ERC-funded project (2019-2025) based at @SOAS, University of London

London
Joined October 2019
The first wave of Screen Worlds film toolkits are now live! The team have created a series of free specialist learning and teaching resources to help decolonise the film studies field. Check out our toolkits below: screenworlds.org/resources/ Reflections: learningonscreen.ac.uk/viewf…
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Replying to @screenworlds1
Save 30% on #NewBook "Contemporary African Screen Worlds," edited by @lindiwedovey, @anuliagina, & Michael W. Thomas, which brings together a new generation of African screen media scholars who explore dynamic screen worlds in contemporary Africa. buff.ly/ghgk4Vz
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Screen Worlds: Decolonising Film + Screen Studies retweeted
Save 30% on #NewBook "Contemporary African Screen Worlds," edited by @lindiwedovey, @anuliagina, & Michael W. Thomas, which brings together a new generation of African screen media scholars who explore dynamic screen worlds in contemporary Africa. buff.ly/ghgk4Vz
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Very pleased to share this book with the world. Thanks @DukePress @screenworlds1 @SOAS @SMC_PAU who gave me leave to pursue this project 🙏🏾🎉🎊
"DeepAesthetics" by Anna Munster and "Contemporary African Screen Worlds," edited by @lindiwedovey, Añulika Agina @anuliagina, and Michael W. Thomas are two of the great new books we have coming out this April! buff.ly/sdee7dQ
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Hello Nigeria, UK, all, our book is OUT!!! @screenworlds1 Huge thanks to my AMAZING co-editors @lindiwedovey @mikewthomas12 to Elizabeth Ault at Duke and her supportive team, to all our contributors and reviewers. Enjoy reading it: read.dukeupress.edu/books/bo…
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Screen Worlds: Decolonising Film + Screen Studies retweeted
"DeepAesthetics" by Anna Munster and "Contemporary African Screen Worlds," edited by @lindiwedovey, Añulika Agina @anuliagina, and Michael W. Thomas are two of the great new books we have coming out this April! buff.ly/sdee7dQ
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How to Build a Streaming Platform That Actually Works in Africa Building a successful streaming platform for Africa requires rethinking so-called Western models entirely. The winning platform will be mobile-first with offline viewing and telco partnerships to address expensive data costs. It must offer flexible pricing (possibly daily/weekly options) and ad-supported tiers that work with local economic realities, while investing heavily in original African content across multiple languages. The untapped opportunity lies in community building—no platform has yet invested in cultivating audiences and developing appreciation for African screen (film, television, digital) storytelling through rigorous journalism, education initiatives, and professional development programs. This is a key differentiator for any serious entrant. Whether it's one unified platform or multiple specialized ones, one truth stands: a viable streaming platform would need millions in investment, patience, and a grounded understanding of local market conditions that vary dramatically across the continent. Last month, Akoroko Premium subscribers received a newsletter that presents a realistic sense of what it would actually take to build a streaming platform for Africa—why Western models fall short, what technical and financial investments are necessary, and how long it might take to gain any real traction. The report also paints a clear picture of why a patchwork of tailored services may work better than a single pan-African solution. To receive it, and more recent deep dives, subscribe at the link (Now with a 7-Day Free Trial!): akoroko.com/subscribe/
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The irony of being widely heard yet unseen and unacknowledged. He became a bridge between cultures, yet the work went largely unrecognized... same invisibility that mirrors the systemic marginalization of Black creatives in global cinema, something Hondo consistently challenged.
Med Hondo's Paradoxical Legacy in Cinema The newsletter associated with this clip, received by subscribers earlier this week, brings attention to a lesser-known part of Med Hondo’s career: his work as a French dubbing artist for major Black Hollywood actors like Eddie Murphy and Morgan Freeman. While cinephiles recognize Hondo as a trailblazing African filmmaker, he was also the French voice behind some of the most popular Black characters in global cinema. The piece uses this contrast—between his limited visibility as a director and his widespread presence in French-dubbed blockbusters—to show how African filmmakers often have to contend with uneven systems of recognition and survival. It also explains how Hondo used income from dubbing to finance his independent films. The newsletter treats his dubbing career not as a last resort but as part of a larger story about race, authorship, and creative work. To receive it, subscribe at the link in the bio (Now with a 7-Day Free Trial): akoroko.com/subscribe/
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Exciting news - you can now pre-order physical copies of our new book ‘Contemporary African Screen Worlds’ (Duke 2025) 📚 screenworlds.org/publication… The final e-book will be Open Access and freely available on our website. More soon…
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Mauritanian filmmaker, Med Hondo’s response when asked if he believes there’s a future for African Cinema. Still from: camera d’afrique, 1983.
