DOCSLIB.ORG

African Filmmaking Ng

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
African Filmmaking Ng Traditions in World Cinema Series Editors: Linda Badley and R. Barton Palmer Founding Editor: Steven Jay Schneider R This new series introduces diverse and fascinating movements in world cinema. Each volume O concentrates on a set of films from a different national, regional or, in some cases, cross-cultural Y cinema which constitute a particular tradition. Volumes cover topics such as Japanese horror cinema, new punk cinema, African cinema, Italian neorealism, Czech and Slovak cinema and the A Italian sword-and-sandal film. R M E AFRICAN FILMMAKING S North and South of the Sahara ROY ARMES African Filmmaking: North and South of the Sahara is the first comprehensive study in English AFRICAN FILMMAKING linking filmmaking in the Maghreb (Algeria, Morocco and Tunisia) with that in francophone West Africa and examining the factors (including Islam and the involvement of African and A North and South of the Sahara French governments) which have shaped post-independence production. The main focus is the F R development over forty years of two main traditions of African filmmaking: a social realist strand N o examining the nature of postcolonial society and a more experimental approach where emphasis I C r ROY ARMES is placed on new stylistic patterns able to embrace history, myth and magic.The work of younger t h A filmmakers born since independence is examined in the light of these two traditions. a N n Features: d S F o u • An overview of the socio-political context shaped by Islam and French colonialism. I t L h • A look at filmmaking in Africa before the mid-1960s. M o f t • An examination of the inputs of African and French governments into post-independence M h developments North and South of the Sahara. e A S • A historical survey of the two major tendencies in African film production over the past 40 years. a K h a I • A detailed analysis of the work of five talented young filmmakers, representative of those born r a since independence. N G Roy Armes is Emeritus Professor of Film at Middlesex University and author of numerous books on cinema including Arab and African Film Making (with Lizbeth Malkmus), Dictionary of North African Film Makers and Postcolonial Images: Studies in North African Film. His work has been translated into fourteen languages, including Bengali, Hebrew, Chinese, Japanese and Arabic. Cover design: River Design, Edinburgh Cover image: Nja Mahdaoui Nja Mahdaoui is a painter, designer and artist who lives and works in Tunis (http://nja-mahdaoui.com). barcode E Edinburgh University Press d i 22 George Square, Edinburgh EH8 9LF n b www.eup.ed.ac.uk u r g ISBN 0 7486 2124 5 h AFRICAN FILMMAKING TRADITIONS IN WORLD CINEMA General Editors Linda Badley (Middle Tennessee State University) R. Barton Palmer (Clemson University) Founding Editor Steven Jay Schneider (New York University) Titles in the series include: Traditions in World Cinema by Linda Badley, R. Barton Palmer and Steven Jay Schneider (eds) 0 7486 1862 7 (hardback) 0 7486 1863 5 (paperback) Japanese Horror Cinema by Jay McRoy (ed.) 0 7486 1994 1 (hardback) 0 7486 1995 X (paperback) New Punk Cinema by Nicholas Rombes (ed.) 0 7486 2034 6 (hardback) 0 7486 2035 4 (paperback) African Filmmaking: North and South of the Sahara by Roy Armes 0 7486 2123 7 (hardback) 0 7486 2124 5 (paperback) Forthcoming titles include: American Commercial-Independent Cinema by Linda Badley and R. Barton Palmer 0 7486 2459 7 (hardback) 0 7486 2460 0 (paperback) Italian Neorealist Cinema by Peter Bondanella 0 7486 1978 X (hardback) 0 7486 1979 8 (paperback) The Italian Sword-and-Sandal Film by Frank Burke 0 7486 1983 6 (hardback) 0 7486 1984 4 (paperback) Czech and Slovak Cinema: Theme and Tradition by Peter Hames 0 7486 2081 8 (hardback) 0 7486 2082 6 (paperback) AFRICAN FILMMAKING North and South of the Sahara Roy Armes EDINBURGH UNIVERSITY PRESS © Roy Armes, 2006 Edinburgh University Press Ltd 22 George Square, Edinburgh Typeset in 10/12.5 Adobe Sabon by Servis Filmsetting Ltd, Manchester, and printed and bound in Great Britain by MPG Books Ltd, Bodmin, Cornwall A CIP record for this book is available from the British Library ISBN-10 0 7486 2123 7 (hardback) ISBN-13 978 0 7486 2123 1 ISBN-10 0 7486 2124 5 (paperback) ISBN-13 978 0 7486 2124 8 The right of Roy Armes to be identified as author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988. CONTENTS