Political Reading Method
African political cinema is not limited to films about parties, elections or governments. It can also appear through bodies, language, archives, censorship, memory, distribution, gender, class, violence and public debate.
Rafiki, I Am Not a Witch and On Becoming a Guinea Fowl show how sexuality, accusation, taboo and family secrets can become public political fields. Censorship and controversy are part of how these films circulate.
Lesson goal
Analyze sexuality, taboo, witchcraft, family secrecy and censorship as public political issues.
Module
Gender, Bodies, Sexualities and Social Resistance
Course progress
0%
Lesson player area
Formation 05 lecture placeholder · Sexualities, Witchcraft, Family Secrets and Censorship
0:00-0:20
Situate sexualities, witchcraft, family secrets and censorship through history, institutions, public debate and conditions of circulation.
0:20-0:40
Read images, sound, language, performance, space, censorship and narrative form as political choices.
0:40-1:00
Transform the political reading into a Shot Atlas note, CineMap entry, CineUbuntu debate or programming brief.
African political cinema is not limited to films about parties, elections or governments. It can also appear through bodies, language, archives, censorship, memory, distribution, gender, class, violence and public debate.
Rafiki, I Am Not a Witch and On Becoming a Guinea Fowl show how sexuality, accusation, taboo and family secrets can become public political fields. Censorship and controversy are part of how these films circulate.
Discussion prompt
Where does the film become political: in its subject, its form, its production context, its censorship, its audience or its circulation?
Exercise prompt
Compare one censored or controversial film with one film about social accusation or family secrecy.
Practice
Work through the exercises and complementary resources after reading the lesson.
Open practice
Quiz
Answer 2 questions, review explanations and continue when ready.
Take quiz