Building a Sub‐Saharan African film collection

Abstract

2005),"Expanding a collection to reflect diverse user populations", Collection Building, Vol. 24 Iss 4 pp. 124-126 http:// dx.Access to this document was granted through an Emerald subscription provided by emerald-srm:448207 [] For AuthorsIf you would like to write for this, or any other Emerald publication, then please use our Emerald for Authors service information about how to choose which publication to write for and submission guidelines are available for all. Please visit www.emeraldinsight.com/authors for more information. About Emerald www.emeraldinsight.comEmerald is a global publisher linking research and practice to the benefit of society. The company manages a portfolio of more than 290 journals and over 2,350 books and book series volumes, as well as providing an extensive range of online products and additional customer resources and services.Emerald is both COUNTER 4 and TRANSFER compliant. The organization is a partner of the Committee on Publication Ethics (COPE) and also works with Portico and the LOCKSS initiative for digital archive preservation. AbstractPurpose -The purpose of this article is to help librarians interested in developing a basic understanding of Sub-Saharan African cinema and increase awareness of the resources available when building a collection of sub-Saharan African films for their library. A general review is provided to help become familiar with the history and nature of the four regions discussed. Design/methodology/approach -A collection development project to expand a mid-sized university's collection of sub-Saharan African films is discussed. Includes brief historical information and core titles, selected for their historical role and/or ease of purchase. Findings -A list of core films is recommended for academic and public libraries representing four geographic regions of sub-Saharan Africa: Nigeria, South Africa, West Africa, and East Africa. Research limitations/implications -Unfortunately, many of the titles referenced in academic literature and winners of African film awards are not available for purchase outside of Africa, making it impossible to accomplish our goal of collecting a core list as intended. Practical implications -The paper increases awareness of African cinema and value inclusion in library collections. Originality/value -While there are general articles on the topic of African cinema, there are no recent articles on the topic of collecting African films for libraries.

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