Acknowledgements vii List of Acronyms viii INTRODUCTION 1The African Experience 3 PART I CONTEXT 2 Beginnings 21 3African Initiatives 36 4 The French Connection 53 PART II CONFRONTING REALITY 5 Liberation and Postcolonial Society 67 6 Individual Struggle 87 PART III NEW IDENTITIES 7 Experimental Narratives 109 8 Exemplary Tales 122 AFRICAN FILMMAKING PART IV THE NEW MILLENNIUM 9The Post-Independence Generation 143 10 Mahamat Saleh Haroun (Chad) 158 11 Dani Kouyaté (Burkina Faso) 167 12 Raja Amari (Tunisia) 176 13 Faouzi Bensaidi (Morocco) 183 14 Abderrahmane Sissako (Mauritania) 191 Bibliography 201 Index 215 vi ACKNOWLEDGEMENTS Here, as with all my writings about African filmmaking, I owe a huge debt to Guido Aristarco, who organised a series of conferences in Bulgaria in 1978–9 in connection with a projected General History of World Cinema. This was the context in which I first met Ousmane Sembene, Paulin Soumanou Vieyra and Ferid Boughedir and discovered, much to my surprise, that there was indeed an African cinema, made by African filmmakers, happily far removed from the Tarzan films I had devoured as a child. The encounter with what was still unproblematically called ‘third world cinema’ changed for ever my hitherto wholly Euro-centric approach to writing about film. This book owes its immediate existence to the persuasive powers of Steven Jay Schneider and R. Barton Palmer, the patience of Sarah Edwards and my own dislike of prime numbers (I have previously published seventeen books). My thanks go to John Flahive of the BFI for a VHS copy of Aristotle’s Plot, to Dominique Sentiles of Médiathèque des Trois Mondes, Cornelius Moore and Gene Sklar of California Newsreel, and Renald Spech of ArtMattan for help in purchasing video tapes. I am also very grateful to Jeanik Le Naour for arrang- ing Paris screenings at ADPF and to Kevin Dwyer for his invaluable support on many aspects of Moroccan cinema. I must also thank the following individuals and organisations for permission to reproduce stills: the Montpellier International Festival for Bye Bye Africa, Duo Films for Abouna, La Vie sur terre (© Marie Jaoul de Poncheville and Anaïs Jeanneret) and Heremakono (© Kranck Verdier), California Newsreel for Keita, L’héritage du griot, ArtMattan Productions for Sia, Dani Kouyaté for Ouaga Saga (© Didier Bergounhoux), Nomadis Images for Satin Rouge, and Optimum Releasing for Mille mois. vii LIST OF ACRONYMS ACCT Agence de Coopération Culturelle et Technique France ACE Atelier du Cinéma Européen France ACT Association des Cinéastes Tunisiens Tunisia ADCSud Appui au Développement des Cinémas du Sud France ADPA Association pour la Diffusion de la Pensée France Française AJCT Association des Jeunes Cinéastes Tunisiens Tunisia ALN Armée de Libération Nationale Algeria ANAF Agence Nationale des Actualités Filmées Algeria ANPA Agence Nationale de Promotion de Tunisia l’Audiovisuel BFI British Film Institute UK CAAIC Centre Algérien pour l’Art et Industrie Algeria Cinématographiques CAC Centre Algérien de la Cinématographie Algeria CAI Consortium Audiovisuel International France CAV Centre Audio-Visuel Algeria CCM Centre Cinématographique Marocain Morocco CDC Centre de Diffusion Cinématographique Algeria viii LIST OF ACRONYMS CENACI Centre National du Cinéma Gabon CIDC Consortium Interafricain de Distribution Burkina Faso Cinématographique CIPROFILM Consortium Inter-Africain de Production de Burkina Faso Films CIVCA Compagnie Ivoirienne de Cinéma et Ivory Coast d’Audiovisuel CLCF Conservatoire Libre du Cinéma Français France CNC Centre National de la Cinématographie France CNC Centre National du Cinéma Burkina Faso CNCA (1) Centre National du Cinéma Algérien Algeria (1964–7) (2) Centre National du Cinéma et de Algeria l’Audiovisuel (2004) CNPC Centre National de Production Mali Cinématographique CNSAD Conservatoire National Supérieur d’Art France Dramatique COMACICO Compagnie Africaine Cinématographique France Industrielle et Commerciale DEA Diplôme d’Etudes Approfondies France DEFA Deutsche Film-AG Germany DNC Direction Nationale du Cinéma Burkina Faso ENADEC Entreprise Nationale de Distribution et Algeria d’Exploitation Cinématographiques ENAPROC Entreprise Nationale de Production Algeria Cinématographique ENPA Entreprise Nationale de Productions Algeria Audiovisuelles ENTV Entreprise Nationale de Télévision Algeria ERTT Etablissements Radio-Télévision Tunisiens Tunisia