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Dynamiques Culturelles Dans Les Cinémas Africains Du Xxie Siècle

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Dynamiques Culturelles Dans Les Cinémas Africains Du Xxie Siècle cover_saravi_pontes_11_v5_Layout 1 08.01.2018 12:42 Seite 1 View metadata, citation and similar papers at core.ac.uk brought to you by CORE 11 SARAVI PONTES – Beiträge zur internationalen provided by Universaar Hochschulkooperation und zum interkulturellen Band 11 Wissenschaftsaustausch Dynamiques culturelles dans les cinémas africains du XXIe siècle. Depuis les années 2000, le cinéma africain est marqué par de Acteurs, formats, réseaux nombreuses évolutions nouvelles avec un impact considérable sur son positionnement dans le paysage cinématographique in- ternational, notamment concernant sa présence dans les festi- vals, mais aussi aux niveaux de la production et de la distribution. Cultural Dynamics in African Cinemas Ces dynamiques culturelles sont au centre de l’intérêt de cet ouvrage qui est le fruit d’une rencontre de chercheurs africains of the 21st Century. et européens pour explorer ces nouvelles tendances du cinéma africain principalement selon trois perspectives : le rôle des Agents, Formats, Genres cinéastes comme agents dans les dynamiques culturelles, les genres, formats et formes esthétiques émergents, et l’influence des grands réseaux de production cinématographique (popu- laire) en Afrique subsaharienne. Cinemas in African Dynamics Cultural Ute Fendler Since the turn of the century, African cinema has been marked by a number of new evolutions that have a considerable impact on its Christoph Vatter position in the international cinematographic landscape, e.g. its pre- sence in festivals, but also in terms of production and distribution of (éds.) films. These new cultural dynamics are the main focus of this book which is the fruit of the cooperation between scholars from Africa and Europe. They explore these new tendencies in African cinema particularly along three perspectives: filmmakers as agents of cul- tural dynamics, evolutions in emerging formats, genres and new es- thetic forms, and the influences of the big networks of (popular) productions in Sub-Saharan Africa. Dynamiques culturelles dans les cinémas africains cinémas africains dans les Dynamiques culturelles universaar Universitätsverlag des Saarlandes Saarland University Press Presses Universitaires de la Sarre impressum_saravi_pontes_11_Layout 1 19.01.2018 12:46 Seite 1 impressum_saravi_pontes_11_Layout 1 19.01.2018 12:46 Seite 2 SARAVI PONTES – Beiträge zur internationalen Hochschulkooperation und zum interkulturellen Wissenschaftsaustausch Herausgegeben von Astrid M. Fellner, Roland Marti, Christoph Vatter, Elisabeth Venohr Band 11 impressum_saravi_pontes_11_Layout 1 19.01.2018 12:46 Seite 3 Ute Fendler, Christoph Vatter (éds.) Dynamiques culturelles dans les cinémas africains du XXIe siècle. Acteurs, formats, réseaux. Cultural Dynamics in African Cinemas of the 21st Century. Agents, Formats, Genres. universaar Universitätsverlag des Saarlandes Saarland University Press Presses Universitaires de la Sarre impressum_saravi_pontes_11_Layout 1 19.01.2018 12:46 Seite 4 © 2018 universaar Universitätsverlag des Saarlandes Saarland University Press Presses Universitaires de la Sarre Postfach 151150, 66041 Saarbrücken ISBN 978-3-86223-266-6 gedruckte Ausgabe ISBN 978-3-86223-267-3 Online-Ausgabe ISSN 2198-0551 gedruckte Ausgabe ISSN 2198-056X Online-Ausgabe URN urn:nbn:de:bsz:291-universaar-1734 Projektbetreuung universaar: Natascha Magyar Satz: Lukas Redemann Umschlaggestaltung: Julian Wichert, Jan Tretschok Herstellung über: readbox unipress in der readbox publishing GmbH http://unipress.readbox.net Gedruckt auf säurefreiem Papier Bibliografische Information der Deutschen Nationalbibliothek: Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen National bibliografie; detaillierte bibliografische Daten sind im Internet über <http://dnb.d-nb.de> abrufbar. Table des matières / Contents Dynamiques culturelles dans les cinémas africains du XXIe siècle. Acteurs – formats – réseaux. Introduction Ute Fendler / Christoph Vatter 1 I. Les cinéastes, agents de dynamiques culturelles / Filmmakers as Agents of Cultural Dynamics How Bekolo’s Oeuvre Dynamizes African Cinema. Nollywood, Sembène and Mambety Matthias De Groof 11 Le Président de Jean-Pierre Békolo dans une zone de tension Natalie Patterer 27 C’est eux, les chiens de Hicham Lasri ou l’esthétique de l’errance et de la démence Ahmed Ismaïli 43 II. Dynamiques esthétiques et formats/genres / Aesthetic Dynamics and Formats/Genres Quand le cinéma africain se fait universel. Le cas du réalisateur marocain Kamal Kamal Jaouad Serghini 53 Territoires, conflits géopolitiques et défense identitaire. L’esthétique du mal dans Timbuktu d’A. Sissako Sylvère Mbondobari 63 Le thème du voyage et de l’interculturel