RIP Ousmane Semb??ne
rootlesscosmo
12,848 Posts
I spent a good deal of my undergrad degree studying this dude's work (along with that of C??saire and Senghor). Film head strutters, to the extent not already familiar, should get so .--------------------------------------------------------------------------------FROM NY TIMES:June 12, 2007An AppraisalA Filmmaker Who Found Africa???s Voice By A. O. SCOTTOusmane Semb??ne, by consensus the father of African cinema, was nearly 40 when he started making films. (He was 84 when he died over the weekend at his home in Dakar). By 1960, the year that Senegal, his native country, won its independence from France, he was already a novelist of some reputation in Francophone African circles. He had also played a significant role in political and aesthetic debates that had gathered force as the postwar movement toward African decolonization accelerated. He took a radical, pro-independence line against what he took to be the assimilationist tendencies of proponents of N??gritude, the more established literary movement associated with writers like Aim?? C??saire and L??opold Senghor.Senghor, a poet and scholar (and the first African elected to the Acad??mie Fran??aise), went on to become Senegal???s first president. (He died in 2001.) Mr. Semb??ne, in his role as Africa???s leading filmmaker, would remain a thorn in Senghor???s side, as uncompromising a critic of Africa???s post-liberation regimes as he had been of French colonial domination.In a 2004 interview with ???L???Humanit??,??? the daily newspaper of the French Communist Party (which Mr. Semb??ne joined as a dockworker in Marseilles in the 1940s), he noted that ???in more than 40 years since Senegal???s liberation we have killed more Africans than died from the start of the slave trade.??? In films like ???Ceddo??? and ???Xala??? he pointed an angry, often satirical finger at the failures and excesses of modern African governments, Senghor???s in particular, and his unsparing criticism made him a controversial figure.Nonetheless, it is hard to overstate his importance, or his influence on African film and also, more generally, on African intellectual and cultural self-perception. Mr. Semb??ne was in many ways not only Senghor???s political and aesthetic antagonist but also his biographical and temperamental opposite. Senghor, who had received an elite education in metropolitan France, believed, at least in the 1950s, that Africans in territories ruled by France could carve out an identity for themselves within the larger cosmos of French language and civilization. Mr. Semb??ne, whose formal schooling ended in the sixth grade, received his French education not at the ??cole Pratique des Hautes ??tudes in Paris, but rather on the Marseilles docks and in the radical trade union movement. Like S??kou Tour?? and Frantz Fanon, his allies in the radical wing of the anti-colonialist movement, he believed that Africans would experience true liberation when they threw off European models and discovered their own, homegrown versions of modernity.???What was unique about Semb??ne was he began to challenge the dominant figure, Senghor,??? recalled Manthia Diawara, a professor of Africana studies at New York University who grew up in Mali in the 1960s. ???He valorized African languages over French. He began to say that independence had failed. He celebrated the equality of Africa with Europe. And it was very good for us to see a man who was self-taught, who did not come out of the French educational system, who went on to write these books.???The books were quickly superseded by his films. ???I came back to Dakar, and I made a tour of Africa,??? Mr. Semb??ne told L???Humanit??, reflecting on his return home in 1960 after nearly 20 years in France. ???I wanted to know my own continent. I went everywhere, getting to know people, tribes, cultures. I was 40 years old, and I wanted to make movies. I wanted to give another impression of Africa. Since our culture is primarily oral, I wanted to depict reality through ritual, dance and performance.??? And so he developed a filmmaking style that was populist, didactic and sometimes propagandistic, at once modern in its techniques and accessible, at least in principle, to everyone. He frequently made use of nonprofessional actors and wrote dialogue in various African languages.???The publication of a book written in French would only reach a minority,??? he said. In contrast, he envisioned a ???fairground cinema that allows you to argue with people.???The arguments take place within his films as well as around them. In ???Moolaad????? (2004), one of his last movies, a group of women rises up against the traditional practice of female genital mutilation, challenging the authority of the village elders as well as of the priestesses who perform the ritual. The film???s structure is antiphonal (given Mr. Semb??ne???s Marxist background, you might say dialectical), allowing the defenders and opponents of tradition to have their say before justice and enlightenment prevail. Like all of Mr. Semb??ne???s films ??? he made 10 features in all ??? ???Moolaad????? is grounded in African daily life. And yet, to a non-African viewer, it rarely feels exotic or strange. As an artist, Mr. Semb??ne was both a populist and a universalist. ???He showed us a way out of tribalism,??? said Mr. Diawara, an expert on African cinema (and the co-director of a 1994 documentary about Mr. Semb??ne) in a recent telephone interview. ???Semb??ne???s films are translatable. They???re never going to be blockbusters, but you can show one of them in China, in France, in Africa, in the United States, and people will know what it???s about.???Mr. Semb??ne was thus a thoroughly African artist, one who achieved global stature by virtue of his concentration on local matters. He may, indeed, have found a bigger audience at international festivals outside Africa than he did at home. But that may have more to do with global conditions of distribution than with the movies themselves, which are lively, funny, pointed and true.Mr. Diawara recalled a story that Mr. Semb??ne liked to tell about his travels across Africa in the ???60s. Mr. Sembene had finished showing his film ???Money Order??? in a small town in Cameroon when he was approached by a local policeman, whose attention made him a little nervous. ???Where did you get that story???? the officer wanted to know. Mr. Semb??ne replied that the plot, which chronicles the chaotic and corrupting effects of money from France on a Senegalese family, was his own invention. ???But it happened to me,??? the policeman said. 
Comments
He left quite a legacy
His Xala is one of my very favorite African films, second only to Touki Bouki. Black Girl is excellent as well, and everything I've seen from him was at the very least worthwhile. Also got the chance to see him speak more than once at the Toronto Film Festival over the last few years, and he struck a very majestic and inspirational tone.
i called him earlier this morning to return his call.
incredibly sad to hear this.
an amazing film-maker and writer.
a non-conformist and visionary
read god's bits of wood.
peace....
Yes. I haven't seen any of his films, but his books are top-notch.
RIP.
Ditto. Semb??ne Ousmane was truly great man. RIP