Please use this identifier to cite or link to this item: http://hdl.handle.net/1893/23401
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dc.contributor.authorMurphy, Daviden_UK
dc.contributor.editorBisschoff, Len_UK
dc.contributor.editorMurphy, Den_UK
dc.date.accessioned2016-06-29T06:32:23Z-
dc.date.available2016-06-29T06:32:23Zen_UK
dc.date.issued2014-11-01en_UK
dc.identifier.urihttp://hdl.handle.net/1893/23401-
dc.description.abstractFirst paragraph: It might well be argued that the cinematic career of Newton I. Aduaka has been a case study in how a filmmaker and at least certain of his films can become lost. Born in Eastern Nigeria in 1966 (in the troubled context of the Biafran War), he moved to the UK in 1985 and soon abandoned an electronic engineering degree to study film at the London International Film School, from which he graduated in 1990. His first big break in cinema came when he was hired to work as sound engineer on Jean-Pierre Bekolo’s Quartier Mozart (Cameroon/France, 1992). In 1997, he set up his own production company, Granite FilmWorks, alongside Maria Elena L’Abbate, with a youthful zeal (which he has not lost in his mid-40s) to create personal, cutting-edge, uncompromising films. After a series of short films, he made his first feature Rage (UK, 2000), which was hailed as the first truly independent film by a black filmmaker to gain a national release in Britain. A critically well-received film that explores issues of race, culture, class and identity in working-class south London, Rage was also very successful in international film festivals, winning several prizes, including Best Director at the Pan-African Film Festival in Los Angeles, and the Prix Oumarou Ganda (for the Best First Feature) at FESPACO in 2001. However, instead of carving out a cultural niche as a director interested in liminal, troubled identities in multicultural Europe, Aduaka returned to West Africa for his second feature, the harrowing drama Ezra (2007), about a child soldier from that region’s brutal civil wars of the 1990s (Sierra Leone and Liberia), who attempts to rebuild his life and face up to his past. Ezra made a major splash on the African cultural scene, winning its director the prize for Best Film at FESPACO in 2007. The film also enjoyed a respectable career on the international circuit, its topical subject matter as much as its aesthetics permitting it to reach an audience so often denied to African film. But, then Aduaka’s career took yet another left turn: wary of being called upon less as a director than as a commentator on violence in Africa, he began to make short films (in which race/Africa were not always prominent) often about the bohemian middle-classes in Paris, the new city in which he had settled with his young family. Despite the previous success of Ezra, funders such as ARTE were reluctant to fund his new projects, and he resolved to make his most recent feature film, One Man’s Show (2012), on a shoestring budget, the script workshopped (in French, a language Aduaka admits not to have mastered) over several weeks with a small group of trusted actors, in particular Emile Abossolo M’bo and Aïssa Maïga: this intimate, compelling tale of a black actor’s mid-life crisis has toured the festival circuit but seems unlikely to get a general release in the art house cinemas of Europe or North America, as it appears to defy expectations of what African cinema should be.en_UK
dc.language.isoenen_UK
dc.publisherLegendaen_UK
dc.relationMurphy D (2014) Lost in Music? Race, Culture and Identity in Rage (Newton I. Aduaka, 2000). In: Bisschoff L & Murphy D (eds.) Africa’s Lost Classics: New Histories of African Cinema. Moving Image, 5. Oxford: Legenda, pp. 161-166. http://www.legendabooks.com/titles/isbn/9781907975516.htmlen_UK
dc.relation.ispartofseriesMoving Image, 5en_UK
dc.rightsThe publisher does not allow this work to be made publicly available in this Repository. Please use the Request a Copy feature at the foot of the Repository record to request a copy directly from the author. You can only request a copy if you wish to use this work for your own research or private study.en_UK
dc.rights.urihttp://www.rioxx.net/licenses/under-embargo-all-rights-reserveden_UK
dc.titleLost in Music? Race, Culture and Identity in Rage (Newton I. Aduaka, 2000)en_UK
dc.typePart of book or chapter of booken_UK
dc.rights.embargodate2999-12-02en_UK
dc.rights.embargoreason[DM_Ragefinal.pdf] The publisher does not allow this work to be made publicly available in this Repository therefore there is an embargo on the full text of the work.en_UK
dc.citation.spage161en_UK
dc.citation.epage166en_UK
dc.citation.publicationstatusPublisheden_UK
dc.type.statusAM - Accepted Manuscripten_UK
dc.identifier.urlhttp://www.legendabooks.com/titles/isbn/9781907975516.htmlen_UK
dc.author.emaild.f.murphy@stir.ac.uken_UK
dc.citation.btitleAfrica’s Lost Classics: New Histories of African Cinemaen_UK
dc.citation.isbn978-1-907975-51-6en_UK
dc.publisher.addressOxforden_UK
dc.contributor.affiliationFrenchen_UK
dc.identifier.wtid564199en_UK
dc.contributor.orcid0000-0002-4450-6308en_UK
dcterms.dateAccepted2014-11-01en_UK
dc.date.filedepositdate2016-06-28en_UK
rioxxterms.typeBook chapteren_UK
rioxxterms.versionAMen_UK
local.rioxx.authorMurphy, David|0000-0002-4450-6308en_UK
local.rioxx.projectInternal Project|University of Stirling|https://isni.org/isni/0000000122484331en_UK
local.rioxx.contributorBisschoff, L|en_UK
local.rioxx.contributorMurphy, D|en_UK
local.rioxx.freetoreaddate2999-12-02en_UK
local.rioxx.licencehttp://www.rioxx.net/licenses/under-embargo-all-rights-reserved||en_UK
local.rioxx.filenameDM_Ragefinal.pdfen_UK
local.rioxx.filecount1en_UK
local.rioxx.source978-1-907975-51-6en_UK
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