ESEC Ecole Supérieure des Etudes France Cinématographiques ESRA Ecole Supérieure de Réalisation Audiovisuelle France FACC Fédération Algériennne des Ciné-Clubs Algeria FACISS Fédération Africaine des Ciné-Clubs au Sud Black Africa du Sahara ix AFRICAN FILMMAKING FAMU Filmov Akademie Múzickych Umení (Film & Czech Television Faculty of the Academy of Republic Performing Arts) FAPCN Fonds d’Aide à la Production Morocco Cinématographique Nationale FAS Fonds d’Action Sociale France FED Fonds Européen de Développement EU FEMIS Fondation Européenne des Métiers de l’Image France et du Son FEPACI Fédération Panafricaine des Cinéastes FESPACO Festival Panafricain du Cinéma de Ougadougou Burkina Faso FIFAK Festival International du Film Amateur
Load more

Recommended publications
  • Tourism in the Hombori Region (Mali) Mission Report 2009
    Tourism in the Hombori region (Mali) Mission Report 2009 Carole Schaber* Caritas Schweiz, Switzerland Olivier Walther* Centre for Population, Poverty and Public Policy Studies, Luxembourg Mission report prepared for the Hombori Project University of Neuchâtel, Switzerland http://www.hombori.org Luxembourg, March 30, 2010 Abstract The objective of this mission report is to examine the recent development of the Hombori region as a tourist destination in Mali. Building on previous comparative research done within the framework of the Hombori Project, the report more particularly analyses the profiles of the tourists visiting the region and the transformations brought to Hombori by the increase of tourism. Keywords: Tourism; Development; West Africa; Mali; Hombori * Caritas Schweiz, Löwenstrasse 3, CH-6002 Lucerne, Switzerland. ** Department of Geography, Centre for Population, Poverty and Public Policy Studies, PO Box 48, L-4501 Differdange, Luxembourg. E-mail address: [email protected]. The Hombori Project The Hombori Project is a multidisciplinary research project whose aim is to contribute to the long-term biodiversity monitoring and locally supported protection of the Hombori region in Mali. Several field researches have been conducted so far in order to characterize the biological diversity and study the impact of human activities on biodiversity. Research done by geographers have, in parallel, studied the emergence of Hombori as a tourist destination and examined the potential threats and opportunities that tourism could bring to the region. For more information about the Hombori Project, please visit our web site http://www.hombori.org or contact the Project Leader, Dr Jonathan Kissling at [email protected]. Map 1.
    [Show full text]
  • Analysis of Media Stereotypes of the Russian Image in Media Studies in the Student Audience (Example: the Screen Versions of Jules Verne's Novel “Michael Strogoff”)
    European Researcher, 2014, Vol.(83), № 9-2 Copyright © 2014 by Academic Publishing House Researcher Published in the Russian Federation European Researcher Has been issued since 2010. ISSN 2219-8229 E-ISSN 2224-0136 Vol. 83, No. 9-2, pp. 1718-1724, 2014 DOI: 10.13187/er.2014.83.1718 www.erjournal.ru Cultural studies Культурологические науки Analysis of Media Stereotypes of the Russian Image in Media Studies in the Student Audience (example: the screen versions of Jules Verne's Novel “Michael Strogoff”) Alexander Fedorov Anton Chekhov Taganrog Institute (branch of Rostov State University of Economics), Russian Federation Dr. (Pedagogy), Professor E-mail: [email protected] Abstract As a result of the analysis students come to the conclusion that the screen adaptations of Jules Verne's novel ''Michael Strogoff'' create, though an oversimplified and adapted to western stereotypes of perception, but a positive image of Russia – as a stronghold of European values at the Asian frontiers, a country with a severe climate, boundless Siberian spacious areas, manly and patriotic warriors, a wise monarchy. At the same time, both Jules Verne's novel and its screen adaptations contain clear-cut western pragmatism – the confidence that if a man has a proper will he can rule his destiny. Keywords: media stereotypes; Russian image; media studies; media literacy education; film studies; students; screen; film; Michael Strogoff. Introduction The last bright Cold War movie peak fell on the early 1980s when Russians as part of the monolithic and aggressive system were portrayed as products of their environment – malicious, potent, highly revolutionary in the whole world.
