Cinema of Africa is both the history and present of the making or screening of films on the African continent, and also refers to the persons involved in this form of audiovisual culture. It dates back to the early 20th century, when film reels were the primary cinematic technology in use. During the colonial era, African life was shown only by the work of white, colonial, Western filmmakers, who depicted Africans in a negative fashion, as exotic "others". As there are more than 50 countries with audiovisual traditions, there is no one single 'African cinema'. Both historically and culturally, there are major regional differences between North African and sub-Saharan cinemas, and between the cinemas of different countries. The cinema of Tunisia and the cinema of Egypt are among the oldest in the world. Pioneers Auguste and Louis Lumière screened their films in Alexandria, Cairo, Tunis, Soussa and Hammam-Lif in 1896. Albert Samama Chikly is often cited as the first producer of indigenous African cinema, screening his own short documentaries in the casino of Tunis as early as December 1905. Alongside his daughter Haydée Tamzali, Chikly would go on to produce important early milestones such as 1924's The Girl from Carthage. In 1935 the MISR film studio in Cairo began producing mostly formulaic comedies and musicals, but also films like Kamal Selim's The Will (1939). Egyptian cinema flourished in the 1940s, 1950s and 1960s, considered its Golden Age. Youssef Chahine's seminal Cairo Station (1958) laid a foundation for Arab film. The Nigerian film industry is the largest in Africa in terms of volume, number of annual films, revenue and popularity. It is also the second largest film producer in the world. In 2016 Nigeria's film industry contributed 2.3% towards its gross domestic product (GDP). History Colonial era During the colonial era, Africa was represented largely by Western filmmakers. In the first decades of the twentieth century, Western filmmakers made films that depicted black Africans as "exoticized", "submissive workers" or as "savage or cannibalistic". For example, see Kings of the Cannibal Islands in 1909, Voodoo Vengeance (1913) and Congorilla (1932). Colonial era films portrayed Africa as exotic, without history or culture. Examples abound and include jungle epics based on the Tarzan character created by Edgar Rice Burroughs and the adventure film The African Queen (1951), and various adaptations of H. Rider Haggard's novel King Solomon's Mines (1885). Much early ethnographic cinema "focused