Contemporary Afro-diasporic post-cinematic practices should be considered to be genealogically linked with those established in militant African cinemas, but also with their quest of decolonizing (not only) the screen. In this collection of essays, Maja Figge traces the transtemporal bonds between militant African film and Afro-diasporic post-cinema. She connects the recent proliferation of artistic and scholarly works on and with the archives of militant cinemas of the 1960s and 1970s, motivated by present political urgencies, to the discourse on post-cinema to explore the technological, aesthetic and political potential of Black film.

Contemporary Afro-diasporic post-cinematic practices should be considered to be genealogically linked with those established in militant African cinemas, but also with their quest of decolonizing (not only) the screen. In this collection of essays, Maja Figge traces the transtemporal bonds between militant African film and Afro-diasporic post-cinema. She connects the recent proliferation of artistic and scholarly works on and with the archives of militant cinemas of the 1960s and 1970s, motivated by present political urgencies, to the discourse on post-cinema to explore the technological, aesthetic and political potential of Black film.

Contemporary Afro-diasporic post-cinematic practices should be considered to be genealogically linked with those established in militant African cinemas, but also with their quest of decolonizing (not only) the screen. In this collection of essays, Maja Figge traces the transtemporal bonds between militant African film and Afro-diasporic post-cinema. She connects the recent proliferation of artistic and scholarly works on and with the archives of militant cinemas of the 1960s and 1970s, motivated by present political urgencies, to the discourse on post-cinema to explore the technological, aesthetic and political potential of Black film.