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Khuri, Tents and Pyramids: Games and Ideology in Arab Culture from Backgammon to Autocratic Rule (London: Saqi Books, 1990), p. 11. , p. 11. , p. 14. , p. 13. , p. 11. Tahar Cheriaa, ‘Le Groupe et le héros’, in CESCA, Camera nigra: Le Discours du film africain (Brussels: OCIC, 1984), p. 109. PART 1 CONTEXT If we are to address questions of the history and culture of nationhood, the particular form taken by the intersection of contemporary history, culture and politics which manifestly is a crucial question for the recent experiences of most of the world’s population, we ought similarly to consider not what ‘identity’ is .

The result was the founding of the Pan-African Filmmakers’ Federation (FEPACI) which met first in Tunis in 1970 and again in Algiers in 1975. Other meetings of filmmakers followed – at Mogadishu in 1981 and Niamy in 1982 – and a number of statements and charters were produced. Ferid Boughedir, a true cinéaste (filmmaker, academic, historian, critic), has traced the initial stage of the filmmakers’ thinking. The basis of their strategy was that ‘the viability of production was linked to the viability of the four other sectors: exhibition, technical infrastructure, professional training and, of course, the import and distribution of films.

69 In this connection it is worth noting two observations made by Jolayemi Solanke about contemporary Africa as a whole. For Solanke, ‘the key concept in understanding African social organisation is that of the corporate group. 70 This has important implications for the way in which Africans see themselves as individuals. Social control within African society is based on the individual as part of a corporate group: ‘The perception of belonging to a group – whether family, age-grade, village, clan or nation – is almost always paramount of a sense of individuality.

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