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- Edited by Jyoti Mistry, Antje Schuhmann
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- Gaze Regimes
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7 - Puk Nini – A Filmic Instruction in Seduction: Exploring class and sexuality in gender relations
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- By Antje Schuhmann, works as senior lecturer in the Political Studies department and the Centre for Diversity Studies at the University of the Witwatersrand, Johannesburg., Jyoti Mistry, filmmaker and associate professor at the University of the Witwatersrand, Johannesburg, in the School of Arts
- Edited by Jyoti Mistry, Antje Schuhmann
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- 31 December 2015, pp 81-96
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Summary
Fanta Regina Nacro is a well-known and highly respected filmmaker from Burkina Faso who made the critically acclaimed feature film The Night of Truth (2004). Earlier in her career she also made a short film, Puk Nini (1995). Nacro's reflections on the multiple roles that women are expected to perform both professionally (public) and domestically (private) motivated the roundtable discussion that follows, which took place at the University of the Witwatersrand, Johannesburg. The objective of this roundtable was to address her reflections – the ‘creative understanding’ of the film – in a South African context and outside of Burkina Faso's immediate local and geographic context. The premise of the discussion was to explore, investigate and engage Nacro's intention (as a filmmaker) with Puk Nini. Furthermore, the discussion aimed to engage her intention and interpretation of gender relations as represented in Puk Nini with the next generation of artistically and socio-politically conscientised young adults in South Africa, some 20 years since the film's making. In other words, the research intention was twofold: firstly to use the film as a vehicle to gauge how much gender relations might have changed since the making of this film and, secondly, to explore its reception in a different geo-social environment. We wanted to discover how diverse, young, urban-based audiences in South Africa might interpret Puk Nini through the lens of their own experiences and also to understand how they think about contemporary gender relations and sexuality.
In the context of this roundtable, which we as teachers at the university initiated, the point was less the aesthetic considerations and more to allow students to bring their scope of film theory and cinematic representations, in conjunction with their reading of the socio-cultural issues explored in the film Puk Nini. It was an invitation to share respective interpretations of the film.
The diversity of audience reception in Africa has been well documented recently in the works of anthropologists Brian Larkin (author of Signal and Noise: Media, infrastructure, and urban culture in Nigeria [2008]) and Onokoome Okome (author of Nollywood: Spectatorship, Audience and the Sites of Consumption [2007]), both of whom have done extensive field research on how video films made in Africa (ὰa la Nollywood style) are consumed and interpreted differently across regional borders, across the continent and in the diaspora.
Frontmatter
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- 31 December 2015, pp i-ii
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Gaze Regimes
- Film and feminisms in Africa
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- 31 December 2015
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Gaze Regimes is a bricolage of essays and interviews showcasing the experiences of women working in film, either directly as practitioners or in other areas as curators, festival programme directors or fundraisers. It does not shy away from questioning the relations of power in the practice of filmmaking and the power invested in the gaze itself. Who is looking and who is being looked at, who is telling women’s stories in Africa and what governs the mechanics of making those films on the continent?The interviews with film practitioners such as Tsitsi Dangarembga, Taghreed Elsanhouri, Jihan El-Tahri, Anita Khanna, Isabel Noronhe, Arya Lalloo and Shannon Walsh demonstrate the contradictory points of departure of women in film – from their understanding of feminisms in relation to lived-experiences and the realpolitik of women working as cultural practitioners.The disciplines of gender studies, postcolonial theory, and film theory provide the framework for the book’s essays. Jyoti Mistry, Antje Schuhmann, Nobunye Levin, Dorothee Wenner and Christina von Braun are some of the contributors who provide valuable context, analysis and insight into, among other things, the politics of representation, the role of film festivals and the collective and individual experiences of trauma and marginality which contribute to the layered and complex filmic responses of Africa’s film practitioners.
Index
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- 31 December 2015, pp 218-229
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10 - On Collective Practice and Collected Reflections
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- By Shannon Walsh, filmmaker and assistant professor at the School of Creative Media, City University of Hong Kong, Arya Lalloo, independent filmmaker based in Johannesburg., Jyoti Mistry, filmmaker and associate professor at the University of the Witwatersrand, Johannesburg, in the School of Arts
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- 31 December 2015, pp 133-147
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Jeppe on a Friday (2013) is a multi-narrative feature documentary, made by filmmakers Shannon Walsh and Arya Lalloo, which explores the lives of five people in the neighbourhood of Jeppestown, Johannesburg, filmed over the course of one day. The documentary was shot in a collaborative format, with multiple crews simultaneously shooting various stories over 24 hours. Using a common set of visual criteria that was predetermined by the two directors, each team consisted of a unit director, cinematographer, sound recordist and production assistant.
