220:
decision to place the viewer so “close” to the characters on screen allows access greater intimacy with the events and emotions of the film. In this way, the film strives to “push” the audience beyond the normal comfort level. Examples of this intimacy are two close-up shots in the erotic scene: one of the black hand running slowly across Madge’s back, and the other of Madge’s wrinkled scar on her chest as the black hand pauses right above it, hesitating to place itself directly upon her skin. The deliberate implementation and overlaying of these sounds, music, and narration, combine with the visual stylistic choices to create an overall sensual experience.
292:
further writes that
Onwurah’s film-making is a confrontation of historical racial structures that continue to affect the modern-day. Onwurah stated in an interview that she wishes to address the trauma black women have faced historically by “spelling it out” in her film-making. Other scholars have noted that questions of the relation between racialization and intimacy are also included in Onwurah’s films and that most of Onwurah’s work deals with how ethnographic cinema is limited by colonial discourse, as well as challenge Western notions of the sexist and ‘savage African as well.
216:
industry, and the deep inner workings of her relationship with her mother and her mother's sexuality. Ngozi admits that for a while she never saw her mother as a sexual being. In the film, she re-sexualizes her mother by envisioning her making love to a young Black man. In another scene, Ngozi and her mother lay naked together, and the scar of Madge's mastectomy scar is exposed. This image is controversial because of the ideals of what is considered beautiful in
Western Society. This scene is a symbol of embracing the body in its truest form, and truest identity.
288:
Specifically, most of
Onwurah's work is centered around the human, and often female, body. Foster's research also says that Onwurah’s film-making utilizes the human body in ways that contrast traditional ethnographic film-making that limits other forms of knowledge on bodies. The body, in Onwurah’s work according to Foster, is created through a duality. The body is both a representation of colonial violence as well as a tool for agency in Onwurah’s films.
176:
one girl, are featured in the film and shown powdering their faces with white cleaning solution and scrubbing their skin raw in order to rid themselves of the self-hatred they feel as a result of their dark skin tones. The film shows such stereotypes as the "Tragic
Mulatto", but challenges this by featuring Ngozi and her brother Simon Onwurah being exceptions to the stereotype.
195:. The film examines ethnographic images of Black Women featured in documentary works. Onwurah interviews many different women with different stories, occupations, and struggles in the film. One woman, Caron Wheeler is a singer and songwriter. She discusses her traumatic past experiences; including rape, experienced by both herself and her ancestors.
267:, the "Third World" African woman is explored. In this film, Ngozi is showing that these women do have control over their bodies because they have the option of going to a clinic and obtaining birth control or not. However, the cultural standards of birthing many children still stand in their way of being totally in control of their own bodies.
232:
film shows two different points of views on this issue. On one hand, there is
Florence, who is honored to be part of the ceremony. On the other hand, there is Asikiye, who is a more westernized girl against the ceremony. This film explores the Third World African woman and discusses conflicting cultural ideologies. Actress
248:
in "the future of a grim dystopic science fiction landscape". She draws on historical images of Black men and women, and focuses on the body. In the film, the Black body is displayed as a "site of commodification, sterilization, and culturally approved genocide". She displays issues of drug abuse, racism, and poverty.
841:
Onwurah is also the first Black
British woman whose feature film was released theatrically in the United Kingdom. Onwurah has promoted a type of film-making that “blurs fiction with fact” and “documentary with narrative”, all while critiquing and analysing the colonial damage that has been wrecked on
247:
This political action thriller was the first independent Black
British feature film to be released. The film was premiered at the Sundance Film Festival as Ngozi was in the United States during a promotional visit for the film. In the film, Ngozi retells Black history as it would be if it took place
219:
Visual With multiple jumpcuts, the cinematography consists primarily of panning shots, medium shots (especially the faces of Madge, Ngozi, and the photographer), and close-up shots. The camera is never hand-held or deliberately shaky, and seems to be positioned on a tripod or mount at all times. This
215:
discusses both women, and their lives and fears. Madge
Onwurah speaks of marrying a Nigerian man, bearing mixed race children, and having breast cancer followed by a mastectomy. The film also explore Ngozi's feelings of being raised by a white British mother, being a model in a predominantly white
199:
explores the historical roots of
African ancestry during slavery. In one scene, she shows the image of a Black woman, naked and bound, accompanied by the sound of a whip. She uses controversial images and stories to display the lack of control Black women had over their bodies at this time and how
287:
Foster further states that
Onwurah challenges the concepts of time and space and embraces multiple sites of subjectivity. She also feels that Onwurah replaces the traditional psychoanalytical approach in film theory with phenomelogical, therefore she focuses heavily on the body as much as the mind.