dans Bul déconné de Massaer Dieng et Marc Picavez Louis Ndong 77 VI Table des matières / Contents Le mysticisme dans le renouveau du cinéma gabonais Raoul Ngouna Lendira 91 Oral Storytelling, the Gaze and the Everyday: Documentary Filmmaking in Haiti Doris Posch 113 III. Nollywood, Kanywood, Ouagawood, à suivre… ? / Nollywood, Kanywood, Ouagawood, to be continued…? Nollywood: An Alternative Narrative Didi Cheeka 131 New Nollywood Horror: Zombies in the City Aderinsola Ajao 137 Kanywood Video Films as Instruments of Cultural Change Yusuf Baba Gar 145 Ouagawood et Foliewood : acteurs et public d’une dynamique culturelle du cinéma burkinabè Justin Ouoro 159 Le patrimoine cinématographique africain en péril Léthicia O. Ngou 171 Contributeurs / Contributors 177 UTE FENDLER ET CHRISTOPH VATTER Bayreuth / Sarrebruck, Allemagne Dynamiques culturelles dans les cinémas africains du XXIe siècle. Acteurs – formats – réseaux. Introduction Le concept de dynamiques dans le cinéma africain pourrait d’abord sembler être contradictoire, presqu’un oxymore, car pendant assez longtemps, on a plutôt vu venir la fin du cinéma sur le continent – face à des salles fermant leurs portes depuis les années 1990 déjà. La crise économique en Europe, pendant les années 2000, a été la cause pour une diminution importante des fonds, provoquant une baisse de la production filmique en Afrique comme ef- fet quasi immédiat de celle-ci. Parallèlement, la production d’un cinéma commercial au Nigéria continuait à croître. En plus de l’impact économique de ce pôle de l’industrie cinématographique, on pouvait constater un attrait et une influence culturels et esthétiques grandissant de Nollywood. En parallèle, les cinémas des pays du Maghreb gagnaient en visibilité internationale avec leur forte présence dans les festivals, souvent couronnée de succès. Dans ce contexte économique et dans cet environnement artistique con- currentiel plutôt difficile pour le cinéma subsaharien pendant une bonne quin- zaine d’années, il est remarquable que de nouveaux cinéastes ainsi que de nouveaux groupes de productions, aspirant parfois à de véritables écoles ci- nématographiques à l’instar de ‘Ouagawood’, font apparition depuis quelques années et rencontrent aussi un certain succès dans des festivals internationaux. Malgré des moments de crises, la production de films sur le continent parvient donc à se diversifier davantage et arrive ainsi à toucher un public plus large, notamment dans le domaine du cinéma populaire, en utilisant di- vers modes de distribution en y incluant l’internet. Face à ce nouvel élan, il semble propice d’appliquer des catégories jusqu’à maintenant peu utilisées pour accompagner les évolutions récentes. La notion de dynamiques culturelles nous semble productive pour mieux saisir et analyser les changements dans ce vaste champ complexe du soi- disant cinéma africain. Ainsi, on peut observer une forte volonté chez les ci- néastes à chercher de nouvelles thématiques et à développer le langage ciné- matographique en innovant et développant l’esthétique. Cette tendance resur- git avec force après une certaine crise – un grand nombre d’œuvres récentes en témoignent. En plus, la co-production multinationale permet de financer 2 Ute Fendler / Christoph Vatter des projets plus larges conçus pour des marchés régionaux, plutôt que natio- naux. Dans le même esprit, les potentialités technologiques sont explorées, surtout dans la postproduction, comme par exemple pour le mixage, le mon- tage et le sous-titrage, dans des laboratoires en Afrique du Sud ou au Maroc. Ces changements considérables liés à des dynamiques culturelles au sens esthétique et transmédial, mais aussi dans une perspective transnationale et transculturelle, demandent aussi un changement dans les approches. Ainsi, il semble plus adéquat de souligner les aspects relationnels, par exemple dans une perspective « acteur-réseau », au lieu d’insister sur des catégories théma- tiques ou des oppositions binaires traditionnelles (comme village – ville, tra- dition – modernité, cinéma ‘art et essai’ – film populaire etc.). Dans le présent volume, nous proposons les catégories reliées et interconnectées des acteurs, des formats ou genre et des réseaux pour réfléchir sur ces dynamiques cultu- relles dans le cinéma africain récent. Ainsi, la catégorie des acteurs permet de saisir les dynamiques dans la perspective de l’action, de l’individu ou d’un groupe qui entreprend des activités, qui crée des réseaux et de nouveaux for- mats – permettant à leur tour aux groupes ou individuels de s’inscrire dans de nouvelles dynamiques (ou bien de les initier). Vers une exploration de nouvelles dynamiques dans les cinémas africains – contexte de recherche Dans le domaine des cinémas d‘Afrique, il semblait exister der frontières nettes entre un cinéma commercial, représenté surtout par les
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