Podcasts about ousmane semb

Jackie and Greg talk Ousmane Sembène's masterpiece of French-Senegalese cinema, BLACK GIRL from 1966. Topics of discussion include M'Bissine Thérèse Diop's performance, the film's stylistic influences, how it packs a lot into 59 minutes, and why it remains even more relevant today than when it was made.#95 on Sight & Sound's 2022 "The Greatest Films of All Time" list.  https://www.bfi.org.uk/sight-and-sound/greatest-films-all-timeCheck us out on Instagram: instagram.com/sceneandheardpodCheck us out at our official website: sceneandheardpod.comGraphic Design: Molly PintoMusic: Andrew CoxEditing: Greg KleinschmidtGet in touch at hello@sceneandheardpod.comSupport the showSupport the show on Patreon: patreon.com/SceneandHeardPodorSubscribe just to get access to our bonus episodes: buzzsprout.com/1905508/subscribe

This month Tim is joined by Jordan Farley (from The Movie Wingman) to discuss Sergio Leone's Once Upon a Time in the West (1968). –––––––––––––––––––––––––––––– Once Upon A Time in the West is =95 on the Sight & Sound critic's list. You can read Jordan's own Sight & Sound Top 10 here. –––––––––––––––––––––––––––––– Hosted by Tim Coleman. A Moving Pictures Film Club podcast. You can sign up to our Patreon channel here for just £1/$1 pm. Alternatively you can make a donation to the runnning costs of the pod via Buy Me A Coffee here. Theme music by The Gideon Complex - recorded by FrEQ Audio Recordings. Bluesky: @top100pod.bsky.social  Instagram: @thetop100pod Letterboxd: The Top 100 Email: top100pod@gmail.com –––––––––––––––––––––––––––––– Interview with Ousmane Sembène here. Additional music: Creative Commons — Attribution 3.0 Unported — CC BY 3.0.Music promoted by Copyright Free Music - Background Music For Videos

This month Tim is joined by Leila Latif (host of the Little White Lies podcast Truth & Movies) to discuss Ousmane Sembène's Black Girl (1966). –––––––––––––––––––––––––––––– Black Girl is =95 on the Sight & Sound critic's list. You can read Leila's own Sight & Sound Top 10 here. –––––––––––––––––––––––––––––– Hosted by Tim Coleman. A Moving Pictures Film Club podcast. You can sign up to our Patreon channel here for just £1/$1 pm. Alternatively you can make a donation to the runnning costs of the pod via Buy Me A Coffee here. Theme music by The Gideon Complex - recorded by FrEQ Audio Recordings. Bluesky: @top100pod.bsky.social  Instagram: @thetop100pod Letterboxd: The Top 100 Email: top100pod@gmail.com –––––––––––––––––––––––––––––– Interview with Ousmane Sembène here. Additional music: Creative Commons — Attribution 3.0 Unported — CC BY 3.0.Music promoted by Copyright Free Music - Background Music For Videos

