Cinemas D'afrique : Les Pionniers
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Filmes Da África E Da Diáspora
F I As tecnologias de armazenamento e reprodução L M de dados – DVD, site de download legal ou ilegal E de filmes na internet – vêm facilitando o acesso S rápido às filmografias dos cineastas africanos. Os cinemas da África são plurais não apenas de um ponto D Este fator tecnológico permite também que os de vista geográfico e cultural: eles o são ainda mais pelas A FILMES filmes provenientes da África e de suas diferentes diferentes maneiras como cada cineasta, com poéticas e Á diásporas atinjam um maior número de pessoas propostas narrativas particulares, dentro de uma démarche F no mundo, transcendam os limites da recepção R DA autoral ou não, problematiza questões ligadas à construção I cinéfila e se transformem, no contexto acadêmico, MAHOMED BAMBA C da nação num contexto de pós-guerra colonial, às identidades A por exemplo, em objetos de estudos. Doravante, é doutor em Cinema e Estética do Audiovisual parafraseando Bourdieu, podemos dizer que no fluidas, à subjetividade e vivência comunitária, à condição E pela Escola de Comunicação e Artes da ÁFRICA decorrer da circulação internacional dos filmes da mulher, às experiências diaspóricas e do exílio etc. Abordar D Universidade de São Paulo. É professor adjunto africanos, além dos críticos, dos espectadores de crítica e analiticamente os cinemas africanos significa, portanto, A na Faculdade de Comunicação e pesquisador no mostras e festivais, os diversos estudiosos do indagar as formas como cada filme pensa, refrata e transforma D E DA Programa de Pós-Graduação em Comunicação e cinema mundial nas universidades participam I estas realidades em blocos temáticos. -
13º Festival Do Filme Documentário E Etnográfico Fórum De Antropologia, Cinema E Vídeo
13º FESTIVAL DO FILME DOCUMENTÁRIO E ETNOGRÁFICO FÓRUM DE ANTROPOLOGIA, CINEMA E VÍDEO CatalogoMiolo_FINAL_com_capa.indd 1 18.11.09 15:41:10 CatalogoMiolo_FINAL_com_capa.indd 2 18.11.09 15:41:10 13º FESTIVAL DO FILME DOCUMENTÁRIO E ETNOGRÁFICO FÓRUM DE ANTROPOLOGIA, CINEMA E VÍDEO CatalogoMiolo_FINAL_com_capa.indd 3 18.11.09 15:41:10 Em memória de Claude Lévi-Strauss * 1908 † 2009 CatalogoMiolo_FINAL_com_capa.indd 4 18.11.09 15:41:10 ÍNDICE APRESENTAÇÃO SESSÃO DE ABERTURA: CORUMBIARA MOSTRA CINEASTAS AFRICANOS MOSTRA OZUALDO CANDEIAS MOSTRA SUBTERRÂNEOS MOSTRAS COMPETITIVAS - JÚRI MOSTRA COMPETITIVA NACIONAL MOSTRA COMPETITIVA INTERNACIONAL SESSÃO ESPECIAL RETROSPECTIVA ADRIAN COWELL SEMINÁRIO MARIE-JOSÉ MONDZAIN FÓRUM DE DEBATES LANÇAMENTOS OFICINA DE REALIZAÇÃO EXTENSÃO / ITINERÂNCIA ESTADUAL ENSAIOS / ENTREVISTAS PROGRAMAÇÃO ÍNDICE DE FILMES E DIRETORES CRÉDITOS Em memória de Claude Lévi-Strauss * 1908 † 2009 CatalogoMiolo_FINAL_com_capa.indd 5 18.11.09 15:41:10 CatalogoMiolo_FINAL_com_capa.indd 6 18.11.09 15:41:10 CatalogoMiolo_FINAL_com_capa.indd 7 18.11.09 15:41:10 CatalogoMiolo_FINAL_com_capa.indd 8 18.11.09 15:41:10 UMA PALAVRA Certa vez, os homens criaram os mitos. É uma opção, o cuidado com o conteúdo e a partilha das escolhas e Desde então, os mitos é que passaram a gerar novos homens. KPZJ\ZZLZ;VJHKVZWLSVZÄSTLZX\LYLTVZWLUZHYTHPZ\TH]LaJVT LSLZKL\THTHULPYHWHY[PJ\SHYUqVJSHZZPÄJH[}YPHJVTLTWLUOVLT mostrar sobretudo a diferença, construindo o diálogo entre as escolhas Nas nossas estantes, junto a livros e revistas, encontramos uma a partir da abordagem de temas caros à discussão atual, tanto política, porção de catálogos, doze volumes, para sermos mais precisos, com X\HU[VJPULTH[VNYmÄJHZLW\KLYTVZKPZ[PUN\PY\THKHV\[YH tamanhos e formatos variados, a criarem uma certa descontinuidade na superfície plana que os abriga. -
Anthropology and Fiction in the French Atlantic