    [Show full text]
  • Crítica De Cinema Na África
    CINEMAS AFRICANOS CONTEMPORÂNEOS Abordagens Críticas SESC – SERVIÇO SOCIAL DO COMÉRCIO Administração Regional no Estado de São Paulo PRESIDENTE DO CONSELHO REGIONAL Abram Szajman DIRETOR DO DEPARTAMENTO REGIONAL Danilo Santos de Miranda SUPERINTENDENTES Técnico-Social Joel Naimayer Padula Comunicação Social Ivan Giannini Administração Luiz Deoclécio Massaro Galina Assessoria Técnica e de Planejamento Sérgio José Battistelli GERENTES Ação Cultural Rosana Paulo da Cunha Estudos e Desenvolvimento Marta Raquel Colabone Assessoria de Relações Internacionais Aurea Leszczynski Vieira Gonçalves Artes Gráficas Hélcio Magalhães Difusão e Promoção Marcos Ribeiro de Carvalho Digital Fernando Amodeo Tuacek CineSesc Gilson Packer CINE ÁFRICA 2020 Equipe Sesc Cecília de Nichile, Cesar Albornoz, Érica Georgino, Fernando Hugo da Cruz Fialho, Gabriella Rocha, Graziela Marcheti, Heloisa Pisani, Humberto Motta, João Cotrim, Karina Camargo Leal Musumeci, Kelly Adriano de Oliveira, Ricardo Tacioli, Rodrigo Gerace, Simone Yunes Curadoria e direção de produção e comunicação: Ana Camila Esteves Assistente de produção: Edmilia Barros Produção técnica: Daniel Petry Identidade visual, projeto gráfico e capa: Jéssica Patrícia Soares Assessoria de imprensa: Isidoro Guggiana Traduções e legendas: Casarini Produções Revisão: Ana Camila Esteves e Jusciele Oliveira CINEMAS AFRICANOS CONTEMPORÂNEOS Abordagens Críticas Ana Camila Esteves Jusciele Oliveira (Orgs.) São Paulo, Sesc 2020 Dados Internacionais de Catalogação na Publicação (CIP) C4909 Cinemas africanos contemporâneos: abordagens críticas / Ana Camila Esteves; Jusciele Oliveira (orgs.). – São Paulo: Sesc, 2020. – 1 ebook; xx Kb; e-PUB. il. – Bibliografia ISBN: 978-65-89239-00-0 1. Cinema africano. 2. Cine África. 3. Crítica. 4. Mostra de filmes. 5. Mostra virtual de filmes. 6. Publicações sobre cinema africano no Brasil e no mundo. I. Título.
    [Show full text]
  • Film Film Film Film
    City of Darkness, City of Light is the first ever book-length study of the cinematic represen- tation of Paris in the films of the émigré film- PHILLIPS CITY OF LIGHT ALASTAIR CITY OF DARKNESS, makers, who found the capital a first refuge from FILM FILMFILM Hitler. In coming to Paris – a privileged site in terms of production, exhibition and the cine- CULTURE CULTURE matic imaginary of French film culture – these IN TRANSITION IN TRANSITION experienced film professionals also encounter- ed a darker side: hostility towards Germans, anti-Semitism and boycotts from French indus- try personnel, afraid of losing their jobs to for- eigners. The book juxtaposes the cinematic por- trayal of Paris in the films of Robert Siodmak, Billy Wilder, Fritz Lang, Anatole Litvak and others with wider social and cultural debates about the city in cinema. Alastair Phillips lectures in Film Stud- ies in the Department of Film, Theatre & Television at the University of Reading, UK. CITY OF Darkness CITY OF ISBN 90-5356-634-1 Light ÉMIGRÉ FILMMAKERS IN PARIS 1929-1939 9 789053 566343 ALASTAIR PHILLIPS Amsterdam University Press Amsterdam University Press WWW.AUP.NL City of Darkness, City of Light City of Darkness, City of Light Émigré Filmmakers in Paris 1929-1939 Alastair Phillips Amsterdam University Press For my mother and father, and in memory of my auntie and uncle Cover design: Kok Korpershoek, Amsterdam Lay-out: japes, Amsterdam isbn 90 5356 633 3 (hardback) isbn 90 5356 634 1 (paperback) nur 674 © Amsterdam University Press, Amsterdam, 2004 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, me- chanical, photocopying, recording or otherwise) without the written permis- sion of both the copyright owner and the author of the book.