283:
has stated that Onwurah’s work includes the practice of “image-making” through memory that plays with how traditional narratives are created in film. Foster also argues that Onwurah’s work exists within Bill Nichols terms “the blurred border zones of realism”. Foster also argues that Onwurah's work
175:
This film was a performative, autobiographical, experimental, and ethnographic piece that explores the inner feelings of growing up in a mixed race household. The film shows mixed race children experiencing racial harassment and isolation as a result of their skin tones. Two children, one boy and
231:
This film is an ethnographic documentary showcasing the lives of two Nigerian women. The women take place in a cultural ceremony in which young virgins, as the two girls are, live in a "fattening room" for five weeks. When they come out they are celebrated and respected by their community. The
291:
Scholar Julian Stringer has opined that Onwurah’s film-making also poses complex questions surrounding identity politics, a convention in other forms of black cinema. He feels that she possesses an “inter-cultural concern” with racial identities and how they fit within larger global contexts and
837:
According to Foster, Onwurah has pushed the limits of the “representative Black Woman” and rebels against the stereotypical assumption of what a Black female filmmaker represents. Stringer argues that Onwurah has become an example of how diverse Black female film-making can be.
200:
that is still present in Black culture today all across the world, especially in Third World African countries. She shows how women were treated in the past, during slavery, and in the present, with the intention of changing the future.
263:. This film is based on the Iwollo Village in Nigeria where women typically bear nine children. The film discusses the issue of birth control usage among Nigerian women, mainly how it is rarely used. As in Ngozi's film
128:, where Ngozi and Simon spent the majority of their childhood. Growing up in a predominantly white neighborhood, Onwurah and her brother endured social abuse and racism, stemming from their
211:
This film is an autobiographical piece featuring actress Sian Martin (now Ejiwunmi-Le Berre) as Ngozi, and Ngozi's mother, Madge Onwurah. Both women narrate certain portions of the film.
1611:
81:(born 1966) is a British-Nigerian film director, producer, model, and lecturer. She is best known as a filmmaker for her autobiographical film
842:
the black diaspora. Foster also argues that she has created new boundaries of space in cinema carved for the body as a point of subjectivity.
284:
is "a thinking and feeling cinema, a wedding of formalism and realism and something irreducibly and excessively corporeal and hyperreal".
1606:
1393:
129:
1562:
976:
1601:
180:
addresses the idea of a "melting pot" society and challenges it by suggesting that it should be called the "incinerator".
140:
1571:
1504:
849:’s Black Film Center/Archive to travel to Bloomington to discuss her work with the students attending the university.
1616:
1512:
1479:
1540:
136:
1444:
846:
911:
Ciecko, Anne (1999). "Representing the Spaces of Diaspora in Contemporary British Films by Women Directors".
1596:
845:
Her work is being used as educational material for aspiring film-makers. She was invited by members of the
1424:
Herbert, Emilie (1994). "Violence in the Postcolonial Ghetto: Ngozi Onwurah's Welcome II the Terrordome".
1357:
Herbert, Emilie (1994). "Violence in the Postcolonial Ghetto: Ngozi Onwurah's Welcome II the Terrordome".
892:
Herbert, Emilie (1994). "Violence in the Postcolonial Ghetto: Ngozi Onwurah's Welcome II the Terrordome".
873:
Herbert, Emilie (1994). "Violence in the Postcolonial Ghetto: Ngozi Onwurah's Welcome II the Terrordome".