JUSTIN IZZO EXPERI- MENTS WITH EMPIRE ANTHROPOLOGY AND FICTION IN THE FRENCH ATLANTIC JUSTIN IZZO hn hk io il sy SY ek eh fi fl ffi ffl Th hn hk io il sy SY ek eh fi fl ffi ffl Th hn hk io il sy SY ek eh fi fl ffi ffl Th hn hk io il sy SY ek eh fi fl ffi ffl Th hn hk io il sy SY ek eh fi fl ffi ffl Th hn hk io il sy SY ek eh fi fl ffi ffl Th experiments with empire theory in forms A Series Edited by Nancy Rose Hunt and Achille Mbembe Experiments with Empire Anthropology and Fiction in the French Atlantic justin izzo duke university press Durham and London 2019 © 2019 Duke University Press All rights reserved Printed in the United States of Amer i ca on acid- free paper ∞ Designed by Matt Tauch Typeset in Minion Pro by Westchester Book Group Library of Congress Cataloging- in- Publication Data Names: Izzo, Justin, author. Title: Experiments with empire : anthropology and fiction in the French Atlantic / Justin Izzo. Description: Durham : Duke University Press, 2019. | Series: Theory in forms | Includes bibliographical references and index. Identifiers: lccn 2018042312 (print) | lccn 2018057191 (ebook) isbn 9781478004622 (ebook) isbn 9781478003700 (hardcover : alk. paper) isbn 9781478004004 (pbk. : alk. paper) Subjects: lcsh: French literature—20th century— History and criticism. | French fiction—French-speaking countries—History and criticism. | Ethnology in literature. | Imperialism in literature. | Imperialism in motion pictures. | Politics and literature— History— 20th century. | Literature and society—History— 20th century. Classification: lcc pq3897 (ebook) | lcc pq3897 .I98 2019 (print) | ddc 840.9/3552—dc23 lc record available at https://lccn.loc.gov/2018042312 Cover art: Aerial View Of Cityscape Against Sky, Marseille, France. -
Al'lèèssi... Une Actrice Africaine
15 Al’lèèssi... une actrice africaine Al’lèèssi... An African Actress Al’lèèssi... Eine afrikanische Schauspielerin Regie: Rahmatou Keïta Land: Niger 2003. Produktion: Sonrhay Empire Productions, Niamey. Synopsis Buch, Regie: Rahmatou Keïta. Kamera: Philippe Radoux-Bazzini. Ton: Zalika Souley is in her fifties. She lives in suburban Niamey, Manuel Gasquet, Issaka Youssouff. Musik: Tschenoggo Bambareyzee, the capital city of Niger. She looks after four children in Ibrahim H. Dicko. Ausstattung: Rahmatou Keïta, Zaddah Z. Balleyyaara. her two-room apartment, which has neither electricity nor Schnitt: Omar Ba, Yero Maïga, Sebastien Garcia. Produzent: Maryam running water. Thirty years ago, she was a film star. But M. Keïta. today, who remembers her? And what do people remember? Mit: Zalika Souley, Moustapha Alassane, Mahamane Bakabé, Moustapha She acted in many films and worked with the major film Diop, Souna Boubacar. directors from Niger, Oumarou Ganda and Moustapha Alas- Format: 35mm (gedreht auf DVCam), 1:1.85, Farbe & Schwarzweiß. sane, and also with film directors from other countries Länge: 69 Minuten, 24 Bilder/Sekunde. such as Adamu Haliilu from Nigeria. She is the first truly Sprachen: Zarma, Songhai, Haussa, Französisch. professional actress in Africa. Uraufführung: 12. Februar 2004, Internationales Forum, Berlin. In the course of her daily chores, Zalika tells us about her Weltvertrieb: Rahmatou Keïta, 179, rue de Courcelles, 75017 Paris. glorious past in the film business, and her relationships Frankreich. Tel.: (33-1) 47 66 29 36, Fax: (33-1) 47 66 29 36. E-mail: with film directors and actors. She also tells us about the [email protected] actual condition of African cinema and about her activities as a stage actress. -
Duke University Dissertation Template
Citizens of a Genre: Forms, Fields and Practices of Twentieth-Century French and Francophone Ethnographic Fiction by Justin Izzo Department of Literature Duke University Date:_______________________ Approved: ___________________________ Michael Hardt, Co-Supervisor ___________________________ Alice Kaplan, Co-Supervisor ___________________________ Fredric Jameson ___________________________ Charles Piot ___________________________ Kenneth Surin Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Literature in the Graduate School of Duke University 2011 i v ABSTRACT Citizens of a Genre: Forms, Fields and Practices of Twentieth-Century French and Francophone Ethnographic Fiction by Justin Izzo Department of Literature Duke University Date:_______________________ Approved: ___________________________ Michael Hardt, Co-Supervisor ___________________________ Alice Kaplan, Co-Supervisor ___________________________ Fredric Jameson ___________________________ Charles Piot ___________________________ Kenneth Surin An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Literature in the Graduate School of Duke University 2011 Copyright by Justin Izzo 2011 Abstract This dissertation examines French and Francophone texts, contexts and thematic problems that comprise a genre I call ―ethnographic fiction,‖ whose development we can trace throughout the twentieth century in several geographic -
