This is primarily the ground why J. Akomfrah claims that a sense of community and constituency are continuously yearned for by the borderless cinematic endeavor of an African film industry traditionally inclined to bring to exhibition various aspects of living especially the scenes at the wild, life under poverty, or tribal struggles across the vastness of an African land.
The 1975 Algiers Charter on African Cinema placed emphasis on the need of the film to communicate the cultural identity of the people of Africa and develop this goal for the viewers to achieve a more sensible understanding of a Nigerian culture. New African cinematographers have come up with a serious objective of informing and educating the public, knowing how powerful a film is in delivering crucial expressions of African way of life in a simplified approach that may be comprehended by the majority whether educated or uneducated (The Algiers, 1975).
In 1973, Djibril Diop Mambéty directed “Touki Bouki” which is a movie about the meeting of a cowherd Mory and a university student Anta who seem estranged to their places of origin, Senegal and Africa, that they decided to consider travelling to Paris for a change of fate though this would entail fraudulent job of satisfying a monetary requirement. One may particularly note the significance of adventure for an African life in this film yet the context from which it sheds light toward conflict resolution is different from the perspective of the film “Yeelen” after the direction of Souleymane Cissé in 1987. Yeelen demonstrates a personal conquest of a young warrior who possesses powers of magic and summons his other relative in combat against a sorcerer who happens to be his own father. Despite the amply differing themes of these two films, both reflect a necessary quest for settlement in favor of the situations that fit each character.
On the other hand, Idrissa