Responses to the Human Effects of Economic Globalization in Sub-Saharan African Francophone Novels and Films, 1973-2006
Total Page：16
File Type：pdf, Size：1020Kb
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2012 Global Wreckage and Consumer Illusions: Responses to the Human Effects of Economic Globalization in Sub-Saharan African Francophone Novels and Films, 1973-2006 Sara C. Hanaburgh Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1706 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] GLOBAL WRECKAGE AND CONSUMER ILLUSIONS: RESPONSES TO THE HUMAN EFFECTS OF ECONOMIC GLOBALIZATION IN SUB-SAHARAN AFRICAN FRANCOPHONE NOVELS AND FILMS, 1973-2006 by SARA C. HANABURGH A dissertation submitted to the Graduate Faculty in French in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2012 ii © 2012 SARA C. HANABURGH All Rights Reserved iii This manuscript has been read and accepted for the Graduate Faculty in French in satisfaction of the dissertation requirements for the degree of Doctor of Philosophy. ______________________ ______________________________________ Date Francesca Canadé Sautman Chair of Examining Committee ______________________ __________________________________________ Date Peter Consenstein Executive Officer Ali Jimale Ahmed________________________________________ Supervisory Committee Jerry Carlson____________________________________________ Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iv Abstract GLOBAL WRECKAGE AND CONSUMER ILLUSIONS: RESPONSES TO THE HUMAN EFFECTS OF ECONOMIC GLOBALIZATION IN SUB-SAHARAN AFRICAN FRANCOPHONE NOVELS AND FILMS, 1973-2006 by Sara C. Hanaburgh Adviser: Professor Francesca Canadé Sautman My study examines a group of nine novels and films set in Ivory Coast, Mali, Senegal, Cameroon and Gabon written and produced between 1973 and 2006 in which “the West” and its international finance network are depicted as the fundamental contemporary world power that wields a destructive dominance over African countries. These forms of control are in many ways similar, yet distinct, from the projects of European imperialism. I analyze consumerism as a major feature of globalization, and discuss the linkage of globalization and the consumer society by looking at various theoretical models, in particular that which Jean Baudrillard conceptualized as a stand-in for democracy. I also consider the connection between globalization and imposed cultural uniformity, which African novels and films denounce as promoting a system of cultural superiority and submission. Further, the most extreme effects of globalization reinforce notions of a sexualized, racialized or ethnicized other. In response authors and filmmakers bring out themes such as migration/immigration, the objectification of the body—particularly of women— and the eruption of communal violence. Visual imagery in the novel and silence and voice in film are exemplary of how the two media create a common response that resists contemporary v globalization. The dissertation thus examines what has emerged as one set of issues with which writers and filmmakers engage in their reflections on and responses to globalization. vi Acknowledgements This dissertation is one expression of the very deep appreciation I have cultivated over the years for African literatures, cinemas and cultures. In addition to the brilliant imaginaries of African artists whose fictional worlds immersed me, there are a few individuals who have greatly inspired me to follow through on this project. Foremost, I am extremely grateful and honored to have worked with Professor Sautman, whose fine teachings, probing comments and close readings have made the process of writing both rigorous and exciting. Her guidance and unrelenting dedication as a mentor and advisor on this project have been invaluable, and I am infinitely indebted to her. I am also thrilled and humbled to have worked with a committee of such remarkable scholars. Professor Ahmed’s thoughtful remarks continuously aided me to push my thinking about texts and theory to the next level. Often integrating parables and poetry into the fabric of our conversations, his insights led me to see further interconnections between form and content and text and discourse. Professor Carlson’s wealth of knowledge of cinema, its narrative forms and traditions helped me to shape sharper arguments and richer analyses. My work took great strides thanks to this very active and engaged group. I would also like to extend my most sincere thanks to Ronnie Scharfman who has accompanied me as an interested advocate and a mentor in so many ways throughout my dissertation journey. In the French