Jean Rouch Cited Filmography
Visual Anthropology CINE-TRANCE:´ A TRIBUTE TO JEAN ROUCH (1917–2004) JEFF HIMPELE AND FAYE GINSBURG, COEDITORS FIGURE 1. Jean Rouch filming Damoure´ Zika and Lam Ibrahim Dia (Babatou les trois conseils 1975). Photo courtesy of Faye Ginsburg. ABSTRACT This issue’s Visual Anthropology Section is a tribute to anthropologist and ethnographic filmmaker Jean Rouch (1917– 2004). In nine brief articles, authors discuss the impact of Rouch’s pathbreaking career on ethnographic and documentary filmmaking and his contributions to our knowledge of postcolonial Africa. The authors demonstrate the significance of his work for the larger discipline of anthropology, and commemorate Rouch with personal reflections of their time working with and learning from him. [Keywords: Jean Rouch, visual anthropology, postcolonial Africa] Dans le bain avec Rouch: A Reminiscence FAYE GINSBURG knows, he was always testing the boundaries and creating New York University new stories in the process. He had been declining physically in the years before his death. The man we all knew as some- one with boundless energy, constantly on the move, always PARIS, Feb. 19—Jean Rouch, a French explorer, ethnol- ogist and film director who played a significant role in ready for watching (or making) another film or taking an- forging the cinema-verit´ e´ style, died on Wednesday night other swim, was finding it increasingly difficult to walk, let in a car crash in the west central African nation of Niger, alone travel. Indeed, it was surprising that he had made it the French Embassy there said. He was 86. Mr. Rouch to the film festival in Niger at all. -
A Tribute to Jean Rouch (1917–2004)
Visual Anthropology CINE-TRANCE:´ A TRIBUTE TO JEAN ROUCH (1917–2004) JEFF HIMPELE AND FAYE GINSBURG, COEDITORS FIGURE 1. Jean Rouch filming Damoure´ Zika and Lam Ibrahim Dia (Babatou les trois conseils 1975). Photo courtesy of Faye Ginsburg. ABSTRACT This issue’s Visual Anthropology Section is a tribute to anthropologist and ethnographic filmmaker Jean Rouch (1917– 2004). In nine brief articles, authors discuss the impact of Rouch’s pathbreaking career on ethnographic and documentary filmmaking and his contributions to our knowledge of postcolonial Africa. The authors demonstrate the significance of his work for the larger discipline of anthropology, and commemorate Rouch with personal reflections of their time working with and learning from him. [Keywords: Jean Rouch, visual anthropology, postcolonial Africa] Dans le bain avec Rouch: A Reminiscence FAYE GINSBURG knows, he was always testing the boundaries and creating New York University new stories in the process. He had been declining physically in the years before his death. The man we all knew as some- one with boundless energy, constantly on the move, always PARIS, Feb. 19—Jean Rouch, a French explorer, ethnol- ogist and film director who played a significant role in ready for watching (or making) another film or taking an- forging the cinema-verit´ e´ style, died on Wednesday night other swim, was finding it increasingly difficult to walk, let in a car crash in the west central African nation of Niger, alone travel. Indeed, it was surprising that he had made it the French Embassy there said. He was 86. Mr. Rouch to the film festival in Niger at all. -
Africana Video Collection
