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David Murphy and Patrick Williams

than one might originally imagine. Equally, in Den Muso , Baara and Yeelen , there is sympathy for the plight of women but they are, by and large, victims of men with little possibility of altering the conditions in which they live. Except for Nandi, Cissé does not envisage new models of behaviour that might allow them to break free from the constraints within which they live. Overall, then, Cissé’s work might be said to

in Postcolonial African cinema