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Even by the time Senegalese filmmaker Ousmane Sembène (1923-2007) was forty, he had lived an exceptional life. He joined the French army during World War II and moved from Senegal to France in 1948. There he worked for automaker Citroën, as well as on the docks of Marseille. Exposed to Marxism, he participated in railroad strikes and trade union movements. His early novels and short story collections gained him literary recognition both in Senegal and throughout sub-Saharan Africa. In his fortieth year, Sembène directed the short film Borom Sarret, one of the first films directed by a black African and a movie that brought African cinema to the consciousness of the West. Sembène's subsequent films--including Black Girl, Mandabi, Xala, Ceddo, Faat Kiné, and Moolaadé--address contemporary African society and cultural issues with the filmmaker's characteristic wit and subtle satire. Known for urban themes and complex female protagonists, Sembène's movies, both in French and in his native language Wolof, are considered pioneering masterworks of African cinema. Ousmane Sembène: Interviews collects conversations from the mid-1960s to 2005, and spans the breadth of his filmmaking career while also touching on his literary work and his role as a public intellectual. Many of these interviews appear here in English for the first time and come from French, German, African diaspora, and Senegalese periodicals. Annett Busch is a writer based in Munich, Germany. Her work has appeared in Spex, CameraAustria, and Kolik. Max Annas of Cologne, Germany, is an author whose work has appeared in Filmdienst and Ecrans d'Afrique, as well as in several books.

251pages. 32,6x24,4x2,4cm. Relié.

251pages. 32,6x24,4x2,4cm. Relié.

Published in October 1993 as a special issue of Contributions in Black Studies (Five Colleges, Inc.). Based primarily on a conference held in Amherst, Massachusetts, in April 1990. Celebrates the work of the brilliant African filmmaker and writer who has worked since the 1950s in his native Senegal. Some interview and discussion material is presented in both English and French. No index. Annotation copyright Book News, Inc. Portland, Or.

Even by the time Senegalese filmmaker Ousmane Sembène (1923-2007) was forty, he had lived an exceptional life. He joined the French army during World War II and moved from Senegal to France in 1948. There he worked for automaker Citroën, as well as on the docks of Marseille. Exposed to Marxism, he participated in railroad strikes and trade union movements. His early novels and short story collections gained him literary recognition both in Senegal and throughout sub-Saharan Africa. In his fortieth year, Sembène directed the short film Borom Sarret, one of the first films directed by a black African and a movie that brought African cinema to the consciousness of the West. Sembène's subsequent films--including Black Girl, Mandabi, Xala, Ceddo, Faat Kiné, and Moolaadé--address contemporary African society and cultural issues with the filmmaker's characteristic wit and subtle satire. Known for urban themes and complex female protagonists, Sembène's movies, both in French and in his native language Wolof, are considered pioneering masterworks of African cinema. Ousmane Sembène: Interviews collects conversations from the mid-1960s to 2005, and spans the breadth of his filmmaking career while also touching on his literary work and his role as a public intellectual. Many of these interviews appear here in English for the first time and come from French, German, African diaspora, and Senegalese periodicals. Annett Busch is a writer based in Munich, Germany. Her work has appeared in Spex, CameraAustria, and Kolik. Max Annas of Cologne, Germany, is an author whose work has appeared in Filmdienst and Ecrans d'Afrique, as well as in several books.

Text: French, English (translation) Original Language: French

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Voilà 30 ans qu'Ousmane Sow a délaissé son premier métier, la kinésithérapie, pour devenir le fameux sculpteur figuratif que l'Institut de France a reçu sous la coupole en décembre 2013. Premier artiste africain siégeant à l'Académie des beaux-arts depuis sa création, il n'en demeure pas moins un des artistes les plus populaires dans le Monde. Du Japon aux États-Unis en passant par la Passerelle des arts, à Paris, en 1999, ses expositions déplacent des millions de visiteurs, enthousiasmés par l'allure vive et puissante des oeuvres. Consacrées à des ethnies africaines ancestrales mais menacées - Noubas, Masaïs ou Zoulous - dans un premier temps, ces oeuvres ont ensuite célébré les Indiens d'Amérique du Nord, puis de Grands Hommes. Les portraits monumentaux que l'artiste a faits de Nelson Mandela, de Toussaint Louverture, de Victor Hugo ou du Général de Gaulle, ont pris place désormais dans des lieux publics abondamment fréquentés. Et une plus récente série de portraits, consacrée à des êtres anonymes, emblématiques et intemporels, suit actuellement son cours. L'émigré trône sur une place publique à Genève, L'homme et l'enfant, à Besançon. Autant d'oeuvres qui démontrent que l'art figuratif n'a pas dit son dernier mot. Et que l'on peut, au XXIe siècle plus que jamais, représenter les meilleurs des Hommes pour dire combien le Monde a besoin de héros. Nourri de conversations avec l'artiste - qui se sont déroulées depuis 1999 - cet ouvrage en raconte l'histoire originale. Présentant ses oeuvres essentielles, il raconte aussi le parcours du sculpteur, évoque son charisme exceptionnel, dévoile ses techniques de travail et ses inventions. Ce livre démontre par ailleurs combien il est possible d'imposer une oeuvre, et une vision du Monde, à contre-courant des modes et des diktats des institutions.

