{"id":{"repo_id":"uwo","oai_identifier":"oai:uwo.scholaris.ca:20.500.14721/36409"},"canonical_url":"https://search.dev.ndltd.org/etd/uwo/oai:uwo.scholaris.ca:20.500.14721/36409","repository":{"repo_id":"uwo","name":"Western University","base_url":"https://uwo.scholaris.ca/server/oai/request"},"display":{"title":"Music, Cinema and the Representation of Africa","abstract":"The purpose of this thesis is to examine how music is used in cinema to create representations of Africa. It begins by tracing the early importance of musicality and performance in cinema back to other cultures of visuality and socio-political ideologies that were prevalent at the time of cinema’s birth. The result of this relationship means that cinema has functioned as both a tool for portraying Africa as the “Dark Continent” and for reshaping narratives about the nature of African identities, history, politics and cultures. Music in cinematic portrayals of Africa is, therefore, part of a system of representation in which films potentially serve as historico-cultural artefacts. By analysing the musical texts alongside the visual narratives and against the backdrop of the societies in which they are created a more nuanced articulation of the tensions and specificities of African societies can be unearthed.","abstract_html":"The purpose of this thesis is to examine how music is used in cinema to create representations of Africa. It begins by tracing the early importance of musicality and performance in cinema back to other cultures of visuality and socio-political ideologies that were prevalent at the time of cinema’s birth. The result of this relationship means that cinema has functioned as both a tool for portraying Africa as the “Dark Continent” and for reshaping narratives about the nature of African identities, history, politics and cultures. Music in cinematic portrayals of Africa is, therefore, part of a system of representation in which films potentially serve as historico-cultural artefacts. By analysing the musical texts alongside the visual narratives and against the backdrop of the societies in which they are created a more nuanced articulation of the tensions and specificities of African societies can be unearthed.","abstract_has_math":false,"creators":["Callender, Natasha"],"institution":"The University of Western Ontario","degree_name":"MA","degree_level":null,"degree_discipline":"Film Studies","degree_department":null,"school":null,"contributors":[],"advisors":["Paul Coates"],"committee_chairs":[],"committee_members":[],"year":2013,"date_issued":"2013-08-20","date_published":"2013-08-20","updated_at":"2026-07-27T21:56:18Z","subjects":["African identities","(post)colonialism","alterity","cultural narratives","representation","visual culture","musical texts","performance"],"languages":["en_ca"],"rights":[],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"https://hdl.handle.net/20.500.14721/36409","outbound_label":"Handle","outbound_source":"dc:identifier.uri"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor.advisor","label":"Advisor","values":["Paul Coates"]},{"key":"dc:creator","label":"Author","values":["Callender, Natasha"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.accessioned","label":"Dc Date Accessioned","values":["2025-07-10T21:21:38Z"]},{"key":"dc:date.available","label":"Dc Date Available","values":["2025-07-10T21:21:38Z"]},{"key":"dc:date.issued","label":"Date","values":["2013-08-20"]},{"key":"dc:publisher","label":"Institution","values":["The University of Western Ontario"]},{"key":"dc:type","label":"Dc Type","values":["thesis"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Film Studies"]},{"key":"thesis:degree_name","label":"Degree Name","values":["MA"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["African identities","(post)colonialism","alterity","cultural narratives","representation","visual culture","musical texts","performance"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language.iso","label":"Language (ISO)","values":["en_ca"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier.uri","label":"Identifier URI","values":["https://hdl.handle.net/20.500.14721/36409"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["The thesis cover page in the PDF document includes references to Western University’s previous institutional repository platform, known as Scholarship@Western, and links to that platform (beginning with ir.lib.uwo.ca). In citing or referring to this thesis, use the DOI or handle from this page instead. Sample citation: Author name, \"Thesis title.\" (Year). Western University Open Repository. https://doi.org/10.71858/123456."]},{"key":"dc:description.abstract","label":"Abstract","values":["The purpose of this thesis is to examine how music is used in cinema to create representations of Africa. It begins by tracing the early importance of musicality and performance in cinema back to other cultures of visuality and socio-political ideologies that were prevalent at the time of cinema’s birth. The result of this relationship means that cinema has functioned as both a tool for portraying Africa as the “Dark Continent” and for reshaping narratives about the nature of African identities, history, politics and cultures. Music in cinematic portrayals of Africa is, therefore, part of a system of representation in which films potentially serve as historico-cultural artefacts. By analysing the musical texts alongside the visual narratives and against the backdrop of the societies in which they are created a more nuanced articulation of the tensions and specificities of African societies can be unearthed."]},{"key":"dc:title","label":"Title","values":["Music, Cinema and the Representation of Africa"]}]}],"canonical_facts":{"dc:contributor.advisor":["Paul Coates"],"dc:creator":["Callender, Natasha"],"dc:date.accessioned":["2025-07-10T21:21:38Z"],"dc:date.available":["2025-07-10T21:21:38Z"],"dc:date.issued":["2013-08-20"],"dc:description":["The thesis cover page in the PDF document includes references to Western University’s previous institutional repository platform, known as Scholarship@Western, and links to that platform (beginning with ir.lib.uwo.ca). In citing or referring to this thesis, use the DOI or handle from this page instead. Sample citation: Author name, \"Thesis title.\" (Year). Western University Open Repository. https://doi.org/10.71858/123456."],"dc:description.abstract":["The purpose of this thesis is to examine how music is used in cinema to create representations of Africa. It begins by tracing the early importance of musicality and performance in cinema back to other cultures of visuality and socio-political ideologies that were prevalent at the time of cinema’s birth. The result of this relationship means that cinema has functioned as both a tool for portraying Africa as the “Dark Continent” and for reshaping narratives about the nature of African identities, history, politics and cultures. Music in cinematic portrayals of Africa is, therefore, part of a system of representation in which films potentially serve as historico-cultural artefacts. By analysing the musical texts alongside the visual narratives and against the backdrop of the societies in which they are created a more nuanced articulation of the tensions and specificities of African societies can be unearthed."],"dc:identifier.uri":["https://hdl.handle.net/20.500.14721/36409"],"dc:language.iso":["en_ca"],"dc:publisher":["The University of Western Ontario"],"dc:subject":["African identities","(post)colonialism","alterity","cultural narratives","representation","visual culture","musical texts","performance"],"dc:title":["Music, Cinema and the Representation of Africa"],"dc:type":["thesis"],"thesis:degree_discipline":["Film Studies"],"thesis:degree_name":["MA"]},"updated_at":"2026-07-27T21:56:18Z"}