department, I am grateful to those with whom I grappled with the intersection of artistic production of Francophone Africa and human rights: Katherine, Majambu, Michael. Viral was a sort of extension of that group to me, and I hope to continue our conversations as we press on with new projects. My dear friends and colleagues, Deepali, John, Noelle and Sophie also made this last stage of the program all the more enjoyable. I am also thankful for informal discussions about my project with scholars, colleagues and friends in Bamako, Dakar, New York and San Francisco: Baba, Boris Diop, Mamadou Diouf, Dramane Djarra, Samba Gadjigo, Cheikh Guèye, Fallou Guèye, Mohamed Kamara, Cilas Kemedjio, Sada Niang, and Mariam Sy and Tocarra at the NYAFF. Thanks to each of you for encouraging me to complete this dissertation and for a warm welcome into the community of Africanist scholars. Three of the closest people with whom I have shared so much of this dissertation from beginning to end deserve special mention: I deeply cherish the deep intellectual, social and family connections with my brilliant and most adored friend, Bhakti. I am certain that the parallels of our personal and academic lives over the last decade will continue to enrich our lives for decades to come. Love ya, dude! From the fall on 18th St. to the beloved Harlem house and beyond, Savita has consistently been there through thick and thin. Our debates brought insight to my theoretical methods, and I am grateful to her for that, but, more than that for her wonderful friendship and support. Thanks, Sister! And, in ways that I cannot describe, Bruno has been truly amazing. He has consistently gotten to know, celebrated and embraced my passion for African films, literature and culture, and has shared so genuinely in my excitement and encouraged me to get back up when I was down—Huh! Bruno, my love, you’re my major inspiration and I am profoundly grateful for you. Finally, I could not have completed this project without the support of my family. Thanks especially to Marina, Heather and “Pa” and “Ma” for babysitting. Brenda, your inspiration meant the world as did the time you took to comment on some of my earlier drafts, directing me to important questions that non-specialists may have. Keep writing, and Brother Jake, too. Thank you, Mom, above all for listening. Finally, last but not least, thanks to my family in BH, SP and vii Vítoria and my “extended family” in Brasília, for the passionate conversations, film festivals, webdocs and book projects. Thank you, family, for cheering me on throughout this journey! *** I dedicate this dissertation to my grandmother, the great matriarch and storyteller of our family with whom I’ve always shared a deep love for fiction and the imagination, to my cousin, Heather, who will be the first in her family to graduate from college, and to my daughter, Gabriela, who inspired me dearly to complete this work and “play”. viii CONTENTS Introduction 1 Chapter 1 Interconnections: Globalization, Consumerism and Human Rights in Sub-Saharan Francophone Africa 37 Chapter 2 Literary Foreshadowing: Global Consumerism and Black Bodies in Angèle Rawiri’s G’amèrakano: au carrefour (1983) and Pape Pathé Diop’s La Poubelle (1984) 87 Chapter 3 Consumerism on the Screen I Chasing Dreams of a “Mythical” West in Djibril Diop Mambety’s Touki Bouki (1973) 124 II Broken Bodies, Vanishing Bodies: The Effects of Economic Restructuring in Mambety’s Hyènes (1992) 146 Chapter 4 Responses to Globalization in the Novel I Globalization and Ethnic, Racial and Sexual Violence in Yodi Karone’s Les beaux gosses (1988) 179 II Denunciations of Globalization in Mongo Beti’s Trop de soleil tue l’amour (1999) and Branle-bas en noir et blanc (2000) 201 Chapter 5 Framing Resistance to Globalization: Abderrahmane Sissako’s Language of Resistance in La vie sur terre (1998) and Bamako (2006) 220 Conclusion 250 Works Cited 269 1 Introduction After several decades of exposing the impact of France’s neo-colonial presence and the corruption of neo-colonial regimes with their slew of brutal dictators, African Francophone writers and filmmakers have been rallying to denounce the economic marginalization of the continent, its harsh local conditions, and the overall disastrous effects of globalization. These novelists and filmmakers—such as Yodi Karone, Mongo Beti, Djibril Diop Mambety and Abderrahmane Sissako—portray the dominance of “the West” and its international finance network as constantly posing a dire threat to Africans, their sovereignty and, most importantly, their value as humans. This shift in perspective stands out among sub-Saharan African Francophone artists