1411:
Women Filmmakers of the African & Asian Diaspora: Decolonizing the Gaze, Locating Subjectivity
1378:
Women Filmmakers of the African & Asian Diaspora: Decolonizing the Gaze, Locating Subjectivity
1282:
Women Filmmakers of the African & Asian Diaspora: Decolonizing the Gaze, Locating Subjectivity
1267:
Women Filmmakers of the African & Asian Diaspora: Decolonizing the Gaze, Locating Subjectivity
1252:
Women Filmmakers of the African & Asian Diaspora: Decolonizing the Gaze, Locating Subjectivity
1222:
Women Filmmakers of the African & Asian Diaspora: Decolonizing the Gaze, Locating Subjectivity
1207:
Women Filmmakers of the African & Asian Diaspora: Decolonizing the Gaze, Locating Subjectivity
1488:
280:
1591:
1390:
1586:
1500:
233:
8:
156:
62:
1493:
276:
121:
1559:
1532:
1508:
1475:
1110:
139:. She eventually completed a 3-year study and graduated as a director from the UK's
1572:
https://web.archive.org/web/20100719161148/http://www.sistersincinema.com/index.html
1554:
1409:
Foster, Gwendolyn Audrey (1997). "NGOZI ONWURAH: 'A different concept and agenda'".
1376:
Foster, Gwendolyn Audrey (1997). "NGOZI ONWURAH: 'A different concept and agenda'".
1280:
Foster, Gwendolyn Audrey (1997). "NGOZI ONWURAH: 'A different concept and agenda'".
1265:
Foster, Gwendolyn Audrey (1997). "NGOZI ONWURAH: 'A different concept and agenda'".
1250:
Foster, Gwendolyn Audrey (1997). "NGOZI ONWURAH: 'A different concept and agenda'".
1220:
Foster, Gwendolyn Audrey (1997). "NGOZI ONWURAH: 'A different concept and agenda'".
1205:
Foster, Gwendolyn Audrey (1997). "NGOZI ONWURAH: 'A different concept and agenda'".
46:
Film -St. Martin's School of Art, The National Film (UK), The Television School (UK)
1566:
1544:
1397:
1339:
109:
90:
1580:
1549:
1114:
279:, ethnographic and experimental elements in many of her works. Film scholar
192:
144:
116:. As children, Onwurah's mother was forced to flee with her children from
106:
952:
1104:
443:
Gold Hugo Nominee - Best Short Film – Chicago International Film Festival
431:
Gold Hugo Nominee – Best Short Film – Chicago International Film Festival
428:
Nominee - Best Short Film – Torino International Festival of Young Cinema
113:
112:
mother, Madge Onwurah. She has two siblings, Simon Onwurah and Labour MP
1537:
482:
Gold Hugo Winner – Best Short Film - Chicago International Film Festival
1528:
419:
Prized Pieces Award Winner - National Black Programming Consortium, US.
1471:
1445:"Ngozi Onwurah: The Forgotten Pioneer of Black British Film: Gal-Dem"
1245:
1243:
928:
926:
868:
866:
1320:
Stringer, Julian (1995). "On the Rise: the Work of Ngozi Onwurah".
1298:
Stringer, Julian (1995). "On the Rise: the Work of Ngozi Onwurah".
1150:
Stringer, Julian (1995). "On the Rise: The Work of Ngozi Onwurah".
933:
Stringer, Julian (1995). "On the Rise: the Work of Ngozi Onwurah".
509:
Jury Award Nominee – Best Narrative Feature - Tribeca Film Festival
102:
1240:
923:
863:
470:
Royal Television Society Award Winner – Best Adult Continuing – UK
125:
117:
89:(1994). Her work is reflective of the unfiltered experiences of
35:
1103:
Gardner, Lloyd; Onwurah, Ngozi; Johnson, Caroline Lee (1993).
455:
Winner - Best Short Film- Melbourne Film Festival, Australia.
422:
Golden Gate Award Winner - San Francisco Film Festival, US.
458:
Winner - Best Documentary- Montreal Film Festival, Canada.
494:
Audience Award Winner – Verona Love Screens Film Festival
275:
Onwurah used autobiographical elements, cultural memory,
101:
Ngozi Onwurah was born in the year 1966 in Nigeria to a
1102:
1560:
http://www.africanwomenincinema.org/AFWC/About.html
239:
1495:Women Filmmakers of the African and Asian Diaspora
1492:
191:This film was inspired by a poem by director, Dr.
1555:http://www.wmm.com/filmcatalog/makers/fm280.shtml
1413:. Southern Illinois University Press. p. 38.
1380:. Southern Illinois University Press. p. 35.
1284:. Southern Illinois University Press. p. 28.
1269:. Southern Illinois University Press. p. 24.
1254:. Southern Illinois University Press. p. 34.