Walsh and Lalloo directed the overall process from its conception to the final finished film. In the months that preceded the shoot, workshops were held with the unit directors and technical crew to watch films, discuss documentary filmmaking and cinema verité, work through processes for the shoot, and report on research and character development.
Lalloo was born in South Africa but spent her formative years in the United Kingdom. Walsh had previously completed a similar documentary concept in Montreal, Canada, titled À St-Henri, le 26 août (2011). This coming together of two very different individuals on a singular project is a unique collaborative approach to filmmaking that belies the singular auteur paradigm of conventional film practice. The overall approach offers a refreshing way forward, not just in collaborative filmmaking, but in how documentary works to mirror justice issues and to provide a platform to initiate conversations about politically and socio-economically prevalent issues.
The intersection between how the two filmmakers came together, their interests in politically conscious documentary filmmaking, the eventual choice of the women unit directors and the five male subjects in the film, make for engaging reflection on how contexts shape content. It further brings to light the various filmmaking strategies that women are employing to find inclusionary strategies in the production of films. In some ways, the process also invites consideration of how women might choose to work differently as a politically subversive strategy to the conventional practices of filmmaking.
The format of this contribution to the book also reflects ‘collaborative writing’, which in some ways is a testament to Lalloo and Walsh's engagement with inclusive production processes and also redefines authorship and resurrects the value of ‘the collective’ coupled with the clarity of a single vision.
15 - ‘Women, use the gaze to change reality’
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- By Katarina Hedrén, freelance writer and the co-programmer of the Johannesburg-based First Wednesday Film Club, Jyoti Mistry, filmmaker and associate professor at the University of the Witwatersrand, Johannesburg, in the School of Arts, Antje Schuhmann, works as senior lecturer in the Political Studies department and the Centre for Diversity Studies at the University of the Witwatersrand, Johannesburg.
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- 31 December 2015, pp 182-187
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Summary
Katarina Hedren is a film programmer and festival organiser, as well as a discussion and workshop moderator/facilitator, and a writer, translator -and interpreter in different contexts related to the cultural industries. She has worked with various producers, organisations and film festivals such as Women of the Sun, an advocacy organisation for African woman filmmakers, the Tri-Continental Human Rights Film Festival and the international documentary conference, People to People. She is one of two co-programmers for the First Wednesday Film Club, an independent Johannesburg-based film club which has become an institution among film- and TV-industry professionals and film enthusiasts. Her writing has appeared in Swedish, South African and pan-African publications and websites, including the Swedish film publication FLM, the Stockholm International Film Festival's catalogue, The Times, Africa is a Country and Africine. Katarina is the author of the blog ‘In the Words of Katarina’. Before moving to South Africa from Sweden she was a board member and the chairperson of the Swedish-African film festival CinemAfrica between 2001 and 2005. In addition to offering Swedish cinemagoers otherwise hard-to-access quality films made by African filmmakers from Africa and its diasporas, CinemAfrica's goal is to spread nuanced portrayals of Africa and Africans.
JYOTI MISTRY: You have quite an extraordinary position in being able to navigate between multiple spaces, not just in terms of where you live and work but in the kinds of access you have curating and advising on African cinema for Scandinavian film festivals and film programmes. Can you offer some observations on the experiences and some of the complexities and challenges: not just in terms of the expectations but also the kind of content that is favoured and created in Africa?
KATARINA HEDRÉN: The lack of financial and infrastructural resources available to create viable African film industries is a huge problem. African filmmakers often spend more time trying to find money than focusing on aesthetics and storytelling concerns. In most cases filmmakers either make self-financed films, or they rely on the support of institutions with specific mandates and not enough regard for aesthetics and artistic concerns. Many African films deal with interesting or pressing issues, but not all of them do so in a cinematic way.