    [Show full text]
  • Hombori Dict Unicode 2015
    Dictionary Humburi Senni (Songhay of Hombori, Mali) - English - French Dictionnaire Humburi Senni (songhay de Hombori, Mali) - anglais - français Jeffrey Heath, University of Michigan Language Description Heritage Library (online, open source) Max Planck Institute 2015 i Heath, Humburi Senni dictionary Introduction This dictionary is a companion for Grammar of Humburi Senni and for the forthcoming Humburi Senni Texts, all to be published electronically in open format by the Language Description Heritage library and on the author’s personal site at University of Michigan. For the fine points, some knowledge of HS phonology and morphology is presupposed (consult the grammar). Cognates in other Songhay languages, and related forms in Fulfulde and other languages, are given selectively. Headword transcriptions are “underlying,” prior to tonal interactions with adjacent words. In phrases and sentences, verbs undergo tonal changes triggered by preceding constituents including some types of NP, several subject and object pronominals, and certain inflectional particles. Often these elements induce raising of the tone of the verb’s initial syllable (or mora, for monosyllabic stems) from L[ow] to H[igh]. In the dictionary entries, I omit “+H” at the end of words and particles that induce this raising, to avoid clutter; full details are given in the grammar. Singular-subject imperatives also show tone changes due to a final -ŋ̂ suffix that is segmentally deleted after a consonant. For intransitive verbs, the frame that reveals the verb’s lexical tones 3Sg subject à plus verb. For transitive verbs, the best frame is one with 3Sg object allomorph -à:. In example phrases and headwords for compounds, up-arrow ­ at the beginning of a word or morpheme is an index that initial-syllable tone-raising has occurred under the influence of the preceding element, as in gàŋgà [ẁ ­dú cìɲà] ‘prevented from having rain’.
    [Show full text]
  • Corel Ventura
    Anthropology / Middle East / World Music Goodman BERBER “Sure to interest a number of different audiences, BERBER from language and music scholars to specialists on North Africa. [A] superb book, clearly written, CULTURE analytically incisive, about very important issues that have not been described elsewhere.” ON THE —John Bowen, Washington University CULTURE WORLD STAGE In this nuanced study of the performance of cultural identity, Jane E. Goodman travels from contemporary Kabyle Berber communities in Algeria and France to the colonial archives, identifying the products, performances, and media through which Berber identity has developed. ON In the 1990s, with a major Islamist insurgency underway in Algeria, Berber cultural associations created performance forms that challenged THE Islamist premises while critiquing their own village practices. Goodman describes the phenomenon of new Kabyle song, a form of world music that transformed village songs for global audiences. WORLD She follows new songs as they move from their producers to the copyright agency to the Parisian stage, highlighting the networks of circulation and exchange through which Berbers have achieved From Village global visibility. to Video STAGE JANE E. GOODMAN is Associate Professor of Communication and Culture at Indiana University. While training to become a cultural anthropologist, she performed with the women’s world music group Libana. Cover photographs: Yamina Djouadou, Algeria, 1993, by Jane E. Goodman. Textile photograph by Michael Cavanagh. The textile is from a Berber women’s fuda, or outer-skirt. Jane E. Goodman http://iupress.indiana.edu 1-800-842-6796 INDIANA Berber Culture on the World Stage JANE E. GOODMAN Berber Culture on the World Stage From Village to Video indiana university press Bloomington and Indianapolis This book is a publication of Indiana University Press 601 North Morton Street Bloomington, IN 47404-3797 USA http://iupress.indiana.edu Telephone orders 800-842-6796 Fax orders 812-855-7931 Orders by e-mail [email protected] © 2005 by Jane E.