1224:. Southern Illinois University Press. p. 42.
1209:. Southern Illinois University Press. p. 32.
167:
1578:
1315:
1313:
1293:
1291:
1086:
1084:
1082:
1057:
1055:
1042:
1040:
251:
203:
1027:
1025:
1023:
1021:
96:
1550:http://www.answers.com/topic/ngozi-onwurah
1310:
1288:
183:
1133:
1131:
1079:
1052:
1037:
416:Winner - Short Feature Category, BBC, UK.
403:
1612:Nigerian emigrants to the United Kingdom
1319:
1297:
1149:
1018:
932:
223:
1423:
1356:
891:
872:
159:, and they have one daughter together.
1579:
1408:
1375:
1279:
1264:
1249:
1219:
1204:
1128:
910:
1538:http://eng-wdixon.unl.edu/foster.html
1391:Prix Italia, Winners 1949 - 2010, RAI
135:Onwurah began her studies in film at
1442:
155:Ngozi is married to cinematographer
137:St. Martin’s School of Art in London
141:National Film and Television School
85:(1991) and her first feature film,
54:Director, Producer, Model, Lecturer
13:
1607:Nigerian people of British descent
1505:Southern Illinois University Press
1468:Black Women Film and Video Artists
506:Prix Italia Winner – Best TV Drama
425:Films de Femmes - Creteil, France.
295:
270:
14:
1628:
1522:
150:
1436:
1417:
1402:
1384:
1369:
1350:
1332:
1273:
1258:
1228:
1213:
1198:
1186:
1174:
1162:
1143:
1096:
1067:
1006:
994:
969:
945:
904:
885:
513:
1:
1158:: 38–48 – via ProQuest.
852:
368:
1602:British women film directors
7:
1487:
1234:
1180:
1168:
1137:
1090:
1073:
1061:
1046:
1031:
1012:
1000:
32:1966 (age 57–58)
10:
1633:
1466:Bobo, Jacqueline (1998),
1465:
1192:
1124:– via Worldcat.org.
832:
669:White Men Are Cracking Up
643:Welcome II the Terrordome
488:Welcome II the Terrordome
332:White Men Are Cracking Up
241:Welcome II the Terrordome
93:in which she was raised.
87:Welcome II the Terrordome
68:
58:
50:
42:
28:
21:
1617:Black British filmmakers
1489:Foster, Gwendolyn Audrey
236:is the film's narrator.
162:
97:Early life and education
1109:. California Newsreel.
539:Coffee Colored Children
410:Coffee Colored Children
281:Gwendolyn Audrey Foster
178:Coffee Colored Children
169:Coffee Colored Children
120:in order to escape the
404:Awards and nominations
132:and father's absence.
16:Nigerian film director
261:A Question of Numbers
1426:CINEJ Cinema Journal
1359:CINEJ Cinema Journal
894:CINEJ Cinema Journal
875:CINEJ Cinema Journal
234:Caroline Lee-Johnson
1597:Prix Italia winners
771:South of the Border
749:
721:Shoot the Messenger
604:Who Stole the Soul?
520:
500:Shoot The Messenger
464:Who Stole the Soul?
