Search results

You are looking at 1 - 4 of 4 items for :

  • "Sembène Ousmane" x
  • Refine by access: All content x
Clear All
Daisy Connon

Towards a Theory for African Cinema is an English translation of a talk given in French by the Tunisian filmmaker and critic Férid Boughedir (1944–) at a conference on international cinema, which took place in Montreal in 1974. In his presentation Boughedir discusses the vocation of the African filmmaker, who must avoid succumbing to the escapism and entertainment values of Western cinema and instead strive to reflect the contradictions and tensions of the colonised African identity, while promoting a revitalisation of African culture. Drawing on the example of the 1968 film Mandabi (The Money Order) by the Senegalese director Sembène Ousmane, Boughedir conceptualises a form of cinema which resists the influences of both Hollywood and auteur film and awakens viewers, instead of putting them to sleep. Boughedir‘s source text is preceded by a translator‘s introduction, which situates his talk within contemporary film studies.

Film Studies
Open Access (free)
Paul Gilroy’s The Black Atlantic
Laura Chrisman

Senegalese writer and film-maker Sembene Ousmane’s Black Docker, the novel of a young Senegalese aspiring writer who comes to Marseilles, works as a docker and entrusts his book to a white French woman writer who having promised to help him find a publisher steals the book and has it published chapter4 21/12/04 80 11:00 am Page 80 Transnationalism and race to great success under her own name.11 After accidentally killing the woman, in anger, he experiences the humiliation of being denounced as a liar when he claims the book to be his own, and is imprisoned

in Postcolonial contraventions
Tim Woods

, prostitute, supermother, wife, earth as muse support or distort the creation of a female mythos and how they conform to the realities of women’s lives, are some of the principal features of this chapter. Despite such representations of women as positive possibilities of transcendence in Ngugi wa Thiong’o’s depiction of Waaringa in The River Between ( 1965 ), or Sembene Ousmane’s portrayal

in African pasts
Abdellatif Kechiche and the politics of reappropriation and renewal
James S. Williams

frame directly with their bodies, movements and voices to create a highly physical cinema. We noted in Chapter 1 that space is an underlying issue in all Maghrebi-French film-making, where representation can provide a means of constructing (diasporic) identity, to the point that all differences of ethnicity, gender and sexuality are represented spatially. We might also add here the general context of Arab and African cinema where, as Lizbeth Malkmus and Roy Armes point out in their discussion of the great Senegalese director, Sembène Ousmane, ‘what might, in another

in Space and being in contemporary French cinema