Proposed Research Overview: On the slippery slope created by globalization and cultural brokerage, contemporary art created in Africa (and its diasporas) has seen a steady growth in interest and of Western public appreciation in recent years. several decades (Kasfir, 2007). Several biennials, triennials and scientific works bear witness to this, the impact of which is largely due to the figure of Okwui Enwezor. However, harmoniously uniting diverse African artists under the Western gaze uninformed by the commercialism of the international art circuit – regardless of their different cultural backgrounds and the medium in which they work – is bound to create problems. The sophisticated publications and curatorial work of Enwezor and other authors demonstrate both the vitality and the issues that remain to be addressed in this area of ​​study (Ogbechie, 2010). Coveted by international art markets both for its quality and its commercial rewards, African art (in the singular) seems to refer to a homogeneous whole (Enwezor and Okeke-Agulu, 2009). All countries, styles, practices and languages ​​are, in theory, on the same level. However, schools, movements, socio-economic development and political (in)stabilities in its many countries trigger varied artistic responses to local and global forces. African cinemas are an example. They have evolved quite unevenly since their beginnings. The diversity of languages, multiple former colonial powers and troubled socio-political histories have forced film researchers to approach them in the plural. This two-speed evolution between African art and African cinemas raises many questions. Therefore, by "zooming in" to show this discrepancy, I intend to place African photography and cinemas within a broad theoretical framework...... middle of paper ......ica and its diasporas .Bibliographic references: Enwezor, O. and C. Okeke-Agulu (2009) Contemporary African Artists, since 1980, Bologna: Damiani. Eshun, K. and R. Gray (2011) “The militant image: a cine‐geography”, Third text, 25 (1), p. 1-12. Gilroy, P. (1993) The Black Atlantic: Modernity and Double Consciousness, London: Verso. Kasfir, SL (2007) African Art and the Colonial Encounter: Inventing a Global Commodity, Bloomington: Indiana University Press. Ogbechie, SO (2010) The Curator as Cultural Intermediary: A Critique of Okwui Enwezor's Curatorial Regime in the discourse of contemporary African art. [Internet]. Available at: http://www.africancolours.com/african-art-news/550/international/the_curator_as_culture_broker_a_critique_of_the_curatorial_regime_of_okwui_enwezor_in_the_discourse_of_contemporary_african_art.htm [Accessed October 24 2011].