“African Filmmaking is the first comprehensive study in English linking filmmaking in the Maghreb with that in the 12 independent states of francophone West Africa. Armes examines a wide range of issues common to filmmakers throughout the region and offers a wealth of information and a unique perspective on the history and future of African filmmaking. ”

“African Filmmaking is very much a film studies narrative . . . For classes that cover this terrain, it is supremely useful for students.[1] Not only does Armes canvass enormous territory, succinctly and in elegant prose, but he has also made a judicious selection of directors and films. Most important, he takes an approach that brings together North Africa and Francophone West and Central Africa to draw out insights that might otherwise be blurred . . . . —H—AfrArts ”
 — Net, Feb. 2008

“African Filmmaking is very much a film studies narrative . . . For classes that cover this terrain, it is supremely useful for students. Not only does Armes canvass enormous territory, succinctly and in elegant prose, but he has also made a judicious selection of directors and films. Most important, he takes an approach that brings together North Africa and Francophone West and Central Africa to draw out insights that might otherwise be blurred . . . ”
 — AfrArts

“The strength of Armes's book is its concise and fairly coherent presentation of most of the major issues that must be considered when studying African cinema.39.2 Summer 2008”
 — DAYNA OSCHERWITZ , SOUTHERN METHODIST UNIVERSITY

“. . . the book addresses the sociopolitical context, filmmaking in Africa prior to the mid—1960s, the involvement of African and French governments, and matters of national/cultural identity and globalization. ”
 — Communication Booknotes Quarterly

“. . . Armes' book covers a broad range of film—making, from the experimental work of Jean Pierre Bekolo (Cameroon) to the fiction of Nabil Ayouch (Morocco), and is essential reading for anyone with an interest in African film. ”
 — Sight & Sound

“. . . This conscientious, scholarly work exists because attention must be paid, not because the world is about to experience a surge of films from Africa. . . . Highly recommended. Upper—division undergraduates through faculty.”
 — Choice