Filmography
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- 31 December 2015, pp 215-217
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13 - ‘Change? This might mean to shove a few men out’
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- By Anita Khanna, born in India and studied in Great Britain., Antje Schuhmann, works as senior lecturer in the Political Studies department and the Centre for Diversity Studies at the University of the Witwatersrand, Johannesburg., Jyoti Mistry, filmmaker and associate professor at the University of the Witwatersrand, Johannesburg, in the School of Arts
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- 31 December 2015, pp 168-173
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Since Anita Khanna moved to South Africa and joined Uhuru Productions she has earned the company critical acclaim as scriptwriter and producer, respectively, for the company's two multiaward- winning documentaries: Born into Struggle and Bushman's Secret (Rehad Desai, 2006). She has also written and co-directed several social justice documentaries, including Looting the Nation (2004) and You Chuse (2008). She is writer and producer of The Mating Game (2010), an awardwinning feminist drama series created for the South African Broadcasting Corporation (SABC). In 2011 Anita Khanna was the Outreach Director of Africa's first Good Pitch, a joint initiative of the Channel 4 BRITDOC Foundation and the Sundance Documentary Film Programme, and supported by the Ford Foundation. She is currently the director of the Tri Continental Film Festival which takes place each year in Johannesburg and Cape Town, as well as a producer on the documentary film Miners Shot Down (Rehad Desai, 2014).
JYOTI MISTRY: As a person involved in the development and creation of content on the continent, how would you describe the key challenges in the production of content? What are some of the drivers of content and what is the perceived audience for this content?
ANITA KHANNA: Freedom of expression in South Africa is facing its toughest days since the end of apartheid. This is taking place on a number of levels, but the most tangible is the Secrecy Bill that is being challenged (in 2014) by civil society, led by the Right2Know Campaign. The bill that was signed into law in April 2013 by parliament allows for the prosecution of whistle blowers, journalists or activists who disclose information that is ‘classified’. This includes revealing corruption and other criminal activity, and it doesn't take a leap of the imagination to see how this would worry filmmakers who are motivated in their craft by stories that expose injustices or the deep economic fault-lines in our society.
One way that the threat to freedom of expression is playing out is in the way that the state has repeatedly interfered with the role of the SABC. I am of the belief that it is the responsibility of a public broadcaster to provide content that is exemplary and challenging.
Acknowledgements
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9 - Filmmaking at the Margins of a Community: On co-producing Elelwani
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- By Jyoti Mistry, filmmaker and associate professor at the University of the Witwatersrand, Johannesburg, in the School of Arts
- Edited by Jyoti Mistry, Antje Schuhmann
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- 31 December 2015, pp 118-132
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Summary
Nestled in the most north-eastern part of South Africa, close to the border of Zimbabwe, lies the rich cultural landscape of the Venda people. It is a community informed by a long tradition of royal lineage and a vibrant history woven with incredible legends of sacred forests and lakes. It is the smallest ethnic group in South Africa and its language, Tshivenda, is spoken almost exclusively by those of the community. Tshivenda has not been widely adopted like isiZulu or isiXhosa in an urban environment. The language is described as melodic and lyrical in its use of innuendo, which draws strongly from the oral histories and customs of the community. It was this location and the language that was the inspiration for director Nshavheni Wa Luruli's film Elelwani (2012), which is based on the first Tshivenda novel (of the same name) by Dr Titus Maumela.
The experiences of being a co-producer on Elelwani gave me immediate access to the community and a privileged perspective of how the community had viewed the novel historically, and how they interacted with the material in a contemporary context through the production process.
It is my intention here to connect aspects of the production process with the narrative content of the film and its interpretation, both from a close textual reading (as is the convention of textual analysis), and with the interpretation of the story and characters as experienced during the production process by the community (particularly by the women) it claimed to be representing. The aim of this approach is to offer some reflection on what the expectations of filmmaking were in a community that is economically impoverished. In this sense, the idea of film is not simply a didactic tool but an instrument (through the production and location filming) to empower people economically in the region. This relationship between filmmaking as an instrument to empower a community so that they might gain economically from the ‘industry’ component of filmmaking is distinct from considering the film (the end product) that serves to empower women through its representation. Finally, I will turn my attention to how content might reflect some of the inherent gender contradictions in this community, bringing to the fore questions of gender empowerment and, perhaps, how it belies expectations when interpreted from a Western-normative paradigm.
