ABSTRACT

This article examines Nelisita (Carvalho, 1982), an Olunyaneka-language feature fiction film made in the early years of Angolan cinema, and draws a historiography of its marginal production and ensuing scattered reception. Combining a historical approach to the film’s production and circulation, with an ethnographically-driven analysis of its recent screenings at a village sharing an Olunyaneka background, I discuss insights gained from its reception by an audience familiar with the cultural context portrayed on screen. Along with the history of the film’s production and circulation, the villagers’ engagement with the film sheds light on the evolving politics of cinema in Africa, particularly the complex relationships between popular and film festival audiences, film studies and visual anthropology. I examine shifting continuities and ruptures with regards to the film’s intricate social history, and analyse the production and reception of Nelisita as an experiment that highlights differing ways in which films can work as a contact zone.

摘要

本文探讨Nelisita（Carvalho，1982），这是一部由安哥拉电影院早期制作的Olunyaneka语言长篇小说电影，它描绘了其边缘生产和随之而来的零星收录的历史记录。结合电影制作和发行的历史方法，以及以人种学为依据的对最近在拥有Olunyaneka背景的村庄进行放映的分析，我讨论了熟悉银幕上所描绘的文化背景的观众从电影中获得的见解。随着电影的生产和发行历史的发展，村民对电影的参与为非洲电影的不断发展的政治提供了亮点，尤其是流行电影节观众与电影节观众，电影研究和视觉人类学之间的复杂关系。Nelisita作为一项实验，着重强调了薄膜可以用作接触区的不同方式。