Le film Yambo Ouologuem, la blessure, du journaliste Kalidou Sy, est sélectionné dans deux catégories de la 29e édition du Fespaco, le Festival panafricain du cinéma et de la télévision de Ouagadougou, au Burkina Faso (du 22 février au 1er mars prochain). Ce documentaire d'une heure et quart, tourné en France, au Mali, aux États-Unis et au Canada, revient sur la vie du Malien Yambo Ouologuem, premier auteur africain à recevoir le prestigieux prix littéraire Renaudot en 1968. Trois ans plus tard, il est accusé d'avoir plagié de grands auteurs occidentaux, une affaire jamais résolue car il n'y a jamais eu de procès. Mais la polémique entraîne la chute de Yambo Ouologuem, qui passe alors en quelques mois de star de la littérature francophone à l'anonymat le plus complet. Kalidou Sy s'est rendu sur ses traces l'an dernier, dans le centre du Mali. Il est l'invité de Kaourou Magassa. RFI : Vous êtes d'origine sénégalaise, vous avez été correspondant au Sahel pour la chaine d'information France 24 basé au Burkina Faso. Qu'est-ce qui vous a amené, vous, jeune journaliste à vous intéresser à l'auteur malien Yambo Ouologuel né en 1940 et décédé en 2017 ?Kalidou Sy : Tout est parti de l'écriture d'un ouvrage collectif sur la Françafrique intitulé « La Françafrique, l'Empire qui ne veut pas mourir », aux éditions du Seuil. C'était en 2020. C'est un ouvrage collectif et moi j'étais chargé, avec ma consœur Fanny Pigeaud, du chapitre intellectuel et africain contre la Françafrique et dans mes recherches, j'ai découvert des auteurs africains que je connaissais déjà comme Amadou Hampaté Ba, Ahmadou Kourouma, Med Hondo, Ousmane Sembène et il y avait un nom, Yambo Ouologuem, dont je n'avais jamais entendu parler. J'ai fait des recherches, j'ai vu un destin incroyable, une histoire incroyable et je me suis dit à la fin de l'écriture de ce chapitre que je ne pouvais pas en rester là et qu'il fallait absolument en faire un documentaire, car j'avais remarqué que de nombreuses personnes ne connaissaient pas Yambo Ouologuem et son œuvre.Yambo Ouologuem est le premier africain à recevoir le Prix Renaudot en 1968. Auteur du Devoir de violence, il reçoit les éloges du Tout-Paris littéraire. Pourtant son livre est très mal reçu en Afrique. Pouvez-vous nous en expliquer les raisons ?Il faut se replacer dans le contexte. On revient en 1960 où il y a une vingtaine de pays africains qui se libèrent d'une domination et de la colonisation européenne. Et à cette époque, la tendance était plutôt de magnifier et valoriser l'Afrique et Yambo Ouologuem arrive avec le Devoir de violence, qui est un véritable brûlot à l'époque, parce que dans son livre, il dit que bien avant la colonisation européenne en Afrique, il existait de l'esclavage interafricain des guerres interafricaines, de l'esclavage arabo-africain et à cette époque ça a été très mal perçu en 1968. Il faut savoir aussi que des écrivains par exemple, le président du Sénégal, Léopold Sédar Senghor, qui était aussi un poète ont violemment critiqué Yambo Ouologuem. Léopold Sédar Senghor parlait selon l'un des témoignages de votre film de trahison : les mots sont très durs à l'encontre de l'écrivain malien….Oui, les mots sont très durs. Il a qualifié le livre d'affligeant et il a accusé Yambo Ouologuem de nier ses ancêtres. Il faut savoir qu'il y a eu une passe d'armes entre Yambo Ouologuem et Senghor, une passe d'armes qui ne dit pas ses mots. Je peux vous citer un épisode où Yambo Ouologuem lors d'une interview à la télévision française a eu cette phrase où il disait, « la négraille a profité du colonialisme pour s'abreuver de culture blanche et pour mieux s'élever parmi les Noirs ». Quand il parle de « négraille », il parle surtout de négritude. Je pense que Senghor l'a pris pour lui-même et c'est pour ça qu'il a une virulence dans ses propos envers Yambo Ouologuem. Il faut savoir aussi qu'à l'époque, il n'y a pas beaucoup d'auteurs africains qui ont salué l'œuvre de Yambo Ouologuem.L'année 1972 est un point de bascule pour Yambo Ouologuem. Il est accusé de plagiat, il est vilipendé, conspué sans que sa défense ne soit entendue. Il retourne au Mali dans la ville de Sévaré. Vous y êtes allé l'an dernier en quête des témoignages de sa famille. Racontez-nous ce que vous avez découvert sur lui ? Et comment a-t-il vécu ?Tout d'abord, j'ai décidé d'aller à Sévaré parce que dans mes recherches, il n'y avait pas beaucoup de traces de Yambo Ouologuem du Mali. On connaissait beaucoup le Yambo Ouologuem français, l'écrivain provocateur, mais lorsqu'il est rentré au Mali, on a perdu sa trace. Il y avait Christopher Wise, un universitaire américain, qui est parti le voir en 1997, qui a écrit un livre À la recherche de Yambo Ouologuem, mais on n'avait pas trop trace de Yambo Ouologuem au Mali. Donc je suis parti à Sévaré. Alors ce que j'ai découvert, c'est qu'en 1974, il fait un premier retour au Mali et les gens l'ont décrit comme une personne malade. Il était enflé d'après leurs dires et même certains disaient empoisonnés, mais ça reste à prouver. En 1976 Yambo Ouologuem tente de revenir en France pour, « faire la paix » avec son éditeur le Seuil afin de repartir sur un nouveau pied, mais le Seuil n'a pas voulu, donc il est rentré définitivement au Mali. Et au Mali, Yambo Ouologuem s'est retiré et a vécu reclus, il passait ses journées, d'après les témoignages de ses proches, à la mosquée, il est devenu très croyant. Il jeûnait de nombreux jours dans l'année et sa relation avec ses enfants, c'était une relation aimante, mais il ne voulait pas que ses enfants découvrent son passé français. Son fils, Ambibé, m'a témoigné que, par exemple, Yambo Ouologuem leur interdisait d'aller à l'école française, il préférait qu'il aille dans une école arabophone. Donc Il passait son temps à la mosquée, il changeait souvent de mosquée, il n'avait pas beaucoup d'amis. Il voulait vivre seul et très certainement que la blessure était tellement forte qu'il voulait oublier ce qui s'était passé en Europe et en France. Justement, ce retour au Mali était pour Yambo Ouologuem une blessure, vous l'avez rappelé, et c'est d'ailleurs le titre de votre documentaire. Pensez-vous qu'il aurait été autant honni s'il n'avait pas été africain ?Jean-Pierre Cordier, qui était son camarade au lycée Chaptal à Paris, il a vécu ça comme du racisme. Il dit qu'il y a beaucoup d'auteurs qui ont été accusés de plagiat qui ont eu un procès et qui ont pu réécrire. Jean-Pierre Orban, qui a fait une longue recherche sur le cas Yambo Ouologuem, lui aussi dit dans le documentaire que très certainement, il y avait du racisme. À l'époque lorsque Yambo Ouologuem a été accusé de plagiat, beaucoup de journalistes français remettaient en cause tout d'un coup le fait qu'un Africain ait pu écrire une telle œuvre, d'une telle qualité. Les mêmes qui l'avaient encensé lorsqu'il a eu le prix Renaudot l'ont lâché. Donc très certainement qu'il y a eu une part de racisme…Par ses soutiens et ses admirateurs Yambo Ouologuem est considéré comme un génie littéraire. L'auteur Mohamed Mbougar Sarr lui a consacré en 2021 un roman victorieux du prix Goncourt. Vous réalisez, vous, un documentaire sur sa vie. Selon vous, assiste-t-on à une forme de réhabilitation posthume de l'auteur malien ?La réhabilitation n'a pas commencé avec mon documentaire. En 2002, l'éditeur Pierre Astier a décidé de rééditer Le devoir de violence aux éditions Serpent à Plumes avec l'accord de sa famille en France. Ensuite, en 2015, Jean-Pierre Orban et Sami Tchak ont décidé de rééditer Les mille et une bibles du sexe, l'un des livres de Yambo Ouologuem. C'est un livre qui ne parle pas du tout d'Afrique, c'est un livre érotique à la limite de la pornographie qui se moque de la sexualité de la bourgeoisie parisienne et de province. C'est ça tout le génie de Yambo Ouologuem. Il peut écrire un livre sur un empire africain, et aussi un livre sur la sexualité blanche ; un livre à la manière d'un Sade ! Et puis arrive Mohamed Mbougar Sarr en 2021 avec son roman La plus secrète mémoire des hommes qui obtient, clin d'œil du destin, le prix Goncourt. Donc c'est vrai qu'il y a une certaine réhabilitation du Yambo Ouologuem mais malheureusement, à chaque fois qu'il y a un engouement, c'est retombé. Avec mon documentaire, j'espère que cet engouement va rester pour Yambo Ouologuem et j'espère que Yambo Ouloguem restera dans le débat parce qu'il mérite d'être dans le débat et qu'il s'installe sur la table des plus grands auteurs africains. 

