Onyeka Igwe
DirectorWriter
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Birthday
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Genres
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Total Films
Also known as (female)
Place of Birth
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Birthday
-
Zodiac Sign
-
Genres
0
Total Films
-
Also Known As (female)
-
Place of Birth
Creative career
actor
0 Works
producer
0 Works
director
21 Works
writer
2 Works
other
5 Works
A Radical Duet
Imagining a revolutionary play authored by two female activists in the anti-colonial movement in post-war London.0.0
Year:
2023
A Radical Duet
Imagining a revolutionary play authored by two female activists in the anti-colonial movement in post-war London.0.0
Year:
2023
Sylvie’s Monologue
0.0
Year:
2023
Notes on dancing with the archive
0.0
Year:
2023
Ungentle
A film exploring the complicated relationship between British espionage and male homosexuality.5.5
Year:
2022
Ungentle
A film exploring the complicated relationship between British espionage and male homosexuality.5.5
Year:
2022
The Miracle on George Green
0.0
Year:
2022
8 yams, 8 small yams, 8 eggs, a cow and a cockerel
8 yams, 8 small yams, 8 eggs, a cow and a cockerel. 2021. Great Britain. Directed by Onyeka Igwe. 4 min.0.0
Year:
2021
Another Step Forward
Another Step Forward. 2020. Great Britain. Directed by Onyeka Igwe. 6 min.0.0
Year:
2020
A So-Called Archive
With a forensic lens, Onyeka Igwe's A So-Called Archive interrogate the decomposing repositories of Empire. Blending footage shot over the past year in two separate colonial archive buildings - one in Lagos, Nigeria, and the other in Bristol, United Kingdom - this double portrait considers the 'sonic shadows' that colonial images continue to generate, despite the disintegration of the memory and their materials. It mixes the genres of the radio play, the corporate video tour and detective noir, with a haunting and critical approach to the horror of discovery.0.0
Year:
2020
A So-Called Archive
With a forensic lens, Onyeka Igwe's A So-Called Archive interrogate the decomposing repositories of Empire. Blending footage shot over the past year in two separate colonial archive buildings - one in Lagos, Nigeria, and the other in Bristol, United Kingdom - this double portrait considers the 'sonic shadows' that colonial images continue to generate, despite the disintegration of the memory and their materials. It mixes the genres of the radio play, the corporate video tour and detective noir, with a haunting and critical approach to the horror of discovery.0.0
Year:
2020
No Archive Can Restore You
Onyeka Igwe’s No Archive Can Restore You surveys the rustic, decaying interiors of the former Nigerian Film Unit building in Lago, viscerally evoking a history full of contingency – including colonial propaganda, institutional neglect, architectural rot – and reimagining the lost sounds that abandoned film cans may contain.0.0
Year:
2020
Collective Hum
A short film exploring the polyphony of collectivity in the desires, motivations and stories that foreground the histories and present(s) of Black British sound. Collective Hum documents a collective in practice through the operation of B.O.S.S using multiple narration, overlapping voices and the sound of group interviews, meetings and events to create a polyphonic score to soundtrack images of the ‘collective bodies, kinaesthetic experience and gestural language’ of sound system culture.0.0
Year:
2020
Collective Hum
A short film exploring the polyphony of collectivity in the desires, motivations and stories that foreground the histories and present(s) of Black British sound. Collective Hum documents a collective in practice through the operation of B.O.S.S using multiple narration, overlapping voices and the sound of group interviews, meetings and events to create a polyphonic score to soundtrack images of the ‘collective bodies, kinaesthetic experience and gestural language’ of sound system culture.0.0
Year:
2020
The Names Have Changed, Including My Own and Truths Have Been Altered
A film telling the same story in four different ways - using British colonial moving images to tell a folk story of two brothers, a VHS Nollywood TV series of the first published Igbo novel, a passed down story of a the family patriarch and the diary entries of the artist's first solo trip to her family's hometown.0.0
Year:
2019
Specialised Technique
William Sellers and the Colonial Film Unit developed a framework for colonial cinema, this included slow edits, no camera tricks and minimal camera movement. Hundreds of films were created in accordance to this rule set. In an effort to recuperate black dance from this colonial project, Specialised Technique, attempts to transform this material from studied spectacle to livingness.0.0
Year:
2018
Specialised Technique
William Sellers and the Colonial Film Unit developed a framework for colonial cinema, this included slow edits, no camera tricks and minimal camera movement. Hundreds of films were created in accordance to this rule set. In an effort to recuperate black dance from this colonial project, Specialised Technique, attempts to transform this material from studied spectacle to livingness.0.0
Year:
2018
Specialised Technique
William Sellers and the Colonial Film Unit developed a framework for colonial cinema, this included slow edits, no camera tricks and minimal camera movement. Hundreds of films were created in accordance to this rule set. In an effort to recuperate black dance from this colonial project, Specialised Technique, attempts to transform this material from studied spectacle to livingness.0.0
Year:
2018
Her Name in My Mouth
The film revisions the Aba Women’s War, the first major anti-colonial uprisings in Nigeria, using embodiment, gesture and the archive. The film is structured around the repurposing of archival films from the British propaganda arm cut against a gestural evocation of the women’s testimonies.0.0
Year:
2018
Sitting on a Man
Part two of Igwe's trilogy on the 1929 Aba Women's War.0.0
Year:
2018
We Need New Names
A work examining contemporary Nigerian diasporic female identity through the contradictions inherent to an ethnographic reading of the funeral of the filmmakers’ family matriarch. Using personal archive to explore the concepts of female identity, diaspora, cultural memory and most importantly ‘fiction’.0.0
Year:
2015