    [Show full text]
  • Catalogue2007.Pdf
    Sommaire / Contents Comité National d'Organisation / The National Organising Committee 6 Mot du Ministre de la Culture des Arts et du Tourisme / Speech of the Minister of Culture, Arts and Tourism 7 Mot du président d'honneur / Speech of honorary chairperson 8 Mot du Président du Comité d'Organisation / Speech of the President of the Organising Committee 9 Mot du Président du Conseil d’Administration / / Speech of the President of Chaireperson of the Board of Adminsitration 11 Mot du Maire de la ville de Ouagadougou / Speech of the Mayor of the City of Ouagadougou 12 Mot du Délégué Général du Fespaco / Speech of the General Delegate of Fespaco 13 Regard sur Manu Dibango, président d'honneur du 20è festival / Focus on Manu Dibango, Chair of Honor 15 Film d'Ouverture / Opening film 19 Jury longs métrages / Feature film jury 22 Liste compétition longs métrages / Competing feature films 24 Compétition longs métrages / Feature film competition 25 Jury courts métrages et films documentaires / Short and documentary film jury 37 Liste compétition courts métrages / Competing short films 38 Compétition courts métrages / Short films competition 39 Liste compétition films documentaires / Competing documentary films 49 Compétition films documentaires / Documentary films competition 50 3 Liste panorama des cinémas d'Afrique longs métrages / Panorama of cinema from Africa - Feature films 59 Panorama des cinémas d'Afrique longs métrages / Panorama of cinema from Africa - Feature films 60 Liste panorama des cinémas d'Afrique courts métrages / Panorama
    [Show full text]
  • Collège Elémentaire Prescolaire
    ELECTIONS DE REPRESENTATIVITE SYNDICALE DANS LE SECTEUR DE L'EDUCATION ET DE LA FORMATION COLLEGE ELEMENTAIRE PRESCOLAIRE IA DIOURBEL MATRICULE PRENOMS ENSEIGNANT NOM ENSEIGNANT DATE NAISS ENSEIGNANTLIEU NAISSANCE ENSEIGNANT SEXE CNI NOM ETABLISSEMENT IEF DEPT REGION 603651/G Ismaïla DJIGHALY 1975-09-14 00:00:00GOUDOMP M 1146199100521 AK YAYE IEF Bambey Bambey Diourbel 683343/A CONSTANCE OLOU FAYE 1971-10-10 00:00:00FANDENE THEATHIE F 2631200300275 AK YAYE IEF Bambey Bambey Diourbel 650740/B IBOU FAYE 1977-03-12 00:00:00NDONDOL M 1207198800622 AK YAYE IEF Bambey Bambey Diourbel 689075/I DAOUDA GNING 1986-01-01 00:00:00BAMBEY SERERE M 1202199900024 AK YAYE IEF Bambey Bambey Diourbel 161201019/A MAREME LEYE 1986-01-19 00:00:00MBACKE M 2225198600234 AK YAYE IEF Bambey Bambey Diourbel 220021018/H ALIOU NDIAYE 1989-01-10 00:00:00MBARY M AK YAYE IEF Bambey Bambey Diourbel 120201103/Z BABACAR DIENG 1968-07-16 00:00:00TOUBA M 1238200601660 ALAZAR BAMBEY IEF Bambey Bambey Diourbel 130601117/B SOPHIE DIOP 1977-07-03 00:00:00Thiès F 2619197704684 ALAZAR BAMBEY IEF Bambey Bambey Diourbel 642421/A Aboubacar Sadekh DIOUF 1979-06-02 00:00:00LAMBAYE M 1239199301074 ALAZAR BAMBEY IEF Bambey Bambey Diourbel 130201133/D ABDOU KHADRE D GUEYE 1974-04-11 00:00:00BAMBEY M 1191197400376 ALAZAR BAMBEY IEF Bambey Bambey Diourbel 130201063/H Assane KANE 1986-05-13 00:00:00BAMBEY M 1191199901066 ALAZAR BAMBEY IEF Bambey Bambey Diourbel 635869/C MOUHAMADOU LAMINE BARA MBAYE 1981-10-20 00:00:00LAMBAYE M 1239199900506 ALAZAR BAMBEY IEF Bambey Bambey Diourbel 130201106/B
    [Show full text]
  • IL CINEMA RITROVATO 1997 Undicesima Edizione / Eleventh Edition Sabato 28 Giugno - Sabato 5 Luglio Saturday June 28 - Saturday July 5