Greetings Glocal Citizens! This week our Writing as Activism @ Pa Gya! 2024 continues in conversation with Liberian novelist, journalist, film critic, curator, speaker and lecturer of African Literature and Arts at Leiden University in the Netherlands, Vamba Sherif. Vamba has written several novels, including The Emperor's Son (2024), a novel about emperor Samori Touré, The Witness (2011), Bound to Secrecy (2007), The Kingdom of Sebah (2003), Land of My Fathers (1999), and the memoire Unprecedented Love (2021). He has curated several anthologies, including the bestselling Black: Afro-European literature in the Netherlands and Belgium. His work, which has been translated in many languages, deals with themes such as migration, belonging, love, the history of slavery, colonialism and the African resistance to it, and the mysteries of existence. These are all themes that Vamba brings to vivid life in our discussion. Click the and check out Vamba's Pa Gya! session (https://www.youtube.com/live/GIP5DqSjC_k?si=uV_GjrsM0mwn_wJK) centering his latest book The Emperor's Son. Where to find Vamba? On LinkedIn (https://www.linkedin.com/in/vamba-sherif-50767755/) On Instagram (https://www.instagram.com/vamba.omarsherif/) On Facebook (https://www.facebook.com/vamba.sherif) On X (https://x.com/vambasherif) Vamba's essential Pan-African activism reading list: [The Radience of the King)(https://en.wikipedia.org/wiki/TheRadianceoftheKing) by Camara Laye (https://en.wikipedia.org/wiki/Camara_Laye) and excerpt to the introduction by Toni Morrison (https://www.nybooks.com/articles/2001/08/09/on-the-radiance-of-the-king/?srsltid=AfmBOoqxwN5ZH14QIhyQGo80szFC7bLl7aF7ogRxSVSw6N6M5oh1mwJc) Other topics of interest: Who was Samori Touré (https://en.wikipedia.org/wiki/Samori_Ture)? Kolahun, Liberia (https://en.wikipedia.org/wiki/Kolahun_District) Liberia's First Civil War (https://en.wikipedia.org/wiki/First_Liberian_Civil_War) About Edward Wilmot Blyden, father of Pan-Africanism (https://en.wikipedia.org/wiki/Edward_Wilmot_Blyden#:~:text=As%20a%20writer%2C%20Blyden%20has,of%20the%20%22African%20race%22.) About the Gulf War (https://en.wikipedia.org/wiki/Gulf_War) Senegalese filmmaker, Ousmane Sembène (https://en.wikipedia.org/wiki/Ousmane_Semb%C3%A8ne) About Groningen (https://en.wikipedia.org/wiki/Groningen) Why lekker (https://www.iamexpat.nl/expat-info/dutch-expat-news/why-dutch-always-lekker) is so sweet… The Comet (https://youtu.be/aQzgZTmwAPc?si=O9t7qHFyV2PeYLYa) by W.E.B Dubois

