a, without its own æmirror,Æ does not know who it is anymore. ChildrenÆs heroes are no longer Mandela, Biko, Lumumba, Nkrumah or Sankara, but blonde women and men with blue or green eyes. In Hollywood, Egypt is not even considered to be in Africa!
Sub-Saharan African cinema has both survived and reflected the changes in its culture due to decolonization and its fragmentation during apartheid, as well as the threats imposed by Hollywood, Bollywood (Indian films), and racism within the industry. It is often mentioned in conjunction with Third Cinema theory, a concept that originated with a 1969 paper entitled ôTowards a Third Cinema,ö by Solanas and Getino, two Latin-American filmmakers. This theory purports to embody ôthe highest aspirations of a post-colonial world in the throes of resisting Neocolonialismö and has the distinction of being the only major branch of film theory that did not arise from a Euro-American context. Considering the First World to consist of the cinema of industrialized, free-market systems and the
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