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M ost scholarship on African screen media acknowledges outright that there have been, and continue to be, many trends and traditions in filmmaking across the continent and in the African diasporas, making it impossible to distinguish any particular coherence to the category of African filmmaking. Many scholars have advanced this argument through analysis of distinct production infrastructures, films, genres, nationally located cinemas, particular filmmakers, and critical concepts such as tradition and modernity. Furthermore, the rise of popular video-movie making in Ghana and Nigeria from the late 1980s onward, and the discussion and research that have grown around that practice, have compelled scholars of African screen media to pay far greater attention to the “different material conditions of creation, circulation, and consumption” of audiovisual cultural products. There has been relatively little

Through the Eye of a Film Festival: Toward a Curatorial and Spectator Centered Approach to the Study of African Screen Media