FILM CONSIGLIATI PER L'ASCOLTO DELL'EPISODIO ▼• Borom Sarret – Ousmane Sembène, 1963• La noire de... – Ousmane Sembène, 1966• Mandabi – Ousmane Sembène, 1968• Contras City – Djibril Diop Mambéty, 1969• Touki Bouki – Djibril Diop Mambéty, 1973• Hyènes – Djibril Diop Mambéty, 1992• Atlantiques – Mati Diop, 2009• Mille Soleils – Mati Diop, 2013• Atlantics – Mati Diop, 2019"La storia del cinema africano, che vede Mambéty spiccare con la statura di un vero eroe, è intrecciata a quella di un gruppo di coraggiosi e intrepidi registi che hanno forgiato la storia di una collettività e la sua identità culturale e spirituale. […] Secondo Mambéty, un regista doveva essere per la società come un griot, cioè colui che custodisce e tramanda la memoria delle genealogie, dei miti e della tradizione orale […] Mambéty credeva che gli africani dovessero "reinventare" il cinema, ed è esattamente ciò che lui ha fatto."Con queste parole, Martin Scorsese introduce un fondamentale libro di critica sull'opera di Djibril Diop Mambéty (1945-1998), considerato insieme a Ousmane Sembène uno dei padri del cinema senegalese e africano. Il volume, che porta lo stesso titolo di questo episodio, è curato da Cinzia Quadrati e Simona Cella, amica carissima di questo podcast che ci guida attraverso aneddoti inediti sulla vita e l'opera di Mambéty, rivelando l'innovazione e lo spirito rivoluzionario e contemporaneo che caratterizzano il cinema del visionario regista senegalese.Con Federico Allocca e Simone CortiRiprese Gianlorenzo Bernabò Di NegroMusica DEMONA alias Andrea Evangelista e Delio GallmannAnimazione sigla Ida CortiLogo design Chiara QuagliarellaPost-produzione audio Matteo FusiCon il sostegno di Associazione La Terza Via, GYBE Studio e SidereusUn grazie a Raffaele Allocca, Elisabetta Marrocco, Riccardo Romano, Andrea Sestu

