They will call me the black god : imaging christianity and the bible in african film

This thesis explores the ways in which African filmmakers have historically addressed Christianity and the Bible on the continent. It begins with the premise that on the African continent, marked political films (Mazierska) are embedded in transnational dynamics involving movements of economic and symbolic capital, ideas, discourses and multiple publics. Within these movements, questions of identity, and questions, of the cultural, political or religious are explored in conversation and encounter with Others. With this premise in mind, I ask how the films address Christianity and interpret the Bible; how they frame the religious in relation specific historical, cultural and political contexts; and what are the potential implications of the transnational dynamics and circulation of films. Although much research has focused on the representation of religions in African video and screen media especially in the 2000s, surprisingly little has been dedicated to earlier cinematic expressions and political cinema. To contribute to the history of the cinematic treatment of religion on the continent, four fictional films were chosen as case-studies: La Chapelle, (The Chapel, dir. Jean-Michel Tchissoukou, 1980, Republic of Congo), Au Nom du Christ (In the Name of Christ, dir. Roger Gnoan M’Bala, 1993, Côte d’Ivoire), La Génèse (Genesis, dir. Cheick Oumar Sissoko, 1999, Mali) and Son of Man (dir. Mark Dornford-May, 2006, South-Africa). The analyses reveal that filmmakers have portrayed and interpreted the presence of Christianity and the Bible in relation to legacies of colonialism and decolonisation. Their attitudes narrate the presence of Christianity and the Bible in terms of resistance, suspicion, negotiation, and appropriation. In doing so they oscillate between distancing from and rapprochement with developments in African Christianity and theology. The films’ narratives and aesthetics reflect tensions around the creation of discourses of African authenticity, but also around religious modernity. The political framing roots the contextualisation of biblical narratives in social and historical analyses that strive to provide responses to local instances of oppressions as well as a platform for a more universalist reading addressed to global publics. Finally, the films contribute to the construction of African religious realities and imageries and to the broader image of Africa.