Africana Video Collection Contents: Africana Documentaries………………page 1 Africana Feature Films.……………page 155 Africana Television …………..…….page 216 Marjorie Iglow Mitchell Multimedia Center—Africana Video Collection AFRICANA DOCUMENTARIES A L’ÉCOLE NOMADE CALL NUMBER: 371.829 A111 vhs SUMMARY A documentary of efforts to scholarize nomadic Tuareg children in Niger. A.B.C. AFRICA CALL NUMBER: 362.73096 A111 vhs 84 minutes, c2001, director, Abbas Kiarostami ; producers, Marin Karmitz, Abbas Kiarostami. SUMMARY: In Kampala, Iranian filmmaker Abbas Kiarostami and crew document the lives of Ugandan orphans to show the devastating effect of years of civil war and the AIDS epidemic, as well as the work of Ugandans who are trying to improve their conditions. ABEILLES FORESTEIRES AFRICAINES CALL NUMBER: 595.799 A138 vhs 27 minutes, 1981; director, Alain R. Devez SUMMARY: Ecological study of the meliponidae that, supposedly, went from Amazonia to Africa via North America and Asia. In Africa, these stingless bees cohabit with the Apis mellifica adansonii. ABOLICAO CALL NUMBER: 981.00496 A154 vhs 150 minutes, 1998, produced by Jeronimo Cesar de Freitas; directed by Zozimo Bulbul. SUMMARY: Abolicão is a startling look at the racial situation of Black Brazilians in contemporary Brazil. The director asks the following question to Black Brazilians from diverse walks of life - musicians, politicians, activists, people in government -- "We are celebrating 100 years since the abolition of slavery in Brazil, what does the abolition of slavery mean to you?" THE ACADEMY, WINDHOEK, NAMIBIA CALL NUMBER: 378.6881 A168a vhs 53 minutes SUMMARY Promotional film for the Academy and its three educational components: the College of Out-of-School Training, the Technikon Namibia, and the University of Namibia. -
JEAN ROUCH and the SACRED CATTLE Bernard Surugue
1 JEAN ROUCH AND THE SACRED CATTLE Bernard Surugue .~. 1 met Jean Rouch in Niamey in 1966 when he was Director ofthe French Insti tute of Black Africa (IFAN - L'Institut Français d'Afrique Noire) in Niger, and 1was a young music teacher. He immediately included me in his fieldwork, en trusting me with studying the music and dance of Songhay possession rituals. According to him, this required an aptitude in mathematics and music, but he made it clear: 'You'll see we understand nothing about them, but they're fasci nating: At the same time, 1was ritually initiated by Hamidou Yayé, the custodian of all Songhay religious, magical and liturgicallore. We studied and produced musical and dance portraits of our mythological heroes. To this end, we made hundreds ofsound and film recordings, the last ofwhich featured in Le Rêve plus fort que la mort (Dreams Stronger than Death, 2002) under the virtuoso bow of Yayé, now over a hundred years old. We were ail reunited at the open-air theatre of Niamey's cultural centre in February 2004 for the first screening in Niger of the film we had made together. Here, in the form ofa final farewell, are a few key moments in the life of Jean Rouch, a man who made his mark on his time as weil as on ail those who had the good fortune to accompany him. An Idyllic Childhood Jean Rouch was fond of recalling his childhood which, according to him, was among the happiest of his century. He liked to say that his story as an ethnolo gist and filmmaker started in early childhood when the gaze of one child met that of another: the young Rouch fancied himself as Nanook, another little boy who lived somewhere else. -
African Documentaries, Critical Interventions: the Non-Fiction Film Production at the Origins of Francophone West African Cinema
Critical Interventions Journal of African Art History and Visual Culture ISSN: 1930-1944 (Print) 2326-411X (Online) Journal homepage: http://www.tandfonline.com/loi/rcin20 African Documentaries, Critical Interventions: The Non-Fiction Film Production at The Origins Of Francophone West African Cinema Vincent Bouchard To cite this article: Vincent Bouchard (2017) African Documentaries, Critical Interventions: The Non-Fiction Film Production at The Origins Of Francophone West African Cinema, Critical Interventions, 11:3, 214-227, DOI: 10.1080/19301944.2017.1401375 To link to this article: https://doi.org/10.1080/19301944.2017.1401375 Published online: 14 Dec 2017. Submit your article to this journal Article views: 18 View related articles View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=rcin20 AFRICAN DOCUMENTARIES,CRITICAL INTERVENTIONS:THE NON-FICTION FILM PRODUCTION AT THE ORIGINS OF FRANCOPHONE WEST AFRICAN CINEMA Vincent Bouchard, Indiana University Ousmane Sembene, the indisputable father “perruquer,” 1980, p. 49), was the starting point of African cinema, is known for his numerous of new