Going beyond photography as an isolated medium to engage larger questions and interlocking forms of expression and historical analysis, Ambivalent gathers a new generation of scholars based on the continent to offer an expansive frame for thinking about questions of photography and visibility in Africa. The volume presents African relationships with photography—and with visibility more generally—in ways that engage and disrupt the easy categories and genres that have characterized the field to date. Contributors pose new questions concerning the instability of the identity photograph in South Africa; ethnographic photographs as potential history; humanitarian discourse from the perspective of photographic survivors of atrocity photojournalism; the nuanced passage from studio to screen in postcolonial digital portraiture; and the burgeoning visual activism in West Africa.

As the contributors show, photography is itself a historical subject: it involves arrangement, financing, posture, positioning, and other kinds of work that are otherwise invisible. By moving us outside the frame of the photograph itself, by refusing to accept the photograph as the last word, this book makes photography an engaging and important subject of historical investigation. Ambivalent‘s contributors bring photography into conversation with orality, travel writing, ritual, psychoanalysis, and politics, with new approaches to questions of race, time, and postcolonial and decolonial histories.

Contributors: George Emeka Agbo, Isabelle de Rezende, Jung Ran Forte, Ingrid Masondo, Phindi Mnyaka, Okechukwu Nwafor, Vilho Shigwedha, Napandulwe Shiweda, Drew Thompson

Black and White in Colour: African History on Screen considers how the African past has been represented in a wide range of historical films. Written by a team of eminent international scholars, the volume provides extensive coverage of both place and time and deals with major issues in the written history of Africa. Themes include the slave trade, imperialism and colonialism, racism, and anticolonial resistance. Many of the films will be familiar to readers: they include Out of Africa, Hotel Rwanda, Breaker Morant, Cry Freedom, The Battle of Algiers, and Chocolat.

This collection of essays is a highly original and useful contribution to African historiography, as well as a significant addition to the growing body of work within the emerging subdiscipline of “film and history.” It will appeal to those interested in African history and the ways in which films use the past to raise questions about the present.

Contributors: Mahir Saul, Ralph A. Austen, Robert Baum, Robert Harms, Nigel Worden, Carolyn Hamilton and Litheko Modisane, Richard Mendelsohn, Shamil Jeppie, Bill Nasson, Nigel Penn, Ruth Watson, Patrick Harries, David Moore, Teresa Barnes, Vivian Bickford-Smith, Mohamed Adhikari, and David Philips.

Over the last fifty years, Roland Oliver has been both a witness to the post-colonial history of Africa and a preeminent scholar of the continent’s pre-colonial history. Oliver was a young Cambridge graduate in 1947 when he took a newly created position at the University of London to research, and eventually teach, the pre-colonial history of Africa. Seeking from the outset to establish a unified conception of African history free from European frameworks, Oliver and his colleague John Fage went on to write the influential A Short History of Africa, found the Journal of African History, and co-edit the eight-volume Cambridge History of Africa.
     In the Realms of Gold is Oliver’s account of his life and work. He writes in a deft and lively style about the circumstances of his early life that shaped his education and outlook: his childhood on a river houseboat in Kashmir, the influential teachers and friends met at Stowe and Cambridge, and his service in World War II as a cryptographer in British intelligence, where he met his first wife, Caroline Linehan. His interest in church history while at Cambridge led him to study the historical effects of Christian missionaries in Africa, and thus his career began.
     The core of the book is Oliver’s account of his research travels throughout tropical Africa from the 1940s to the 1980s; his efforts to train and foster African graduate students to teach in African universities; his role in establishing conferences and journals to bring together the work of historians and archaeologists from Europe and Africa; his encounters with political and religious leaders, scholars, soldiers, and storytellers; and the political and economic upheavals of the continent that he witnessed.