This article begins by tracking how the delineation of “New Cinema” in the recent work of Manthia Diawara differs significantly from the approaches that had been dominant when he published his initial study on African cinema in 1992. The changes lead us to position current filmmaking practices vis-à-vis Nollywood film, and to ask how the formation of the cinematic subject functions in contemporary “new waves” of cinema.

This article focuses on shifts, or “new waves,” within contemporary African film as sites of struggle and moments of exposure of the divergent forces at work in the struggle. From this perspective, attempts at initiating a new style in commercially oriented storytelling do not so much culminate in a break with previous styles of storytelling as they create a new space for tension over ideological claims and narrative coherence. As illustration, the article considers the competing logics at work in the strategies or rationalities associated with the branch of Nigerian filmmaking described as New Nollywood.

Recent experimentation by Nollywood producers has encouraged increasing differentiation of film practices as a strategy for contending with a demanding video market. “New Nollywood” refers to a select group of aesthetically sophisticated films intended for a new tiered distribution method, beginning with theatrical release and ending with DVD release. Nigeria’s upscale multiplex cinemas are therefore a starting point for examining what is new—and not so new—in Nollywood. This article argues that New Nollywood films and the cinemas in which they appear appeal directly to spectators’ senses by promising not only a movie and shopping, but also an affective experience closely bound up with global consumerism. The films exhibit a metropolitan vantage point that emphasizes subjects such as airline travel, trendy technology, consumer culture, global pop culture, lifestyle brands, high fashion, and luxury goods. These films advertise their “modernity,” which is not presented as a consolidated order of knowledge and values, but rather as an assemblage of signifiers of city life. Whereas mainstream Nollywood continues to produce strong narratives that resonate with its intended audience, New Nollywood—with its emphasis on images and style—is a direct expression of the cultural and economic forces shaping life in Lagos today.

This article argues for a departure from theories of new cinema “waves” and proposes the notion of cinema “winds” as a more compelling conceptual framework for studies of African film movements. Building on the work of Ngũgĩ wa Thiong’o, Manthia Diawara, Ken Harrow, and Nwachukwu Frank Ukadike, in addition to commentaries by various African film directors, this article looks at various dimensions of global visibility and the elusive movements of African cinemas. It also explores how African directors challenge habits of seeing and interpreting world cinema.

Currently, feminist activists are engaged in problematizing and reframing “rights” claims in southern Africa. This article discusses three cases of such activism, all of which show the limitations but also the potential of using rights claims to transform gender cultures and gain economic and gender justice. These cases involve the successful challenge to the gender discriminatory 1982 Botswana Citizenship Act; the policy shift of Women and Law in Southern Africa from a focus on legal rights advocacy to a synthesis of rights and kinship-based claims; and initiatives by South African gender activists to confront the contradiction between the country’s constitutional guarantees of women’s rights and high levels of gender violence.

Over the past twenty years, South African civil society has engaged in an extended debate over the appropriate role of “custom” in public life, focusing on issues of gender and sexuality. The history of virginity testing in the Eastern Cape region shows that the nostalgia for custom points to the loss of sexual autonomy that accompanied colonialism. While the rhetoric that justified virginity testing in the precolonial and early colonial era was deeply patriarchal, the practice itself protected female sexual autonomy and provided protections that were undermined by the colonial legal regime and have yet to be effectively replaced.

The article argues for an approach to studies of sexuality in Africa that considers the subject of female sexuality from the perspective of capacity and power. Based on data from Mozambique, and informed by conceptual frameworks as well as by research findings from other African countries, the article investigates preparations of the erotic female body such as body tattoos, hip belts of glass beads, and elongated labia. It also discusses how “traditional” sexual capacity-building has been transferred from rural contexts into urban settings, empowering young women in love relationships with older, richer men.

Based on primary sources, including documents obtained from Cameroon’s Ministry of External Relations, oral interviews conducted in Cameroon, and local newspapers, and a variety of secondary sources, this article examines Cameroon’s foreign policy and economic relations with China. It argues that Cameroon’s engagement with China has resulted in short-term benefits for consumers but undermined long-term, sustainable economic development. The article concludes that unless China genuinely pursues its promised policies of “mutual respect” and “win–win gain,” voices of protest will only grow louder in Cameroon and other African nations.

More than five decades after independence, Africa still struggles with the legacies of colonial partition. On the territorial frontiers between the postcolonial inheritors of the two major colonial powers, Great Britain and France, the continuing impact of European colonialism remains most acute. On the one hand, the splitting of erstwhile homogeneous ethnic groups into British and French camps gave rise to new national identities; on the other hand, it circumvented any possibility of sovereignty via ethnic solidarity. To date, however, there has been no comprehensive assessment of the ethnic groups that were divided between English- and French-speaking states in West Africa, let alone the African continent writ large. This article joins postcolonial ethnography to the emerging field of comparative borderland studies. It argues that, although norms of state-based identity have been internalized in the Anglophone–Francophone borderlands, indigenous bases of association and behavior continue to define life along the West African frontier in ways that undermine state sovereignty. Although social scientists tend to focus on national- and sub-national-level analyses, and increasingly on the effects of globalization on institutional change, study of the African borderlands highlights the continuing importance of colonial legacies and grassroots-derived research.