376:South of the Border
356:Shoot The Messenger
1565:2020-09-15 at the
1543:2010-06-19 at the
1396:2013-10-22 at the
847:Indiana University
747:
734:Neighborhood Alert
656:The Desired Number
630:Flight of the Swan
591:The Body Beautiful
518:
476:Flight of the Swan
449:The Body Beautiful
362:Neighborhood Alert
320:Flight of the Swan
314:Who Stole the Soul
277:multiple narrators
253:The Desired Number
213:The Body Beautiful
205:The Body Beautiful
122:Nigerian Civil War
83:The Body Beautiful
1470:, New York City:
1344:Women Make Movies
830:
829:
791:Yes (2 episodes)
742:
741:
130:biracial identity
76:
75:
1624:
1517:
1498:
1484:
1453:
1452:
1440:
1434:
1433:
1421:
1415:
1414:
1406:
1400:
1388:
1382:
1381:
1373:
1367:
1366:
1354:
1348:
1347:
1336:
1330:
1329:
1317:
1308:
1307:
1295:
1286:
1285:
1277:
1271:
1270:
1262:
1256:
1255:
1247:
1238:
1232:
1226:
1225:
1217:
1211:
1210:
1202:
1196:
1190:
1184:
1178:
1172:
1166:
1160:
1159:
1147:
1141:
1135:
1126:
1125:
1123:
1121:
1100:
1094:
1088:
1077:
1071:
1065:
1059:
1050:
1044:
1035:
1029:
1016:
1010:
1004:
998:
992:
991:
989:
987:
981:Encyclopedia.com
973:
967:
966:
964:
963:
949:
943:
942:
930:
921:
920:
908:
902:
901:
889:
883:
882:
870:
823:Yes (1 episode)
807:Yes (1 episode)
750:
746:
578:And Still I Rise
521:
517:
197:And Still I Rise
185:And Still I Rise
157:Alwin H. Küchler
124:. They fled to
63:Alwin H. Küchler
19:
18:
1632:
1631:
1627:
1626:
1625:
1623:
1622:
1621:
1577:
1576:
1567:Wayback Machine
1545:Wayback Machine
1525:
1520:
1515:
1482:
1456:
1441:
1437:
1422:
1418:
1407:
1403:
1398:Wayback Machine
1389:
1385:
1374:
1370:
1355:
1351:
1340:"Ngozi Onwurah"
1338:
1337:
1333:
1318:
1311:
1296:
1289:
1278:
1274:
1263:
1259:
1248:
1241:
1233:
1229:
1218:
1214:
1203:
1199:
1191:
1187:
1179:
1175:
1167:
1163:
1148:
1144:
1136:
1129:
1119:
1117:
1101:
1097:
1089:
1080:
1072:
1068:
1060:
1053:
1045:
1038:
1030:
1019:
1011:
1007:
999:
995:
985:
983:
977:"Ngozi Onwurah"
975:
974:
970:
961:
959:
953:"Ngozi Onwurah"
951:
950:
946:
931:
924:
909:
905:
890:
886:
871:
864:
855:
835:
744:
682:Behind the Mask
516:
406:
371:
338:Behind the Mask
298:
296:Other film work
273:
271:Style and genre
257:
245:
229:
209:
189:
173:
165:
153:
99:
38:
33:
24:
17:
12:
11:
5:
1630:
1620:
1619:
1614:
1609:
1604:
1599:
1594:
1589:
1575:
1574:
1569:
1557:
1552:
1547:
1535:
1524:
1523:External links
1521:
1519:
1518:
1513:
1485:
1480:
1462:
1461:
1460:
1455:
1454:
1435:
1416:
1401:
1383:
1368:
1349:
1331:
1309:
1287:
1272:
1257:
1239:
1227:
1212:
1197:
1185:
1173:
1161:
1142:
1127:
1106:Monday's girls
1095:
1078:
1066:
1051:
1036:
1017:
1005:
993:
968:
944:
922:
913:Cinema Journal
903:
884:
861:
860:
859:
854:
851:
834:
831:
828:
827:
824:
821:
816:
812:
811:
808:
805:
800:
796:
795:
792:
789:
784:
780:
779:
776:
773:
768:
764:
763:
760:
757:
754:
740:
739:
736:
731:
727:
726:
723:
718:
714:
713:
710:
705:
701:
700:
697:
692:
688:
687:
684:
679:
675:
674:
671:
666:
662:
661:
658:
653:
649:
648:
645:
640:
636:
635:
632:
627:
623:
622:
619:
617:Monday's Girls
614:
610:
609:
606:
601:
597:
596:
593:
588:
584:
583:
580:
575:
571:
570:
567:
565:Fruits of Feer
562:
558:
557:
554:
549:
545:
544:
541:
536:
532:
531:
528:
525:
515:
512:
511:
510:
507:
496:
495:
484:
483:
472:
471:
460:
459:
456:
445:
444:
433:
432:
429:
426:
423:
420:
417:
405:
402:
401:
400:
393:
386:
379:
370:
367:
366:
365:
359:
353:
347:
341:
335:
329:
323:
317:
311:
308:Fruits of Fear
305:
297:
294:
272:
269:
265:Monday's Girls
256:
250:
244:
238:
228:
225:Monday's Girls
222:
208:
202:
188:
182:
172:
166:
164:
161:
152:
