Paulo de Medeiros is Professor of English and Comparative Literary Studies, with a focus on Modern and Contemporary World Literatures, at the University of Warwick. As member of the Warwick Research Collective, one of his current projects is a study of Postimperial Europe.Livia Apa is a member of the Center for Studies on Contemporary Africa (CESAc) at the University of Naples 'L’Orientale'. She works on literary and cultural studies in Portuguese-speaking countries, focused on African cinema, migrations, and cultures of the diaspora, linguistic rights, and contemporary African thought.

• Introduction: Situating Lusophone African Cinema ; 1. Lusophone African Cinema as World-Cinema ; 2. Lusophone Filmmaking in the realm of transnational African cinemas: from ‘global ethnic’ to ‘global aesthetic’ ; 3. Sounds of Liberation: Sarah Maldoror’s Sambizanga (1972) and Miguel Gomes’ Tabu (2012) ; 4. Resistance and Political Awareness Through the Eye-Camera of Sarah Maldoror ; 5. The eleventh island: Cape Verde, the moving images and its diaspora ; 6. Postcolonial Testimony and the ruins of empire ; 7. In the Name of the Rosa: The Ethnographic Reflex in the Cinema of Licínio Azevedo ; 8. From the tabanca to Bissau, from Bissau to the Diaspora: Social Narratives in the Bissau-Guinean Popular Cinema ; 9. The Representation of Ritual and Cinema as a Ritual in Revolutionary Mozambique: Ruy Guerra’s ‘Mueda, Memória e Massacre’ ; 10. A melancholic outlook on 40 years of lusophone audio-visual production and Guinea, the two faces of the war as case study ; 11. ‘We need to dress ourselves in the black light’: an authorial analysis of Lusophone African cinema - Flora Gomes’s case ; 12. Pedro Pimenta, in Interview with Livia Apa

Paulo de Medeiros is Professor of English and Comparative Literary Studies, with a focus on Modern and Contemporary World Literatures, at the University of Warwick. As member of the Warwick Research Collective, one of his current projects is a study of Postimperial Europe.Livia Apa is a member of the Center for Studies on Contemporary Africa (CESAc) at the University of Naples 'L’Orientale'. She works on literary and cultural studies in Portuguese-speaking countries, focused on African cinema, migrations, and cultures of the diaspora, linguistic rights, and contemporary African thought.

• Introduction: Situating Lusophone African Cinema ; 1. Lusophone African Cinema as World-Cinema ; 2. Lusophone Filmmaking in the realm of transnational African cinemas: from ‘global ethnic’ to ‘global aesthetic’ ; 3. Sounds of Liberation: Sarah Maldoror’s Sambizanga (1972) and Miguel Gomes’ Tabu (2012) ; 4. Resistance and Political Awareness Through the Eye-Camera of Sarah Maldoror ; 5. The eleventh island: Cape Verde, the moving images and its diaspora ; 6. Postcolonial Testimony and the ruins of empire ; 7. In the Name of the Rosa: The Ethnographic Reflex in the Cinema of Licínio Azevedo ; 8. From the tabanca to Bissau, from Bissau to the Diaspora: Social Narratives in the Bissau-Guinean Popular Cinema ; 9. The Representation of Ritual and Cinema as a Ritual in Revolutionary Mozambique: Ruy Guerra’s ‘Mueda, Memória e Massacre’ ; 10. A melancholic outlook on 40 years of lusophone audio-visual production and Guinea, the two faces of the war as case study ; 11. ‘We need to dress ourselves in the black light’: an authorial analysis of Lusophone African cinema - Flora Gomes’s case ; 12. Pedro Pimenta, in Interview with Livia Apa

Paulo de Medeiros is Professor of English and Comparative Literary Studies, with a focus on Modern and Contemporary World Literatures, at the University of Warwick. As member of the Warwick Research Collective, one of his current projects is a study of Postimperial Europe.Livia Apa is a member of the Center for Studies on Contemporary Africa (CESAc) at the University of Naples 'L’Orientale'. She works on literary and cultural studies in Portuguese-speaking countries, focused on African cinema, migrations, and cultures of the diaspora, linguistic rights, and contemporary African thought.

• Introduction: Situating Lusophone African Cinema ; 1. Lusophone African Cinema as World-Cinema ; 2. Lusophone Filmmaking in the realm of transnational African cinemas: from ‘global ethnic’ to ‘global aesthetic’ ; 3. Sounds of Liberation: Sarah Maldoror’s Sambizanga (1972) and Miguel Gomes’ Tabu (2012) ; 4. Resistance and Political Awareness Through the Eye-Camera of Sarah Maldoror ; 5. The eleventh island: Cape Verde, the moving images and its diaspora ; 6. Postcolonial Testimony and the ruins of empire ; 7. In the Name of the Rosa: The Ethnographic Reflex in the Cinema of Licínio Azevedo ; 8. From the tabanca to Bissau, from Bissau to the Diaspora: Social Narratives in the Bissau-Guinean Popular Cinema ; 9. The Representation of Ritual and Cinema as a Ritual in Revolutionary Mozambique: Ruy Guerra’s ‘Mueda, Memória e Massacre’ ; 10. A melancholic outlook on 40 years of lusophone audio-visual production and Guinea, the two faces of the war as case study ; 11. ‘We need to dress ourselves in the black light’: an authorial analysis of Lusophone African cinema - Flora Gomes’s case ; 12. Pedro Pimenta, in Interview with Livia Apa