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Aknowledgement, Abstract, Content, Bibliography وزارة ا ا و ا ا MINISTERE DE L ’E NSEIGNEMENT SUPERIEUR ET DE LA RECHERCHE SCIENTIFIQUE UNIVERSITE MOULOUD MAMMERI DE TIZI -OUZOU وود ري - زي وزو اداب وات FACULTE DES LETTRES ET DES LANGUES DEPARTEMENT D’A NGLAIS Domaine : Lettres et Langues Etrangères Filière : Langue Anglaise Spécialité : Langue, Cultures des Pays Anglophones et Médias Dissertation Submitted in Partial Fulfillment of Requirements For the Degree of Master in English Title : The Performance of the Intellectual in SembeneOusmane’sFilms: Mandabi (1968) and Xala (1974). Presented by: Supervised by: CHELLAL Ouiza Mrs AMZIANI Ouiza HEMDANI Lydia Board of Examiners: Chair: PrGUENDOUZI Amar, MCA, Department of English, M.M.U.T.O. Supervior:Mrs AMZIANI Ouiza,MAA, Department of English, M.M.U.T.O. Co-supervisor:Mrs LARABI Sabéha, MAA, Department of English, M.M.U.T.O. Examiner I:Mrs AZIZ Rabéa, MAA, Department of English, M.M.U.T.O. Examiner II: Mr GADA Said, MAA, Department of English, M.M.U.T.O. Promotion:September 2016 N d’ordre :…………………… N de série :……………........... Laboratoirede domiciliation du master: Etudedes Langues et Cultures Etrangères. Acknowledgments We would like to express our gratitude to our supervisor, Mrs AMZIANI Ouiza for her advice and support. We are also thankful to Mrs LARABI Sabiha for her useful suggestions. We are sincerely grateful to the examiners for accepting to read, examine, and assess our work. I Dedication We would like to dedicate this work to all the members of our family particularly to our parents for their love and help. We would like also to dedicate it to MrsSenghita Sen. II Abstract This piece of research intends to discuss the issue of the representation of intellectuals by Senegalese film producer and novelist SembeneOusmane. His films Mandabi(1968) and Xala (1974) constitute the corpus in this study. To prove our assumptions, we rely on Fanon’s theory he develops in The Wretched of the Earth (1961); mainly in the chapters “The Trials and Tribulations of National Consciousness”and “On Violence”.The films are a denunciation of neocolonial disasters the intellectuals maintain. The neocolonial leaders are responsible for post-independence chaos;such as corruption and exploitation. Another issue raised is the function of the peasantry guided by true intellectuals in the overturn of these disasters. III Content Acknowledgement……………………………………………………………………………………I Dedication……………………………………………………………………………………………II Abstract………………………………………………………………………………………………III Content……………………………………………………………………………………………….IV I. Introduction ……………………………………………………………………………...01 1. Literature Review…………………………………………………………………………02 2. Issue and Working Hypothesis …………………………………………………………..04 Endnotes …………………………………………………………………………………….05 II. Methods and Materials 1. Methods:Frantz Fanon’s The Wretched of the Earth (1961): “The Trials and Tribulations of National Consciousness” and “On Violence”……………………………………………..07 2. Materials ...……………………………………………………………………………….09 a. Summary of Mandabi (1968).……………………………………………………...09 b. Synopsis of Xala(1974)…………………………………………………………...10 3. Biography of SembeneOusmane……………..………………………………………....10 Endnotes ………………………………………………………………………………….12 III. Results ……………………………………………………………………………………13 IV.Discussion 1. Corruption and intellectuals……………………………………..…………………………...15 a. Corrupt intellectuals in Mandabi…………..………………………………………………….. 15 b. Morally Corrupt intellectualsin Xala………………………………………………………….. 22 Endnotes……………………………………………………………………………………...27 2. Exploitation and the intellectual…………………………………………………………..….30 a. Mandabi……………………………………………………………………………………………30 IV b. Xala………………………………………………………………………………………………..35 Endnotes……………………………………………………………………………………42 3. The role of the intellectual in a Revolution……………………..………………………….45 a. Mandabi………………………………………………………………………………………….45 b. Xala………………………………………………………………………………………………48 Endnotes………………………………………………..…………………………..…….54 V. Conclusion ……………………………………………………………………...56 VI. Bibliography …………………………………………….………………………….VI V VI. Bibliography Primary sources • Sembene, Ousmane. Mandabi( 1968). • Sembene, Ousmane. Xala (1974). Secondary sources ••• Anta Diop, Cheikh and SembeneOusmane.Lettre au président Léopold SédarSenghor. In On ne décolonisera pas l’Afrique avec les langues étrangères . http://www.mourides.info/ • Cham, MbyeBaboucar. “Artistic and Ideological Convergence: OusmaneSembene and Haile Gerima.” Ufahamu: A Journal of African Studies , 11, no 2 (1982): 140-152. http://escholarship.org/uc/item/83j278kd . • d’ Almeida,IreneAssiba. "The Language of African Fiction: Reflections on Ngugi’s Advocacy for an Afro- African Literature.”PrésenceAfricaine 4, no. 120 (1981):82-92. ••• Fanon, Frantz. The Wretched of the Earth . New York: Grove Press, 1961. • Frazer,John.