Africana Womanist Gaze on Haile Gerima’s Cinematic Ideology
| dc.contributor.advisor | Aboneh Ashagrie and Samuel Tefera | |
| dc.contributor.author | Tigist Alemayehu | |
| dc.date.accessioned | 2026-09-28T10:57:02Z | |
| dc.date.available | 2026-09-28T10:57:02Z | |
| dc.date.issued | 2026-03-01 | |
| dc.description.abstract | This study analyzes the cinematic ideology of Haile Gerima through the dual lenses of Africana Womanism and Africana Critical Theory, situating his work within the broader intellectual genealogy of African, Pan-African, and diasporic revolutionary thought. It argues that his cinema constitutes a distinctly decolonial praxis one that fuses political resistance, cultural reclamation, and gendered agency into a transformative aesthetic and ideological project. Grounded in the theoretical insights of Frantz Fanon, Amílcar Cabral, Kwame Nkrumah, and Julius Nyerere, alongside Africana Womanist scholarship such as Clenora Hudson-Weems, the research reconceptualizes Haile Gerima‟s filmography and writings as Black Radical Memory–Praxis Cinema: a cinematic ideology that treats historical memory as both a critical archive and a pathway to liberation. Methodologically, the study employs a qualitative design integrating textual analysis, ideological critique, and historical contextualization. It examines haile Gerima‟s films within the intersecting frameworks of Third Cinema, Black Radicalism, and Ethiopianist autonomy, highlighting how his narratives expose cinema‟s racialized and gendered structures while reclaiming the medium as a communal tool of storytelling. This approach foregrounds the cultural, spiritual, and collective dimensions of liberation that animate Gerima‟s work, especially his commitment to re-centering Africana women as carriers of memory, moral authority, and cultural continuity. The findings reveal that Gerima‟s cinema synthesizes four interlocking ideological pillars: Black Radical politics, Pan-African consciousness, Ethiopianist self-definition, and Third Cinema praxis. Through this synthesis, he reshapes cinema into a form of revolutionary Radical Memory-Praxis, an art of remembrance and reconstruction that binds historical consciousness to moral and spiritual renewal. The study terms this synthesis “Haile Gerima‟s Style.” The thesis contributes to Africana film and cultural studies by demonstrating the analytical power of Africana thought as both a theoretical and methodological framework for examining Africana cinema. It concludes that Haile Gerima‟s filmmaking embodies a liberatory epistemology rooted in collective memory, gendered balance, and the enduring struggle for Africana self-representation. | |
| dc.identifier.uri | https://etd.aau.edu.et/handle/123456789/9045 | |
| dc.language.iso | en | |
| dc.publisher | Addis Ababa university | |
| dc.subject | African Cinema | |
| dc.subject | Africana Womanism | |
| dc.subject | Black Independent Cinema | |
| dc.subject | Black Radical Cinema | |
| dc.subject | Cinematic Ideology | |
| dc.subject | Film | |
| dc.subject | Haile Gerima | |
| dc.subject | Gaze. | |
| dc.title | Africana Womanist Gaze on Haile Gerima’s Cinematic Ideology | |
| dc.type | Thesis |