The text from Claire Andrade-Watkins over Lusophone cinema (1995) is the first systematic attempt over the subject.
Guido Convents is the author of Os Moçambicanos Perante o Cinema e o Audiovisual. Uma história político-cultural do Moçambique colonial até à República de Moçambique (1896-2010). An historian and independent anthropologist, Guido Convents (b. 1956) is a well-known specialist in non-western cinema. In this work Guido Convents analyses the seventh art itineraries in Mozambique, since its first expressions during the colonial regime up until the most recent works. Dealing with wide ages and characters, the book is more than just a succession of events – it is a broad and well documented account over the psychosocial processes as well as power relations before and after the Independence, in 1975. Just as in his early publications, Guido Convents suggests an approach over the several actors of Mozambican audio-visuals, in the country as well as in the diaspora: the government, the public, directors and the commercial aspect. A study is presented to us about the relations between Mozambicans, namely colonized Africans, with animated images and confrontations with reality. That search explains, without a shadow of doubt, the importance of documentary film in Mozambique and the success of the International Festival of Documentary Film, Dockanema, in Maputo.
Mozambique History Net is a webpage integrating a wider archival project over the recent past of Mozambique. It includes a critical historical summary of the history of cinema in Mozambique after the Independence.
Specters of Freedom: Cinema and Decolonialisation establishes links between the Arsenal film archive and two archives in Mozambique and Guinea-Bissau which relate an important chapter in the story of anti-colonial African cinema. Over a total of five evenings, films of different origins, visual fragments and soundtracks create a resonance chamber which serves to bring up for discussion both the role of cinema in the decolonialisation processes of the 1970s and the politics of film archives.
