Search Results for sembene

...Mamadou Niang Copyright © 1996 Nka: Journal of Contemporary African Art 1996 THE CONFESSIONS OF OUSMANE SEMBENE he meeting has been under way for well over two hours, and the seven and only with a handful of theaters tightly...

.... Copyright © 2010 Nka: Journal of Contemporary African Art 2010 The Problem Is More Mental Than Economic Ousmane Sembène in Conversation with Samba Gadjigo Journal of Contemporary African Art • 27 • Fall 2010 22 • Nka...

...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...

... concentric layers of subordination, pointing to the instability of social identities and the possibility of subversion. Copyright © 2010 Nka: Journal of Contemporary African Art 2010 History in Ousmane Sembène’s Guelwaar and Ceddo Awam Amkpa and Gunja SenGupta...

...Anne V. Adams Copyright © 2002 Nka: Journal of Contemporary African Art 2002 Faat Kine (film still), 2001 he blackgirl of Sembene Ousmane's first film has re• story! and marked the beginning ofhis medium-transition from emerged as an African Woman in the artist's latest film...

... role, hand by the cultural policies of newly independ• and its power of transformation."2 ent countries that needed to produce their own A look at Sembene Ousmane's films—from images, and on the other by the French Ministere Borom Saret (1963), to Mandabi (1968)—reveals 78*Nka...

... REVIEWS the paradoxes in Sembène’s prodi inSembène’s paradoxes the Xala Sembène’s Ousmane on focusing before James, R. L. C. of writings the of astudy with begins He space. and time across analysis of ures fig his between connections builds...

.... Moussa Sene Absa's Tableau Feraille (Senegal, 1997) is a semi-comic social commentary in the style of Sembene, though the narrative lacks Sembene's craft. It tells the story of a young man who marries a beautiful vil• lager, becomes a minister, and takes a sec• ond wife when his first bears...

..., Ousmane Sembene, Julie Dash, and ly, highlighting artistic practices from thinkers in the field of diasporal stud• film, and computer-assisted practices. others. At this stage in the writing, the the post-Emancipation period...

...• able, wherein avid critics of the opment process and the state's role regime like Ousmane Sembene could as patron are set against broader so...

... the cinema in Africa will Even then, I think the issues are similar to the ex• tudes. The scholars are there for the filmmakers specify itself. Ousmane Sembene once said that periences of independent filmmakers living in the and should pose Questions...

... markers of class or political affiliation so central to then contemporaneous analyses of the political turmoil of decolonized Congo-Léo.61 Yet, the Congo s crises actually did pierce through in FESMAN s marquee program. Given the accolades and corresponding press Ousmane Sembene s psychoracial drama Black...

..., Ousmane Sembene, Julie Dash, and ly, highlighting artistic practices from thinkers in the field of diasporal stud• film, and computer-assisted practices. others. At this stage in the writing, the the post-Emancipation period...

... African artists—people like Fela, Salif Keita, Ousman Sembene, Souleyman Cisse for example. Journal of Contemporary African Art • Spring/Summer 1995 I want to return to the issue of spiritualism...

.... The same with Angola and Guinea France for their funding. Of course, Sembene broke away from that espe- Interview with Hark Reid Bissau, I believe. I think that the above constitutes the weaker point in our vocabulary because, personally, I want to see more urban films...

... Sembène, Abder- the Musée de Tervuren the writer and his compan- rahmane Sissako, and Flora Gomes. But by add- ion admire African sculptures and masks, which in ing to them examples of less obvious forms of—­at this context appear not as instances of a universal, least to Portuguese...

... 1 Cited in Smoking Gun, "Big Brother Africa: The War of the es from Ousmane Sembene through Safi Faye to Professors," www.niaharules.com, Aug 15, 2003, 23:23 Jean-Pierre Bekolo. In terms of the audiences that httpwww.naijarules.com...

..., and cultural impulses.7 can ctional lms such as Ousmane Sembène’s La This dynamic still leaves room for tackling the lega- noire de . . . (1966) and Med Hondo’s Soleil O (1969). cies of colonization but o ers expansion beyond The mixture of ction and documentary in the lm, these eternally polarized...

... indulgence — is fully apparent.18 In these many years, but never before in this configuration. earlier series, Lovell pairs one or more playing cards After an Afternoon drew inspiration from Ousmane below his rendered images — depicted variously in Sembene’s 2004 film Moolaadé, a fictionalized dra...