Academic literature on the topic 'Ousmane Sembne'

The reductive representations stemming from Western cinematic depiction of the African cultures have exacerbated the issue of Western hegemony over African countries. The first representations of Africa were of the exotic genre and failed to portray the socio-political history and culture of the indigenous people. Much of these depictions were due to years of Western colonialism, the dominant idea found in Jean-Marie Ténos film, Afrique je te plumerai. In this film, the Cameroonian filmmaker creates an avenue of viewing history through the lens of the colonized, breaking the chains of hegemony. Ténos use of revolutionary cinematic techniques forces the audience to understand Western colonization of Cameroon and of other African countries by dismantling our own preconceived ideas of that particular era in history. The ails of colonialism are portrayed in this film and these particular themes are found in the writings of the literary movement, la Négritude where we find definitions of colonialism, the effects of colonialism on the indigenous people and the root of the revolutionary spirit it engendered. Where there is colonialism, there is neocolonialism, or the continuing financial and cultural domination of a people. The subject of neocolonialism is portrayed in the second film studied in this research, Guelwaar by Ousmane Sembene. In this film, the Senegalese filmmaker brings to question the controversy of food aid in formerly-colonized countries in Senegal as well as around the world. This form of neocolonialism and other forms of foreign domination in economically-weakened countries are also invoked in the writings of the literary movement Panafricanism, which urges the cultural and economic independence of African countries. Ténos didactic message is obvious to the viewer and even shocking whereas the message of Sembene is ingeniously hidden behind a film so colorful and mesmerizing, it appeases to any audience.<br>Master of Arts

Este projeto tem por finalidade o estudo das representações de conflitos sociais ocorridos na formação do Estado do Senegal nas obras cinematográficas de Ousmane Sembène, da década de 60 até início de 80. Nesse período o Estado estava sob o governo de Leopold Sédar Senghor cujo direcionamento político abrangia a concepção de Socialismo Marxista-Leninista e Negritude. A mudança da literatura ao cinema para Sembène ocorre com o objetivo de alcançar as massas que eram em sua maioria analfabetas. Por isso seus filmes são feitos em wolof e francês, esse ultimo devido a exigências governamentais e interesse de maior amplitude receptiva. Ao estudarmos os conflitos sociais no Senegal do período da recente independência percebemos que as ideias-chave por trás dessa realidade são identidade nacional, solidariedade negra e pan-africanismo. Partimos da concepção que a identidade é uma construção e o uso da raça como sua legitimação enfraquece sua força, pois supor uma solidariedade apenas pelo fato de ser negro diminuí seu poder legitimador.

Cette thèse analysera les façons diverses qu’Ousmane Sembène a mélangé la distinction binaire entre victime et oppresseur, femme et opposant, à travers des intrigues, des personnages, des symboles visuels, et des scènes allégoriques dans ses deux derniers films ; Faat Kiné et Moolaadé.<br>Master of Arts

One of the main reasons, for the Senegalese author Sembene Ousmane's prominence in African literature of French expression is that he, more than any other male African author, has sought to give to the female characters in his literary works an important role in African Society. This thesis analyses the female characters in Sembene's literary works with the aim of evaluating their importance, the author's attitude towards them and finally Sembene's feminism. The first five chapters analyse the female characters in different contexts, namely marriage, the family, work, politics and religion. the sixth chapter studies the usually avoided subject of the dissolute woman. The last chapter deals with the place given to women in Sembene's writing, ie. the comparison between the number of male and female characters and the narrative techniques which he utilizes to characterize the latter.

The primary objective of this paper is to analyze La Noire de... and show how both versions, the short story and the film, exemplify the political art of Sembene Ousmane. The writer feels that the anti-imperialist theme in La Noire de. . . constitutes one of the first major efforts on the part of an African writer/filmmaker to demystify Europe in the eyes of Africans; most importantly, the story, through its didacticism calls for the complete decolonization of Africa. This work is presented in four chapters. The first chapter, the introduction, discusses Sembene's grassroots approach to the written and visual medias in light of rampant illiteracy in Senegal and throughout the continent. Chapter two serves to give biographical information about Sembene. The third chapter is an in-depth analysis of La noire de.... The writer treats the short story and the film as an ensemble and not as autonomous entities, an approach which serves to underline the overall theme of the work and not the peculiarities of each genre. The conclusion that the writer draws in the fourth and final chapter is that Sembene has committed himself, through his art, to the complete decolonization of Africa. ' His story La Noire de.,. epitomizes his commitment to African liberation. Sembene. The third chapter is an in-depth analysis of La noire de.... The writer treats the short story and the film as an ensemble and not as autonomous entities, an approach which serves to underline the overall theme of the work and not the peculiarities of each genre. The conclusion that the writer draws in the fourth and final chapter is that Sembene has committed himself, through his art, to the complete decolonization of Africa. ' His story La Noire de.,. epitomizes his commitment to African liberation.