The films of Ousmane Sembene are powerful representations of the newly emerging black African cinema. In this interpretive study of his most significant films, Francoise Pfaff examines Sembene's pioneering efforts over the last two decades. While focusing primarily on the realistic and symbolic levels of his works, the stylistic and technical aspects are also examined. Pfaff discusses the aesthetic, sociopolitical, and metaphysical values of Sembene's oeuvre within its African context. His depiction of the tension between traditional and modern African life is explored. Pfaff includes film stills and excerpts from interviews with Sembene and other African filmmakers. She concludes with comments about Sembene's contributions to our intercultural heritage.

The films of Ousmane Sembene are powerful representations of the newly emerging black African cinema. In this interpretive study of his most significant films, Francoise Pfaff examines Sembene's pioneering efforts over the last two decades. While focusing primarily on the realistic and symbolic levels of his works, the stylistic and technical aspects are also examined. Pfaff discusses the aesthetic, sociopolitical, and metaphysical values of Sembene's oeuvre within its African context. His depiction of the tension between traditional and modern African life is explored. Pfaff includes film stills and excerpts from interviews with Sembene and other African filmmakers. She concludes with comments about Sembene's contributions to our intercultural heritage.

Senegalese director Ousmane Sembene has often been referred to as a pioneer of the sub-Saharan African cinema. From Borom Sarret (1963) to Guelwaar (1992), Sembene has developed a political and aesthetic project that has deeply influenced the evolution of African filmmaking. This project, with its goal to create a new Africa free of the remnants of colonialist oppression, has subsequently become the objective of emerging generations of African filmmakers. In this book seven scholars explore Sembene's notion of a new Africa by examining the central issues of change, cultural alienation and economic dependence that infuse the director's cinematic and literary works.In this book seven scholars explore Sembene's notion of a new Africa by examining the central issues of change, cultural alienation and economic dependence that infuse the director's cinematic and literary works.

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Senegalese director Ousmane Sembene has often been referred to as a pioneer of the sub-Saharan African cinema. From Borom Sarret (1963) to Guelwaar (1992), Sembene has developed a political and aesthetic project that has deeply influenced the evolution of African filmmaking. This project, with its goal to create a new Africa free of the remnants of colonialist oppression, has subsequently become the objective of emerging generations of African filmmakers. In this book seven scholars explore Sembene's notion of a new Africa by examining the central issues of change, cultural alienation and economic dependence that infuse the director's cinematic and literary works.In this book seven scholars explore Sembene's notion of a new Africa by examining the central issues of change, cultural alienation and economic dependence that infuse the director's cinematic and literary works.

Imarhan Timbuktu, Dintchr and Ousmane Ag Oumar present Timbuktu Echoes. Shock, sadness, nostalgia. A world shattered. Acoustic guitars echo the pain of dislocation, the loss of a past and the impediments to the future. Imarhan Timbuktu, renowned Tuareg band from Timbuktu in the Sahara, is featured on five of these ten tracks. Their rhythm guitarist, Ousmane Ag Oumar, contributes two solo pieces. The third group, Dintchr, are young musicians from Timbuktu. Music doesn't provide the answer. It

Alpha Ousmane "Hama" Sankar (aka Pedro) is a legend. He has anchored the bands of many great artists of Mali: Ali Farka Toure, Afel Bocoum, le Troupe Regionale de Niafunk, l'Orchestre de Gao, Songhoy Allstars, and Mamadou Kelly's BanKaiNa, and he can be heard on many of the seminal recordings of Mali's music. He is the master of contemporary calabash percussion and defined it's the playing style. He has toured the world. Hama's influence is unchallenged as composer, arranger, and instrumentali

Cultural differences between the families of Mireille, daughter of a French diplomat, and Ousmane, son of a poor Muslim family in Senegal, threatens to destroy their marriage

Cultural differences between the families of Mireille, daughter of a French diplomat, and Ousmane, son of a poor Muslim family in Senegal, threatens to destroy their marriage

Francophone de Ousmane Sembène

Francophone de Ousmane Sembène