In this episode, we delve into the remarkable life and groundbreaking contributions of Fanta Regina Nacro, a pioneering filmmaker from Burkina Faso who has redefined the landscape of African cinema. From her early days in Tenkodogo to becoming an internationally acclaimed director, Nacro's journey is one of resilience and artistic brilliance. We explore her evolution as a filmmaker, highlighting her commitment to storytelling that challenges societal norms and amplifies the voices of women in Africa.We examine the historical context of African cinema during Nacro's formative years, a time when filmmakers like Ousmane Sembène were striving to create a distinct African narrative. Despite the challenges of funding and representation, Nacro emerged as a bold voice, using her platform to address taboo subjects such as female genital mutilation and HIV/AIDS. Her early short films established her as a vital storyteller unafraid to tackle sensitive issues with empathy and humor, setting a precedent for socially engaged filmmaking.At the heart of our discussion is Nacro's crowning achievement, the feature film "La Nuit de la Vérité" (The Night of Truth). This powerful work explores themes of reconciliation in the aftermath of civil conflict, presenting a nuanced portrayal of the complexities of peace-building in divided societies. Through this film and her other works, Nacro has not only illuminated critical social issues but has also showcased the often-overlooked contributions of women in conflict resolution, enriching the narrative of African cinema.Join us as we celebrate Fanta Regina Nacro's legacy and her enduring impact on the film industry. Her dedication to authentic storytelling and her role as an advocate for African cinema serve as a beacon for future generations of filmmakers. This episode is a tribute to her groundbreaking work, emphasizing the importance of diverse voices in the global cinematic landscape and the ongoing relevance of her themes in today's world.Support the showVisual Intonation Website: https://www.visualintonations.com/Visual Intonation Instagram: https://www.instagram.com/visualintonation/Vante Gregory's Website: vantegregory.comVante Gregory's Instagram: https://www.instagram.com/directedbyvante/ To support me on Patreon (thank you): patreon.com/visualintonations Tiktok: www.tiktok.com/@visualintonation Tiktok: www.tiktok.com/@directedbyvante

durée : 00:58:45 - Toute une vie - par : Michel Pomarède - Le Sénégalais est devenu écrivain puis cinéaste pour mettre en lumière le destin des petites gens de la rue, pris dans leur quotidien. - réalisation : Julie Beressi

Emilio Occhialini ci racconta la sua esperienza all'ultima edizione del Cinema ritrovato un festival internazionale che si è tenuto nelle sale e nelle piazze di Bologna dal 22 al 30 giugno e che grazie alla Cineteca di Bologna ha riproposto il cinema d'autore per tutti, con un cartellone che comprende capolavori del passato e film sperimentali.Alcuni tra i tanti titoli citati:"Lo Squalo" di Spielberg (1975) (vintage edition)"Napoleon" di Abel Gance (1927) "Hellraiser" di Clive Barker (1987)"Lanterne Rosse" Zhang Ymou (1991)'I disperati di Sandor" di Miklos Jancsò (1964)"Sugarland Express " di Steven Spielberg (1974)'I compari" di Robert Altman (1971)"Tokyo Drifter - Il vagabondo di Tokyo" di Seijun Suzuki (1972)"Fase IV: Distruzione terra" di Saul Bass (1974)"Godzilla" Hishiro Honda (1954)"Bona" Lino Brocka (1980) "Camp de Thiaroye" di Ousmane Sembène (1988)

