Abstract
Improved contextualization of the cultural, political, and social dynamics of late twentieth/early twenty-first century postcolonial societies can be achieved through a consideration of imperial discourse and the emergence of decolonizing imperatives. These factors allow for the examination of propagandist mechanisms and the accompanying representations of both Africa and Europe at the service of constructs pertaining to Occidentalist superiority. These formulations were widely disseminated in film and the French colonial authorities endeavored to restrict African access to this mode of expression. Gradually, African filmmakers succeeded in bypassing these limitations and in developing an autonomous corpus of works. From the 1950s onward, the Parisian metropolis provided a privileged topographic space for African film production, and over the years filmmakers have focused on various dimensions of the African presence in this metropolis.
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