Coelo in 2006 in which Djaoro played a journalist won the Innovation Award at the 31st Montreal World Film Festival.^[2]

Later in 2006 he starred in the film Daratt playing the role of Nassara. Directed by Mahamat Saleh Haroun, Darratt won the Grand Special Jury Prize at the 63rd Venice International Film Festival, as well as eight other prizes at Venice and the Panafrican Film and Television Festival of Ouagadougou. For his role in "A Screaming Man", Djaoro won the Silver Hugo for best actor at the 46th Chicago International Film Festival.

Filmography[link]

• Daresalam (2000) as Tom
• Tartina City (2006)
• Daratt (2006) as Nassara
• A Screaming Man (2010) as Adam

Footnotes[link]

1. ^ Youssouf Djaoro at the Internet Movie Database.
2. ^ Montreal World Film Festival Awards

v t e Cinema of Chad Films A-Z • Films by year • Actors • Directors

This Chadian biographical article is a stub. You can help Wikipedia by expanding it. v t e

This article about an African actor or actress is a stub. You can help Wikipedia by expanding it. v t e