Abstract
there is often insufficient attention to the role of genre; for example, if the film Xala differs from the novel of the same name, it is in large part because of the generic shift that takes place in the movement from novel to film. Equally, the inclusion of films by non-African directors within his corpus is a rather controversial move that deserves far more discussion than a brief reference to it in the conclusion. These, however, are minor criticisms, and they do not detract from the overall success of the volume, which, as the conclusion dictates, promises to open up whole new avenues of research in the field of African film criticism.
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