“Film Quarterly.” University of California Press 23, no. 4 (1970): 48-50. Accessed April 28, 2016. • Gabriel, Teshome H. “ Xala : a Cinema of Wax and Gold.” In Third Cinema in 3 rd World, London: Bowler, 1982. • Gabriel, Teshome H. "« Xala »: A Cinema of Wax and Gold." Présence Africaine , Nouvelle Série, no. 116 (1980): 202-214. http://www.jstor.org/stable/24350027 • Gramsci,Antonio. The Prison Notebooks . New York: International publishers, 1971. • Grohs, G. K."FrantzFanon and the African Revolution." The Journal of Modern African Studies 6, no. 4 (1968): 543-556. http://www.jstor.org.www.sndl1.arn.dz/stable/159334 • Guy Hennebelle. OusmaneSembène: For Me, the Cinema Is an Instrument of Political Action, But. .., 1977, 7-17. http://missingimage.com/book/export/html/250717. • Haffner, Pierre. SembèneOusmane in Kinshasa, 1977, 82-98. http://missingimage.com/book/export/html/250717 . Haidar, Eid, and KhaledGhazel. “Footprints of Fanon in GilloPontecorvo's " the Battle of Algiers " and SembeneOusamne's Xala .” English in Africa 35, no 2 (2008): 151–61. Accessed April 7, 2016.http://www.jstor.org/stable/40239113. • Iyam, David Uru. "The Silent Revolutionaries: OusmaneSembene'sEmitai, Xala, and Ceddo." African Studies Review 29, no. 4 (1986): 79-87. http://www.jstor.org/stable/524007. VI • Kenneth,Harrow. SembèneOusmane'sXala: The Use of Film and Novel as Revolutionary Weapon,” Studies in 20th Century Literature . 4, no 2(1980): 177-188. http://newprairiepress.org/cgi/viewcontent.cgi?article=1084&context=sttcl . • Landy, Marcia. “Political Allegory and "Engaged Cinema": Sembene's "Xala."” Cinema Journal 23, no. 3(1984): 31-46. Accessed April 7, 2016. http://www.jstor.org/stable/1225095 . • Lyons,Harriet D. "The Uses of Ritual in Sembene'sXala." Canadian Journal of AfricanStudies / Revue Canadienne Des Études Africaines 18, no. 2 (1984), 319-328. • Murphy,David. Imagining Alternatives in Film and Fiction. (Oxford: James Currey/ Trenton, NJ: Africa World Press), 2000. • Mushengyezi, Aaron. "Reimaging Gender and African Tradition? OusmaneSembène'sXala Revisited." Africa Today 51, no. 1 (2004):47-62 Accessed April 7, 2016. http://www.jstor.org.www.sndl1.arn.dz/stable/4187628. • Nkrumah, Kwame. Neo-Colonialism: The Last Stage of Imperialism. International Publishers, 1965. http://www.jstor.org/stable/1210540 . • Okey, Onyejekwe. "Decolonization and Recolonization in Africa: The Trend for the 80s." Journal of African Stud ies, 1984.qtd in The Silent Revolutionaries: OusmaneSembene'sEmitai, Xala, and Ceddo. • Pfaff, Françoise. “Three Faces of Africa: Women in Xala.” Jump Cut : A Review Of Contemporary Media , no. 27 (1982): 27-31. http://www.ejumpcut.org. • Renee, Poussaint. “African Film: The High Price of Division.” Ufahamu: A Journal of African Studies 1, no. 3 (1971):51-63. http://www.escholarship.org . • Sartre,Jean Paul. Qu’est Ce Que la Littérature . New York: New Viewpoints, 1974. Websites • https://www.marxists.org • www.britannica.com . • Ocw.mit.edu. • www.bookzz.org. VII I. Introduction The early 1960 S marked the decade of decolonization, when numerous African countries obtained their independence. Africans aspiredthusto create their own films. In the 1950sand 1960s, cinema was used as an anti-colonial struggle. Directors were interested mainly in themes praising the African past and identity for self-affirmation or themes related to the colonial experience. However, in the 1970s , the post-independence era, cinema turned to a protest against corrupt African elite. Directors became concerned more with neocolonialism 1 and its troubles such as corruption, betrayal of independence and exploitation. Early directorssuch as SembeneOusmane considered the art of filmmaking as an important instrument committed to social or political programs. He is an instance of a“Cinéma Engagé” 2 and “Third Cinema” that aims to “immerse itself in the lives and struggles of the peoples of the Third World” 3. He turns to a cinema that represents African realities. He has produced a plethora of films condemning neocolonialism; including Mandabi (1968) and Xala (1974) which constitute the corpus of the study for this dissertation. Both Xala andMandabi were initially written forms before Sembene turned them into films. Mandabi is about the treatment of ordinary people by bureaucracy. Xala is a satiric allegory on the African bourgeoisie. Both films are Sembene’s critical assault on the ills of neocolonialism, a burning political issue directly linked to post-independence period. This piece of research probes into the image of the intellectuals in Senegalese filmmaker SembeneOusmane in selected films,Mandabi (1968) and Xala (1974). We intend to look into the way he depicts intellectuals in Neocolonial Senegal and Africa at large. 1 1. Review of the Literature Scant pieces
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