Search Results for mambety

...Elizabeth Mermin Copyright © 1996 Nka: Journal of Contemporary African Art 1996 African cinema has been around for forty between Sembene and Mambety is along cold...

.... The shocking image juxtapositions elicit multiple read- organic world, the body, and all electronic devices ings in Bekolo and Mambéty’s works.2 Bekolo’s “new become interconnected media through their inte- anatomy” and his call for new modes of thought gration into an “Internetized” global circuit. Micro...

..., as in Xamb #1 Djibril Diop Mambety (1945-1998). Director of (2001) or in silhouette as in Joola and Yunus, Touki Bouki (1973) and Hyenas (1992), Mambety large figures typically dominate the canvas. The is praised for these classics of African cinema graceful figures in Joola...

..., as put by Enwezor and colonial Africa. Mbye Cham pays a well-deserved Octavio Zaya in their introduction to the 1996 cata• homage to the late Senegalese filmmaker, Djibril Diop- logue of In/Sight, the landmark exhibition at the Mambety, whose career yielded avant-garde classics...

... Mambety, like Sidibe's photo• graphs, borrows from the mise-en-scene of African Cinema in Black and White the Western and B-movies, as well as from the Looking at the photographs in the anthology, one French Nouvelle Vague. The poetic...

... audiencesFrancophone” cin- ever-­lasting beauty, but rather as trophies from for- ema (Djibril Diop Mambéty, Moussa Sene Absa), mer colonial pillages. “African art” gets newly illu- Nolly­wood (Kenneth Nnebue), or South African minated as the couple admiring it looks through film (Zola Mazeko...

... and people in an international community with are familiar with the experimentalist and modernist, art film movement, others. Theory should be usable, to take things apart, to show and inter• love their films and elect to write about them. Djibril Diop Mambety's pret and reveal. If it is pure...