    XXVI Mostra Internazionale del Cinema Libero IL CINEMA RITROVATO 1997 undicesima edizione / Eleventh edition sabato 28 giugno - sabato 5 luglio Saturday June 28 - Saturday July 5 curato da / edited by Cineteca del Comune di Bologna e Nederlands Filmmuseum Assessorato alla Cultura e Commissione Cinema del Comune di Bologna, Istituto per i Beni Culturali con il patrocinio della Regione Emilia-Romagna con il contributo della Presidenza del Consiglio dei Ministri con il sostegno della Commissione delle Comunità Europee - Direction Générale X - Politique Audiovisuelle Con la collaborazione di: Orchestra Regionale Arturo Toscanini Ente Autonomo Teatro Comunale di Bologna Dipartimento di Musica e Spettacolo dell'Università di Bologna Associazione Nazionale Esercenti Cinematografici ATC Azienda Trasporti Consorziali Con la sponsorizzazione / sponsored by: Haghefilm (Amsterdam) L'Immagine Ritrovata (Bologna) Soho Images (London) giovedì / thursday 26 Cinema Lumière A NUOVA LUCE: IL CINEMA MUTO ITALIANO workshop internazionale / International workshop dal pomeriggio di giovedì 26 - al pomeriggio di domenica 29 giugno from the afternoon of Thursday 26th to the afternoon of Sunday 29th June Cinema Lumière - Cinema Fulgor Dipartimento di Musica e Spettacolo dell'Università di Bologna Cineteca del Comune di Bologna Nederlands Filmmuseum Centro di promozione teatrale "La Soffitta" Unione Italiana Circoli del Cinema Mostra Internazionale del Cinema Libero ore 15.00 Introduzione ai lavori / Introducing the Workshop Vittorio Boarini (Cineteca del Comune di Bologna) e Antonio Costa (Università di Bologna) ore 15.45 Conservare i film muti italiani / Preserving the Italian silents intervento di Gian Luca Farinelli (Cineteca di Bologna) proiezione di: frammenti, film senza didascalie, opere da restaurare / projection of fragments, films without intertitles, film to be restored ore 17.00 La storia delle imprese di produzione del cinema muto italiano.
    [Show full text]
  • IL CINEMA RITROVATO 2008 Cineteca Del Comune Di Bologna
    XXXVII Mostra Internazionale del Cinema Libero IL CINEMA RITROVATO 2008 Cineteca del Comune di Bologna XXII edizione / 22nd Edition Sabato 28 giugno - Sabato 5 luglio / Saturday 28 June - Saturday 5 July Questa edizione del festival è dedicata a Vittorio Martinelli This festival’s edition is dedicated to Vittorio Martinelli IL CINEMA RITROVATO 2008 Via Azzo Gardino, 65 - tel. 051 219 48 14 - fax 051 219 48 21 - cine- XXII edizione [email protected] Segreteria aperta dalle 9 alle 18 dal 28 giugno al 5 luglio / Secretariat Con il contributo di / With the financial support of: open June 28th - July 5th -from 9 am to 6 pm Comune di Bologna - Settore Cultura e Rapporti con l'Università •Cinema Lumière - Via Azzo Gardino, 65 - tel. 051 219 53 11 Fondazione Cassa di Risparmio in Bologna •Cinema Arlecchino - Via Lame, 57 - tel. 051 52 21 75 Ministero per i Beni e le Attività Culturali - Direzione Generale per il Cinema Modalità di traduzione / Translation services: Regione Emilia-Romagna - Assessorato alla Cultura Tutti i film delle serate in Piazza Maggiore e le proiezioni presso il Programma MEDIA+ dell’Unione Europea Cinema Arlecchino hanno sottotitoli elettronici in italiano e inglese Tutte le proiezioni e gli incontri presso il Cinema Lumière sono tradot- Con la collaborazione di / In association with: ti in simultanea in italiano e inglese Fondazione Teatro Comunale di Bologna All evening screenings in Piazza Maggiore, as well as screenings at the L’Immagine Ritrovata Cinema Arlecchino, will be translated into Italian
    [Show full text]
  • Liste Lettre Commentaires Incomplete