149:
105:father, and a
98:
95:
91:Black Diaspora
74:
73:
70:
66:
65:
60:
56:
55:
52:
48:
47:
44:
40:
39:
34:
30:
26:
25:
22:
15:
9:
6:
4:
3:
2:
1629:
1618:
1615:
1613:
1610:
1608:
1605:
1603:
1600:
1598:
1595:
1593:
1592:Living people
1590:
1588:
1585:
1584:
1582:
1573:
1570:
1568:
1564:
1561:
1558:
1556:
1553:
1551:
1548:
1546:
1542:
1539:
1536:
1534:
1530:
1529:Ngozi Onwurah
1527:
1526:
1516:
1514:0-8093-2120-3
1510:
1506:
1502:
1497:
1496:
1490:
1486:
1483:
1481:0-415-92042-6
1477:
1473:
1469:
1464:
1463:
1458:
1457:
1450:
1446:
1439:
1431:
1427:
1420:
1412:
1405:
1399:
1395:
1392:
1387:
1379:
1372:
1364:
1360:
1353:
1345:
1341:
1335:
1327:
1323:
1316:
1314:
1305:
1301:
1294:
1292:
1283:
1276:
1268:
1261:
1253:
1246:
1244:
1236:
1231:
1223:
1216:
1208:
1201:
1194:
1189:
1182:
1177:
1170:
1165:
1157:
1153:
1146:
1139:
1134:
1132:
1116:
1112:
1108:
1107:
1099:
1092:
1087:
1085:
1083:
1075:
1070:
1063:
1058:
1056:
1048:
1043:
1041:
1033:
1028:
1026:
1024:
1022:
1014:
1009:
1002:
997:
982:
978:
972:
958:
954:
948:
940:
936:
929:
927:
918:
914:
907:
899:
895:
888:
880:
876:
869:
867:
862:
857:
856:
850:
848:
843:
839:
825:
822:
820:
819:Crucial Tales
817:
814:
813:
809:
806:
804:
801:
798:
797:
793:
790:
788:
787:Siren Spirits
785:
782:
781:
777:
774:
772:
769:
766:
765:
761:
758:
755:
752:
751:
745:
737:
735:
732:
729:
728:
724:
722:
719:
716:
715:
711:
709:
706:
703:
702:
698:
696:
693:
690:
689:
685:
683:
680:
677:
676:
672:
670:
667:
664:
663:
659:
657:
654:
651:
650:
646:
644:
641:
638:
637:
633:
631:
628:
625:
624:
620:
618:
615:
612:
611:
607:
605:
602:
599:
598:
594:
592:
589:
586:
585:
581:
579:
576:
573:
572:
568:
566:
563:
560:
559:
555:
553:
550:
547:
546:
542:
540:
537:
534:
533:
529:
526:
523:
522:
508:
505:
504:
503:
501:
493:
492:
491:
489:
481:
480:
479:
477:
469:
468:
467:
465:
457:
454:
453:
452:
450:
442:
441:
440:
438:
430:
427:
424:
421:
418:
415:
414:
413:
411:
398:
397:Crucial Tales
395:Mini-Series:
394:
391:
390:Siren Spirits
388:Mini-Series:
387:
384:
381:Mini-Series:
380:
377:
373:
372:
363:
360:
357:
354:
351:
348:
345:
342:
339:
336:
333:
330:
327:
326:Siren Spirits
324:
321:
318:
315:
312:
309:
306:
303:
300:
299:
293:
289:
285:
282:
278:
268:
266:
262:
254:
249:
242:
237:
235:
226:
221:
217:
214:
206:
201:
198:
194:
186:
181:
179:
170:
160:
158:
151:Personal life
148:
146:
142:
138:
133:
131:
127:
123:
119:
115:
111:
108:
104:
94:
92:
88:
84:
80:
79:Ngozi Onwurah
71:
67:
64:
61:
57:
53:
51:Occupation(s)
49:
45:
41:
37:
31:
27:
23:Ngozi Onwurah
20:
1494:
1467:
1459:Bibliography
1448:
1438:
1429:
1425:
1419:
1410:
1404:
1386:
1377:
1371:
1362:
1358:
1352:
1343:
1334:
1325:
1321:
1303:
1299:
1281:
1275:
1266:
1260:
1251:
1230:
1221:
1215:
1206:
1200:
1188:
1176:
1164:
1155:
1151:
1145:
1118:. Retrieved
1105:
1098:
1069:
1008:
996:
986:December 30,
984:. Retrieved
980:
971:
960:. Retrieved
956:
947:
938:
934:
916:
912:
906:
897:
893:
887:
878:
874:
844:
840:
836:
826:Mini-Series
818:
810:Mini-Series
802:
794:Mini-Series
786:
770:
743:
733:
720:
707:
694:
681:
668:
655:
642:
629:
616:
603:
590:
577:
564:
551:
538:
499:
497:
487:
485:
475:
473:
463:
461:
448:
446:
436:
434:
409:
407:
396:
389:
382:
375:
361:
355:
349:
343:
337:
331:
325:
319:
313:
307:
301:
290:
286:
274:
264:
260:
259:Also called
258:
252:
246:
240:
230:
224:
218:
212:
210:
204:
196:
193:Maya Angelou
190:
184:
177:
174:
168:
154:
145:Beaconsfield
134:
100:
86:
82:
78:
77:
1587:1966 births
748:Television
708:Mama Africa
552:Best Wishes
514:Filmography
437:Best Wishes
350:Mama Africa
302:Best Wishes
147:, England.