5 - Aftermath – A focus on collective trauma
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- By Djo Tunda Wa Munga, runs his own film production company, Suka Productions! in the Democratic Republic of Congo, Rumbi Katedza, a writer and filmmaker. She lives in Zimbabwe, Antje Schuhmann, works as senior lecturer in the Political Studies department and the Centre for Diversity Studies at the University of the Witwatersrand, Johannesburg., Jyoti Mistry, filmmaker and associate professor at the University of the Witwatersrand, Johannesburg, in the School of Arts
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- 31 December 2015, pp 44-54
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Summary
Djo Tunda Wa Munga and Rumbi Katedza both live in transitional (post-)conflict societies – the former in the Democratic Republic of Congo (DRC) and the latter in Zimbabwe – which impacts on how they make films and on the kinds of films they make. In recognition of their work and its considerable impact, both filmmakers were invited to deliver keynote addresses at the ‘Uber(w)unden (Art in Troubled Times)’ conference, which was convened at the Goethe-Institut in September 2011.
Prior to this meeting in 2011, we had occasion to meet Wa Munga for discussions at the Durban International Film Festival 2010, where he premiered his film Viva Riva! (2010) while Katedza was a participant in the ‘ARTSWork: Meeting of African Women Filmmakers’ in 2010 at the Goethe-Institut in Johannesburg.
Katedza is an accomplished filmmaker whose position in Zimbabwe has been twofold. Firstly, she has sought to use the medium as a way of interrogating representations of the political climate in her country. Secondly, she has used the medium to empower a new generation of Zimbabweans generally and women in particular. Her articles and short stories have been published widely. Her award-winning documentary The Axe and the Tree (2010) explores the processes of collective healing and community accountability for the perpetration of violence. The success of the film is its ability to represent the sometimes fine line between the survivors of violence and the perpetrators of violence.
After an anti-colonial civil war, Zimbabwe gained its independence from the British in 1980. The country suffered international sanctions in relation to its politics of land redistribution and, since the 1990s, has experienced growing internal opposition demanding freedom of speech next to other citizens’ rights, as well as the upholding of human rights. Internal conflict and violence have intensified further in the context of contested elections.
Wa Munga is also a highly skilled and award-winning filmmaker, whose film practice draws from a series of close observations of his social and political circumstances in the DRC. Wa Munga's debut feature film Viva Riva! has played at a number of international film festivals.
Introduction: By way of context and content
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- By Jyoti Mistry, filmmaker and associate professor at the University of the Witwatersrand, Johannesburg, in the School of Arts, Antje Schuhmann, works as senior lecturer in the Political Studies department and the Centre for Diversity Studies at the University of the Witwatersrand, Johannesburg.
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- 31 December 2015, pp ix-xxxiv
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The initial impetus for this book was to collect, archive and document the very disparate stories that emerged from a unique gathering of women all working in and with film, who came to Johannesburg, South Africa, in September 2010 from different parts of the African continent and from Germany, and met at the Goethe-Institut. The occasion was the ARTSWork Platform: Meeting of African Women Filmmakers. At first sight, the context for a dialogue between a German cultural institution, invited participants from Germany and film practitioners from all over Africa was an obvious axis through which the meeting should be mediated. However, it turned out very differently. We soon realised that this was only a starting point. The direction and breadth of the views and opinions expressed, and the workshop topics and the discussions that arose out of these sessions, saw a far more complex web emerging than anyone had anticipated – of co-dependencies and inter-relationships on the African continent, where national similarities were shared and divides interrogated, all against the rich landscape of film, festivals, feminism and funding politics.
ARTSWork (2010) was the spark for a series of engagements that would take place over the following two years, on occasion facilitated through other Goethe-Institut events in Johannesburg, such as the ‘Uber (w)unden (Art in Troubled Times)’ conference (September 2011), but also at other events that were ripe with opportunities for film practitioners to meet in a single place, such as the Durban International Film Festival (DIFF) in 2010.
There were multiple forms of simultaneous conversation taking place among women – and also some men – at different times, in formal and informal spaces, on planned and unplanned occasions, where various people met, exchanged, disagreed, shared and collaborated. Some exchanges were once-off conversations, some had to be revisited and some are still ongoing. The common thread was that all of the participants were active in one or several aspects of filmmaking.
It is almost a cliche to say that women need to tell their own stories, that women's voices need to be heard, that Africa has numerous stories and experiences that have to be shown. Yet the cliche holds a kernel of truth. We would add: these stories and experiences not only need to be shown, but to be shown by women, on their own terms.
4 - ‘Power is in your own hands’: Why Jihan El-Tahri does not like movements
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- By Jihan El-Tahri, author and documentary filmmaker. She lives in France, Jyoti Mistry, filmmaker and associate professor at the University of the Witwatersrand, Johannesburg, in the School of Arts, Antje Schuhmann, works as senior lecturer in the Political Studies department and the Centre for Diversity Studies at the University of the Witwatersrand, Johannesburg.