    LISTE LETTRE COMMENTAIRES INCOMPLETE N° NUMERO PRENOM NOM DATE NAISSANCELIEU NAISSANCE OBSERVATION 1 1 LC001009 Chérif Sidaty DIOP 22/05/1993 Dakar INCOMPLET 2 2 LC001024 Malick NIANE 25/06/1994 Gandiaye INCOMPLET 3 3 LC001029 FARMA FALL 16/08/1999 Parcelles Assainies U12 INCOMPLET 4 4 LC001039 Adama NDIAYE 13/04/1997 Saldé INCOMPLET 5 5 LC001060 Amadou DIA 23/10/1994 Thiaroye sur mer INCOMPLET 6 6 LC001070 Mouhamadou BARRY 24/08/1997 Dakar INCOMPLET 7 7 LC001090 Ibrahima KA 03/03/1996 Dahra INCOMPLET 8 8 LC001095 Ousseynou SENE 01/01/2000 Kaolack INCOMPLET 9 9 LC001099 Papa Masow TINE 27/05/2000 Gatte Gallo INCOMPLET 10 10 LC001105 NGAGNE FAYE 20/09/2000 Dakar INCOMPLET 11 11 LC001144 Adama SADIO 07/06/1996 Dakar INCOMPLET 12 12 LC001156 Arfang DIEDHIOU 05/04/1996 MLOMP INCOMPLET 13 13 LC001160 Modoulaye GNING 03/06/1994 Keur matouré e INCOMPLET 14 14 LC001175 Ablaye DABO 17/04/1998 Kaolack INCOMPLET 15 15 LC001176 Ibrahima KA 04/12/1999 Diamaguene Sicap Mbao INCOMPLET 16 16 LC001183 Mansour CISSE 11/03/1994 Rufisque INCOMPLET 17 17 LC001186 Ngouda BOB 14/01/1996 Ngothie INCOMPLET 18 18 LC001193 Abdoukhadre SENE 28/10/1999 Mbour INCOMPLET 19 19 LC001195 Jean paul NDIONE 07/04/1998 fandene ndiour INCOMPLET 20 20 LC001201 Abdou NDOUR 10/10/1996 Niodior INCOMPLET 21 21 LC001202 Yves Guillaume Djibosso DIEDHIOU 19/11/2020 Dakar INCOMPLET 22 22 LC001203 Mamour DRAME 06/10/1995 Guerane Goumack INCOMPLET 23 23 LC001207 Libasse MBAYE 10/07/1998 Dakar INCOMPLET 24 24 LC001211 Modou GUEYE 26/11/1999 Fordiokh INCOMPLET 25 25 LC001224 Bernard
    [Show full text]
  • First Steps Towards the Detection of Contact Layers in Bangime: a Multi-Disciplinary, Computer-Assisted Approach
    First steps towards the detection of contact layers in Bangime: A multi-disciplinary, computer-assisted approach 1 Introduction Bangime, a language isolate spoken in central-eastern Mali, represents an enigma, not only in terms of linguistics, but also with regards to their past ethnographic affiliations and migration patterns. The speakers of Bangime, the Bangande, live among and claim to constitute one of the Dogon groups that also occupy the rocky terrain of the Bandiagara Escarpment. However, there is little evidence in support of the Bangande being genetically affiliated with the Dogon or speaking one of the estimated 21 Dogon languages, nor of their being related to the neighboring Mande-speaking groups who inhabit a valley which stretches from the west and ends at the eastern edge of the Escarpment. Further to the north of the area where Bangime is spoken lies the vast Sahara desert, the southern borders of which are occupied by Songhai-speaking populations. Throughout the region are found Fula semi-nomadic herders who speak Fulfulde. Thus, we know that the Bangande have had the opportunity to engage in contact with each of these populations, but because there are no written historical records of their past settlement and migration patterns, nor have there been any archeological investigations of the western portions of the Bandiagara Escarpment where the Bangande are found today, we must rely on data from the present to reconstruct a picture of the past. Figure 1 illustrates the geographic positions of the languages represented in the sample with respect to where Bangime is spoken. Note that the points represent approximations; languages such as Fulfulde have a reach throughout the entire region and even beyond to bordering nations.
    [Show full text]