114:Chi Onwurah
1581:Categories
1501:Carbondale
1443:Varaidzo.
1322:Cineaction
1300:Cineaction
1152:Cineaction
962:2021-05-20
935:Cineaction
853:References
369:Television
72:1 daughter
1472:Routledge
1432:(1): 192.
1365:(1): 194.
900:(1): 190.
881:(1): 191.
803:Heartbeat
759:Director
695:Hang Time
530:Director
383:Heartbeat
344:Hang Time
43:Education
1563:Archived
1541:Archived
1491:(1997),
1394:Archived
1328:(3): 39.
1306:(3): 43.
1115:31965549
941:(3): 41.
374:Series:
103:Nigerian
69:Children
1449:Gal-Dem
1237:, p. 42
1195:, p. 49
1183:, p. 36
1171:, p. 38
1140:, p. 37
1093:, p. 35
1076:, p. 30
1064:, p. 25
1049:, p. 24
1034:, p. 29
1015:, p. 28
1003:, p. 27
778:Series
502:(2006)
490:(1994)
478:(1993)
466:(1992)
451:(1991)
439:(1989)
412:(1988)
126:England
118:Nigeria
110:British
36:Nigeria
1511:
1478:
1235:Foster
1181:Foster
1169:Foster
1138:Foster
1120:30 May
1113:
1091:Foster
1074:Foster
1062:Foster
1047:Foster
1032:Foster
1013:Foster
1001:Foster
833:Legacy
762:Notes
756:Title
527:Title
519:Films
399:(1996)
392:(1995)
385:(1995)
378:(1988)
364:(2024)
358:(2006)
352:(2002)
346:(2001)
340:(1997)
334:(1996)
328:(1994)
322:(1993)
316:(1992)
310:(1990)
304:(1989)
255:(1995)
243:(1994)
227:(1993)
207:(1991)
187:(1991)
171:(1988)
59:Spouse
858:Notes
815:1996
799:1995
783:1994
767:1988
753:Year
730:2024
717:2006
704:2002
691:2001
678:1997
665:1996
652:1995
639:1994
626:1993
613:1993
600:1992
587:1991
574:1991
561:1990
548:1989
535:1988
524:Year
163:Films
107:white
1533:IMDb
1509:ISBN
1476:ISBN
1193:Bobo
1122:2022
1111:OCLC
988:2021
957:IMDb
919:(3).
775:Yes
738:Yes
725:Yes
712:Yes
699:Yes
686:Yes
673:Yes
660:Yes
647:Yes
634:Yes
621:Yes
608:Yes
595:Yes
582:Yes
569:Yes
556:Yes
543:Yes
29:Born
1531:at
143:in
1583::
1507:,
1503::
1499:,
1474:,
1447:.
1428:.
1361:.
1342:.
1326:37
1324:.
1312:^
1304:37
1302:.
1290:^
1242:^
1156:37
1154:.
1130:^
1081:^
1054:^
1039:^
1020:^
979:.
955:.
939:37
937:.
925:^
917:38
915:.
896:.
877:.
865:^
498:•
486:•
474:•
462:•
447:•
435:•
408:•
1451:.
1430:7
1363:7
1346:.
990:.
965:.
898:7
879:7
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.