La lecture est un acte complexe, qui a besoin, pour des raisons de pertinence d’approche et surtout de continuité, de se référer aux circonstances générationnelles du texte, se mettre en relation avec l’auteur de ce dernier, et de s’en remettre à l’intérêt constructeur qui est ici celui du sujet lisant. Tout comme l’étude d’un film éprouvant la nécessité, pour mieux comprendre son contenu et prolonger son destin, de se rapporter aux conditions de sa réalisation, à son producteur et l’intérêt de son spectateur. « L’œuvre littéraire et cinématographique de Sembène Ousmane face à ses lecteurs » devient ainsi l’analyse de tous ces rapports, de l’œuvre avec ses lecteurs, dont leurs prolongements, au-delà de l’intérêt ludique et idéologique examiné par ce sujet, touchent à la fois le social, politique et le psychologique<br>The reading is a complex, which requires, for reasons of relevance and sometimes approach of continuity, to refer to the circumstances generational text, be in touch with the author of the latter, and it furnish to the manufacturer interest here is the reading matter. Like the study of a film challenging the need for a better understanding of its contents and prolong his destiny, relate to the conditions of its achievement, its producer and the interests of its audience. "The literary and cinematic Sembene Ousmane meet its readers" thus becomes the analysis of all these reports of the work with its readers, including its extension beyond the interest playful and ideological consideration by the topic, affect both the social, political and psychological

L'engagement dans les romans africains dont l'étude n'a été jusque-là perçue que du seul point de vue des thèmes développés,sera abordé ici à travers "L'harmattan" de Sembène Ousmane sur le triple plan de l'univers paratextuel,de l'analyse sémiotique du contenu et de la mimésis conversationnelle ou vraissemblance des dialogues romanesques<br>Unlike previous studies on commitment in African novels, that were restricted to themes dealt with, ours is a more extensive standpoint which takes into account paratextual field, semiotic analys of content and conversational mimesis or verisimilitude of romantic dialogues

Le souffle qui anime l'oeuvre litteraire d'andre malraux et celle de sembene ousmane nous apporte une illustration pertinente de l'humanisme de notre temps : une attention particuliere portee a tout ce qui peut contribuer a la promotion de l'homme et au respect de sa dignite. L'histoire est le point de depart de leur demarche, une histoire dont ils sont aussi des conteurs priviligies parce que, tres souvent, ils en ont ete des acteurs. Ils en donnent ainsi un temoignage fonde generalement sur leur propre experience, et d'ou il ressort que la condition humaine est, dans l'ensemble, tragique. Pourtant, loin de deboucher sur un pessimisme definitif, un tel constat, selon malraux et sembene, devrait nous amener a reagir, au besoin par la force, afin de promouvoir le bonheur de l'homme. Notre dignite est donc en definitive notre affaire a tous, grands ou petits, heros ou humbles gens. Toutefois, une responsabilite particuliere semble revenir ici a l'artiste, qui devrait etre le chantre par excellence de l'homme, qui devrait profondement inculquer en chacun de nous le culte de la dignite humaine. Ceci suppose, de la part de l'artiste lui-meme, et pour son propre compte, la mise au point d'une "pedagogie" fonctionnelle<br>The guiding spirit of a. Malraux and sembene ousmane literary work leads to a pertinent illustration of humanism in our time : particular attention is given to all that could contribute to self-respect. History is the starting point of their thought process, a story in which they are also privileged narrators, for very often they were also actors. They also give us a testimony, for the most part, based on their own experience, and from which it appears that human condition is, on the whole, tragic. However, far from opening on to a final pessimism, such a statement, according to a. Malraux and sembene o, should make us react, if need be by force to promote mankind's happiness. Therefore mankind's dignity is every one's concern, no matter how important or unimportant he may be, be they heros or humble folk. However, a special responsibility is incombant on the artist, who should be above all mankind's bard, who should deeply instil in us the cult of human dignity. This suppose, on the artist part, and for himself, putting into practice a functional "pedagogy"

Guelwaar, à l’opposé des autres œuvres de Sembène Ousmane – dont les films sont tirés de nouvelles et de romans- a suivi le sens inverse du schéma classique de l’adaptation en ce qu’il est un film devenu roman. Une telle particularité fait que notre travail suit deux parcours : de l’écrit à l’écran et de l’écran à l’écrit. La fonction narrative de Sembène qui représente dans l’écriture l’art du conte africain constitue le point commun entre un bon nombre de travaux sur l’œuvre littéraire et filmique de Sembène Ousmane. A partant du narratif pris en charge par le « griot-conteur », notre étude tient à montrer que le langage de l’œuvre de Sembène n’est pas seulement narratif, il est aussi « monstratif » et surtout visuel, lequel langage occupe une part importante dans la lecture du livre et du film de Sembène Ousmane<br>Guelwaar, contrary to other works of Sembène Ousmane - Films of which are pulled by news and by novels, followed the inverse sense of the classic plan of the adaptation in the fact that it is a film become novel. Such a peculiarity makes that our work follows two courses: of the paper in the screen and the screen to the paper.The narrative function of Sembène which represents in the writing the art of the African tale constitutes the common point enter a good many of works on the literary and cinematic work of Sembène Ousmane. In leaving of narrative taken care by the "griot-storyteller", our study is anxious to show that the language of the work of Sembène is not only narrative,He is also " monstratif " and especially visual, who language occupies an important part in the reading of the book and the film of Sembène Ousmane