audio-visual instances (“body-institutions”; full-length feature fiction films. It is interesting Dubois, 1978) of production, training, and recep- now to explore the incubation period of his cin- tion. In exploring the production of documenta- ema and, more broadly, that of francophone ries—or proto-documentaries—by African African cinema, by examining the various pro- pioneers, the objective of this article is to highlight ductions of alternative audio-visual projects, other forms of audiovisual production that including educational films and documentary occurred at the same time as the emergence of projects made in the often-troubled contexts of West African cinemas. -
Bricolagem E Magia Das Imagens Em Movimento
Universidade Federal do Rio Grande do Norte Programa de Pós-Graduação em Ciências Sociais Cristina dos Santos Ferreira Bricolagem e Magia das Imagens em Movimento: O cinema de Moustapha Alassane Natal 2014 Bricolagem e Magia das Imagens em Movimento: O cinema de Moustapha Alassane Tese apresentada ao Programa de Pós- Graduação em Ciências Sociais da Universidade Federal do Rio Grande do Norte, como requisito parcial à obtenção do título de Doutora em Ciências Sociais Área de concentração: Ciências Sociais Orientadora: Profa. Dra. Lisabete Coradini Natal Centro de Ciências Humanas, Letras e Artes da UFRN 2014 UFRN / Biblioteca Central Zila Mamede Catalogação da Publicação na Fonte Ferrreira, Cristina dos Santos. Bricolagem e magia das imagens em movimento : o cinema de Moustapha Alassane / Cristina dos Santos Ferreira. – Natal, RN, 2014. 192 f. : il. Orientadora: Profa. Lisabete Coradini Tese (Doutorado) – Universidade Federal do Rio Grande do Norte. Centro de Ciências Humanas, Letras e Artes. Porgrama de Pós-Graduação em Ciências Sociais. 1. Bricolagem – Tese. 2. Cinema Africano – Tese. 3. Animação (Cinematografia). – Tese. I. Alassane, Moustapha, 1942 – II. Coradini, Lisabete. III. Universidade Federal do Rio Grande do Norte. IV. Título. RN/UF/BCZM CDU 316.77:791.43 Universidade Federal do Rio Grande do Norte Centro de Ciências Humanas, Letras e Artes da UFRN Programa de Pós-Graduação em Ciências Sociais Tese intitulada: Bricolagem e Magia das Imagens em Movimento: crítica social e transnacional no cinema de Moustapha Alassane, de autoria da Doutoranda Cristina dos Santos Ferreira, aprovada pela banca examinadora constituída pelos seguintes professores: _____________________________________ Profa. Dra. Lisabete Coradini – PPGCS - Orientadora _____________________________________ Profa. -
9 the REAL IN-BALANCE in JEAN ROUCH's LA PYRAMIDE HUMAINE Lvone Margulies
9 THE REAL IN-BALANCE IN JEAN ROUCH'S LA PYRAMIDE HUMAINE lvone Margulies In 1959, the annus mirabilis of the nouvelle vague, yet another film about ad olescents tested the limits of realism. 1 La Pyramide humaine (1959) is Jean Rouch's experiment in racial integration. Without making any reference to the Ivory Coast's colonial relationship to France just prior to independence, the film addresses the alienation between Europeans and Africans in a high school in Abidjan. The project is simple: get black and white students from the graduat ing class to meet each other outside the classroom. Following a loose scenario Rouch instructs the students to play themselves, and in search of fruitful psy chodrama he warns that some of them will have to play racists. La Pyramide humaine was filmed during the school holidays in a classroom made of film set boards in a construction site by the Abidjan lagoon and in a stu dio in Paris. With no teacher present and desks and a blackboard as the only real props, the film presents, a year before the famous screening scene in Chronique d'un ete (1960) the film projector as signifier and transformer of reality. This didactic film seeks to extend interracial relations beyond the classroom, and then beyond the film itself. It matters very little, therefore, if Rouch's social modifiers - flimsy fictional ploys and forced performances - cannot produce a seamless spectacle. That these students are graduating and about to move into their adult lives is much more relevant for the filmmaker who conceives of film as a liminal stage propitious to change.