Michael T. Martin is Professor of Cinema and Media Studies at the Media School at Indiana University, Bloomington. He is editor or coeditor of several anthologies, including (with David C. Wall) The Politics and Poetics of Black Film: Nothing But a Man and Race and the Revolutionary Impulse in The Spook Who Sat by the Door. Martin directed and coproduced the award-winning feature documentary on Nicaragua, In the Absence of Peace, distributed by Third World Newsreel. Gaston Jean-Marie Kaboré is a film director, producer, and screenwriter and the former director of the Centre National du Cinéma in Burkina Faso.

"African Cinema: Manifesto and Practice for Cultural Decolonization combines theory and praxis as a means to explore the social, cultural, political, economic and gendered dynamics of African cinemas within a global context, all of which are determining factors in how African filmmaking practitioners and stakeholders negotiate their place as directors, producers, organizers, activists, scholars, distributors, cultural readers. The collection is an important addition to African Cinema Studies in particular, and the library of Film Studies in general."—Beti Ellerson, Founder and Director, Centre for the Study and Research of African Women in Cinema"Setting out, African Cinema positioned itself at the intersection of a theory and practice of cultural self-apprehension, with all the contradictions that come with that position. In this three-volume compendium, Martin, Kaboré and their various collaborators have provided a comprehensive, almost exhaustive, account eventuating in a third, element—history. A more comprehensive account will be hard to find anywhere else."—Akin Adesokan, Indiana University"This is a long-awaited volume of detailed, and analytical information and commentary that maps the development of the cinema of a large continent and the background ideas that have influenced its formation."—June Givanni, Director of the June Givanni Pan African Cinema Archive (JGPACA)

• DedicationAcknowledgmentsPreface, by Ardiouma SomaAfrican Cinema and the Diasporic: Introductory Considerations, by Michael T. Martin and Gaston Jean-Marie KaboréPart I: Sites and Contexts of ExhibitionAfrican Film Festivals in Africa: Curating "African Audiences" for "African Films", by Lindiwe DoveyOn Tracking World Cinema: African Cinema at Film Festivals, by Manthia DiawaraAfrican Women on the Film Festival Landscape: Organizing, Showcasing, Promoting, Networking, by Beti EllersonAfrican Cinema in the Tempest of Minor Festivals, by Sambolgo BangrePostcolonial Film Collaboration and Festival Politics, by Dorothee WennerPart II: FESPACO: An Evolving Cinematic and Cultural FormationAfrican Cinema and Festival: FESPACO, by Manthia DiawaraFESPACO: Promoting African Film Development and Scholarship, by M. Africanus AvehFESPACO and Cultural Valorization, by Mahir SaulAfrican Cinema: Between the "Old" and the "New", by Mbye ChamStatement at Ouagadougou (1979), by Ousmane SembeneA Name Is More Than the Tyranny of Taste, by Wole SoyinkaCine-Agora Africana: Meditating on the Fiftieth Anniversary of FESPACO, by Aboubakar SanogoCultural Politics of Production and Francophone West African Cinema: FESPACO 1999, by Teresa Hoefert de TureganoA Mirage in the Desert? African Women Directors at FESPACO, by Claire Andrade-WatkinsCabascabo, the Film That Lastingly Established FESPACO: An Interview with Alimata Salambere, by Olivier BarletThe Long Take: Gaston Kaboré on FEPACI & FESPACO, by Michael T. MartinPressing Revelations: Notes on Time at FESPACO, by Rod StonemanFifty Years of Women's Engagement at FESPACO, by Beti EllersonThiaroye or Yeelen? The Two Ways of African Cinemas, by Férid BoughedirLong Live Cinema! Long Live FESPACO.: A Luta Continua!, by Claire DiaoRethinking FESPACO As an Echo, by Michel AmargerGoing to the Cinema in Burkina Faso, by Mustapha OuedgraogoFESPACO Film Festival, by Colin DupréFESPACO and Its Many Afterlives, by Sheila PettyPart III: Conditionalities and ChallengesTowards Reframing FESPACO, by Imruh BakariFESPACO Past and Future: Voices from the Archive, by June GivanniThe Opening of South Africa and the Future of African Film, by Mahir SaulFESPACO 2019: Moving Toward Resurrection, by Olivier BarletFifty Years of Memories for Shaping the Future!, by Rémi AbegaPart IV: Commentaries: Filmmakers, Film Scholars, and Media ProfessionalsPart V: DocumentsResolution on the Pan-African Film Festival of Ouagadougou (1972)Regulations of the Carthage Film Festival (1970s)Regulations of the Pan-African Film Festival of Ouagadougou (1980)Regulations for the Official Juries of the 26th Edition of FESPACO (2019)FESPACO Award Winners (1972-2019)FESPACO 50th Anniversary Symposium (2019)Manifesto of Ouagadougou (2017)FESPACO Poster Gallery (1969-2019)Organizing Themes of the FESPACO Festival (1973-2019)Major Events of FESPACO (1969-2016)The African Film Library of OuagadougouDossier 1: Paul Robeson Award Initiative (PRAI)Dossier 2: The Higher Institute of Image and Sound / Studio School (ISIS-SE)Dossier 3: Imagine Film Training InstitutePower to the Imagination (2020), by Rod StonemanFounding Myths and Storytelling: The African Modern (2011), by Michael T. Martin