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- 31 December 2015, pp 33-43
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Jihan El-Tahri is one of the most recognisable and visible filmmakers on the African continent. Born in Lebanon, as an adult she worked internationally as a news correspondent. In the early 1990s she turned to producing and writing documentaries. She is well known for her politically charged documentaries and her uncompromising approach to her political, visual and creative vision. Her award-winning documentaries include: House of Saud (2004), Cuba: An African Odyssey (2007) and Behind the Rainbow (2009).
The kind of documentaries that El-Tahri has focused on makes her a filmmaker to be reckoned with not just in terms of her subject matter but also for her relentless approach in dealing with complex political and ideological issues. In House of Saud she focused on the history of Saudi Arabia and its complex military and economic co-dependency with America. In Cuba: An African Odyssey, her subject matter was the important historical and political connection between African liberation movements and their ideological and military support from Cuba. Her sourcing of rare archival footage, coupled with candid interviews, provides the audience with an in-depth and layered understanding of the political significance of these alliances.
Continuing with her exploration of liberation movements, Behind the Rainbow is a fascinating account of an exiled liberation movement, the African National Congress, which came to power in 1994 in South Africa. The film charts the compromises and shifts in power and lays bare the influence of South Africa's political transition on the continent. It is clear from the film that the interviews secured for this documentary were neither easy to facilitate nor without specified preconditions, but once again the conversations are charged and insightfully refreshing. El- Tahri has often said on public platforms that her choice of subject matter seems to create an ‘absence of women’ but her own voice-over as the filmmaker narrating her documentaries not only marks her subjectivity but produces a poignancy in affirming the place of women in the ‘histories that men write’.
Even when she reflects on her experiences as a filmmaker El-Tahri often recounts film projects from which she chose to walk away.
17 - Tsitsi Dangarembga: A manifesto
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- By Tsitsi Dangarembga, writer, filmmaker, teacher and cultural activist. She lives in Harare, Zimbabwe where she directs the Institute of Creative Arts for Progress in Africa Trust., Jyoti Mistry, filmmaker and associate professor at the University of the Witwatersrand, Johannesburg, in the School of Arts, Antje Schuhmann, works as senior lecturer in the Political Studies department and the Centre for Diversity Studies at the University of the Witwatersrand, Johannesburg.
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- 31 December 2015, pp 201-211
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Tsitsi Dangarembga was born in Zimbabwe and is the author of the critically acclaimed novel Nervous Conditions (1988). As a filmmaker and activist she is invested in the ‘capacity building’ of young female visual artists. She recognised the opportunity present in the gathering of an influential group of women at the Goethe-Institut ‘ARTSWork: Meeting of African Women Filmmakers’ conference in 2010, and used the context of the conference to draft a preliminary Manifesto of African Women Filmmakers, the initial workings of which are outlined below. Inspired by the undertakings of the manifesto, the accompanying interview offers a contextual description of the immediate experiences, observations and rationale for how filmmaking for women in Zimbabwe has evolved. Even more significantly, Dangarembga addresses the complexity of the gendered experience for filmmakers on the continent.
MANIFESTO OF AFRICAN WOMEN FILMMAKERS
Having met at the Goethe-Institut Johannesburg, at the Conference of African Women Filmmakers held from 2 to 5 September 2010;
Having deliberated on the continued misrepresentation and under-representation of women in general, and in particular of African women in all their diversity worldwide in the moving images media;
Recognising our exclusion as a group from a fair share of the resources of all natures that constitute the means of representation in the medium of moving images in all its forms;
Recognising that the media represent a social voice and position of authority so that which appears in the media is socially empowered and that which does not appear in the media is socially disadvantaged, with the result that mainstream moving images media works to continue the subjugation of women, and particularly of African women;
Acknowledging the platform availed to us by the Goethe-Institut, Johannesburg, this meeting of African Women Film Practitioners requests all national cultural ministries and all national public and private broadcasters on the continent, and the Commission of Culture in the African Union to take appropriate steps, in conjunction with representative structures of African Women Film practitioners (such as UPAFI – Pan African Women in Film – and its affiliated membership bodies), as well as regional bodies (such as Women Filmmakers of Zimbabwe) to hold consultations aimed at putting into place mechanisms to implement, with critical and urgent considerations, this manifesto.
List of Contributors
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- 31 December 2015, pp 213-214
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Acronyms and Abbreviations
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- 31 December 2015, pp 212-212
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