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Omoni Oboli is a force in Nollywood, an actress, scriptwriter, director, and producer shaping African cinema. Trained at the prestigious New York Film Academy, she has brought to life compelling films like The Figurine, Oloture, Anchor Baby, Being Mrs. Elliott, Wives on Strike, and Moms at War. She has also directed and produced hits such as The First Lady, Wives on Strike, Okafor’s Law, and Love Is War. Her brilliance has earned her numerous accolades, including Best Actress at the Los Angeles Movie Awards, a nomination at the Africa Movie Academy Awards, and Sun Nollywood Personality of the Year. Fluent in English and French, she continues to break barriers in the industry. Recently, she released her latest blockbuster, Love In Every Word, which has gone viral! Today, we celebrate a woman of excellence, resilience, and creativity—Omoni Oboli, our Woman Crush! @Omonioboli #womancrushwednesday #theradarng #wcw #TrainHijack #MAFSAustralia
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Thrilled to be at the Kenya National Drama & Film Festival 2025 Nairobi Regionals at Moi Girls! 🎬At Tunga Afrika, we're proud to champion film, driving Climate Storytelling & elevating African films by African schools. Keep shining, storytellers! 🌍🎥 #AfricanStories #KNDFF2025
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NGALABI SHORT FILM FESTIVAL SUBMISSION Calling all filmmakers! Don't miss your chance to shine at the @NgalabiShorts FILM FESTIVAL 2025! Open call for submissions from East Africa, Africa, and the African Diaspora. Submit your masterpiece to [email protected] by April 11th, 2025!
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This Month: Falasteen on Screen, African Muslim Film Fest & more! - mailchi.mp/umich/march-2025
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Joburg Film Festival 2025 set to showcase the best of African Storytelling myafrikamag.com/joburg-film-…
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The Rafiki appeal is due to be heard tomorrow before a Three-Judge Bench at the Court of Appeal. Prof Githu Muigai will be arguing in defense of #FreedomofExpression #KenyaConstitution
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Haile Gerima’s Final Battle? BLACK LIONS, ROMAN WOLVES and the Cost of Independence (Campaign Video)
Haile Gerima’s Final Battle? BLACK LIONS, ROMAN WOLVES, and the Cost of Independence Haile Gerima’s "Black Lions, Roman Wolves: The Children of Adwa" is a long-awaited, work-in-progress documentary film series by the acclaimed Ethiopian filmmaker. The project is an epic five-part work (totaling roughly 10 hours) that chronicles Ethiopia’s struggle against fascist Italy during the Second Italo-Ethiopian War (1935–1941)​. Gerima has been developing "Black Lions, Roman Wolves" for decades, to present an African perspective on this historic anti-colonial victory. The film remains in post-production, with Gerima actively sharing previews and gathering support for its completion and release​. Read the rest of the story that captures Gerima’s lifelong commitment to African storytelling from an African perspective, the ongoing struggles of being an independent filmmaker, and the contradictions in industry support for African cinema: akoroko.com/haile-gerima-bla…
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Screen Worlds: Decolonising Film + Screen Studies retweeted
Haile Gerima’s Final Battle? BLACK LIONS, ROMAN WOLVES, and the Cost of Independence Haile Gerima’s "Black Lions, Roman Wolves: The Children of Adwa" is a long-awaited, work-in-progress documentary film series by the acclaimed Ethiopian filmmaker. The project is an epic five-part work (totaling roughly 10 hours) that chronicles Ethiopia’s struggle against fascist Italy during the Second Italo-Ethiopian War (1935–1941)​. Gerima has been developing "Black Lions, Roman Wolves" for decades, to present an African perspective on this historic anti-colonial victory. The film remains in post-production, with Gerima actively sharing previews and gathering support for its completion and release​. Read the rest of the story that captures Gerima’s lifelong commitment to African storytelling from an African perspective, the ongoing struggles of being an independent filmmaker, and the contradictions in industry support for African cinema: akoroko.com/haile-gerima-bla…
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US folks, don't miss Rungano Nyoni's film in theaters this wknd! I began my interview w Nyoni & actor Susan Chardy by telling them this was my first film at my first Cannes & how much I loved it! They were so genuinely pleased! Interview dropping soon! #A24 #OnBecomingAGuineaFowl
Rungano Nyoni's Surreal Wake: ON BECOMING A GUINEA FOWL and a Reckoning with Silence @A24 opens "On Becoming a Guinea Fowl" in U.S. theaters on March 7, 2025, bringing Rungano Nyoni’s daring exploration of trauma, silence, and generational conflict to a broader global audience. Check your local listings for screening information. Akoroko Premium subscribers received an in-depth analysis and review of the film, examining its exploration of family trauma, cultural silence, and generational conflict via a detailed breakdown of the narrative, performances, visual style, cultural context, and the director's artistic evolution since her debut. To receive it and more recent coverage, follow the link to subscribe: akoroko.com/subscribe/
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We are wrapping up Africa week in style! screening of"Funmilayo Ransome Kuti" with keynote by Director Bolanle Austen Peters! This reminds us that the place of arts and culture in bridging distances must not be misunderstood- they can serve as a tool of soft power #Africanart
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Congratulations to @JosephOJackson and 'Kahlil Joseph and the Audiovisual Atlantic' which is a contender for the BAFTSS best first monograph! bit.ly/41rJk9n
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