"Francophone African Women Documentary Filmmakers is groundbreaking edited collection which explores the contributions of Francophone African women to the field of documentary filmmaking. Rich in its scope and critical vision it constitutes a timely contribution to cutting-edge scholarly debates on African cinemas. Featuring 10 chapters from prominent film scholars, it explores the distinctive documentary work and contributions of Francophone African women filmmakers since the 1960s. It focuses documentaries by North African and Sub-Saharan women filmmakers, including the pioneering work of Safi Faye in Kaddu Beykat, Rama Thiaw's The Revolution Will Not be Televised, Katy Lena Ndiaye's Le Cercle des noyes and En attendant les hommes, Dalila Ennadre's Fama: Heroism Without Glory and Leila Kitani's Nos lieux interdits. Shunned from costly fictional- 35mm-filmmaking, Francophone African Women Documentary Filmmakers examines how these women engaged and experimented with documentary filmmaking in personal, evocative ways that countered the officially sanctioned, nationalist practice of show and teach/promote"--

Introduction, by Suzanne Crosta, Sada Niang, and Alexie Tcheuyap
1. Documenting the Unseemly: Moroccan Women's Documentaries in the 2000s, by Florence Martin
2. Outsiders on the Inside: Rokhaya Diallo's Les marches de la liberté as Activist Documentary, by Sheila Petty
3. Challenging Documentary Practice: A Return to Safi Faye's Kaddu Beykat, by Melissa Thackway
4. Revisiting the "Domestic Ethnography" Approach in Khady Sylla's Une Fenêtre ouverte, by El Hadji Moustapha Diop
5. Tales of Colonels: Auteurship and Authority in Mama Colonel (2017) and This is Congo (2017), by Alexie Tcheuyap and Felix Veilleux
6. Authorizing Reality in Leila Kilani's Our Forbidden Places (2008) and Kaouther Ben Hania's The Slasher of Tunis (2014), by Suzanne Gauch
7. Documenting Tyranny: The Politics of Memory in Leila Kilani and Osvalde Lewat, by Herve Tchumkam
8. Ecological Representations in African Women Documentaries, by Suzanne Crosta
9. Looping the Loop: Rama Thiaw's The Revolution Won't Be Televised (2016), by Sada Niang
10. Dancing with the Camera: Interview with Nadine Otsobogo, by Suzanne Crosta, Sada Niang, and Alexie Tcheuyap
Index

Suzanne Crosta is Professor of French at McMaster University. She teaches contemporary African, Asian and Caribbean literatures and cinemas in French with a focus on ecocriticism, childhood/life narratives, postcolonialism, ethics, migration, violence and genocide. She has lectured widely at various universities in Africa, Asia, Europe, South America and the U.S.A in these disciplines. Her articles have appeared in Callaloo, Critical Interventions: Journal of African Art History and Visual Culture, Itinéraires et Contacts de cultures, Présence Francophone, Review in Feminist Research, Tangence, Thamyris, Voix plurielles among others. She is also the author of books and edited volumes on African and Caribbean literatures written in French. Currently, she is collaborating with Sada Niang and Alexie Tcheuyap on African cinemas and documentary filmmaking practices with CRSH/SSHRC funding support.Sada Niang is Professor of francophone literatures and cinemas in the Department of French at the University of Victoria. He has Published Cinéma et littérature en Afrique francophone (1997), Djibril Diop Mambéty un cinéaste à contre courant (2002), Nationalist African cinemas: Legacy and Transformations (2014), co-edited two special issues of Presence francophone (2001 & 2008), a collection of essays on Ousmane Sembene (2010) and a special issue of critical Interventions (2018) on African documentaries. Niang has also widely published on francophone African and Caribbean literatures.Alexie Tcheuyap, Fellow of the Royal Society of Canada, is Professor of French and Vice-Dean at the Faculty of Arts and Science at the University of Toronto. His publications include Avoir peur. Insécurité et roman et Afrique francophone (with Hervé Tchumkam, 2019), Autoritarisme, presse et violence au Cameroun, (2014) and Postnationalist African Cinemas (2011).