While we gear up for Season 4 of "Top Doc", we're sharing some of our favorite episodes of the past few years.  Today, we re-present a pod from October of 2021.   Ken and Mike welcome Kirsten (KJ) Johnson, who recently won Best Director for her groundbreaking film, "Dick Johnson is Dead." This film is like no other film you'll find in your Netflix queue. KJ's boundary-pushing documentary uses the art of cinema to keep the ravages of time and the onset of dementia from taking her beloved father Dick away from her. The solution? Keep killing her father over-and-over again on camera, all with Dick's active participation and encouragement.  Once you survive the film, you'll definitely want to join Mike and Ken for this refreshingly candid conversation with KJ who constantly questions everything (including our questions!) and proves herself to be every bit as provocative, playful and engaging as the film itself. Covering everything from Seventh-day Adventism and the best way to stage your father's funeral while he's still alive to Vertov's Man with a Movie Camera and, of course, chocolate cake, this week's podcast is one you'll be dying to listen to. And look out for that falling air conditioner!  You can follow us on twitter @topdocspod Other films directed by Kirsten Johnson: Cameraperson Deadline   People who worked on the film: Judy Karp Michael Hilow Nels Bangerter Peter Horner Nadia Hallgren John Foster Simon Mendes Marilyn Ness   Hidden Gem:  Marjoe   Also mentioned in the pod: Ousmane Sembène  Djibril Diop Mambéty Wellington Bowler Young Frankenstein Monty Python's Flying Circus Charles Addams Lacan on social death  Derrida (the documentary) Quantum Entanglement The Rise and Fall of Mars Hill

In his new book The Rebel's Clinic: The Revolutionary Lives of Frantz Fanon, Adam Shatz writes that, “The American poet Amiri Baraka described James Baldwin, who was born a year before Fanon, as ‘God's Black revolutionary mouth.' What Baldwin was for America, Fanon was for the world, especially the insurgent Third World, those subjects of European empires who had been denied what Edward Said called the ‘permission to narrate.'” Shatz's book explores, in lucid detail, the complex life and thought of the Martinican psychiatrist and anticolonial theorist,  whose life was tragically cut short in 1961. Fanon's epochal books Black Skin, White Mask and The Wretched of the Earth have long been a source of inspiration for politically minded filmmakers, including Med Hondo, Claire Denis, and many others. Film Comment Editors Devika Girish and Clinton Krute invited Adam on the podcast to talk about Fanon's interest in cinema, filmmakers who've engaged the theorist's works, and what exactly makes a movie “Fanonian.” In addition to films by Hondo and Denis, we talked about Ivan Dixon's The Spook Who Sat by the Door, Antonioni's The Passenger, Gillo Pontecorvo's The Battle of Algiers, Ousmane Sembène's Black Girl, and more.

Where there are dictators, there are novels about dictators. But "dictator novels" do not simply respond to the reality of dictatorship. As this genre has developed and cohered, it has acquired a self-generating force distinct from its historical referents. The dictator novel has become a space in which writers consider the difficulties of national consolidation, explore the role of external and global forces in sustaining dictatorship, and even interrogate the political functions of writing itself. Literary representations of the dictator, therefore, provide ground for a self-conscious and self-critical theorization of the relationship between writing and politics itself. Magalí Armillas-Tiseyra's book The Dictator Novel: Writers and Politics in the Global South (Northwestern UP, 2019) positions novels about dictators as a vital genre in the literatures of the Global South. Primarily identified with Latin America, the dictator novel also has underacknowledged importance in the postcolonial literatures of francophone and anglophone Africa. Although scholars have noted similarities, this book is the first extensive comparative analysis of these traditions; it includes discussions of authors including Gabriel García Márquez, Ngũgĩ wa Thiong'o, Alejo Carpentier, Augusto Roa Bastos, Domingo Faustino Sarmiento, José Mármol, Esteban Echeverría, Ousmane Sembène, Chinua Achebe, Aminata Sow Fall, Henri Lopès, Sony Labou Tansi, and Ahmadou Kourouma. This juxtaposition illuminates the internal dynamics of the dictator novel as a literary genre. In so doing, Armillas-Tiseyra puts forward a comparative model relevant to scholars working across the Global South. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Where there are dictators, there are novels about dictators. But "dictator novels" do not simply respond to the reality of dictatorship. As this genre has developed and cohered, it has acquired a self-generating force distinct from its historical referents. The dictator novel has become a space in which writers consider the difficulties of national consolidation, explore the role of external and global forces in sustaining dictatorship, and even interrogate the political functions of writing itself. Literary representations of the dictator, therefore, provide ground for a self-conscious and self-critical theorization of the relationship between writing and politics itself. Magalí Armillas-Tiseyra's book The Dictator Novel: Writers and Politics in the Global South (Northwestern UP, 2019) positions novels about dictators as a vital genre in the literatures of the Global South. Primarily identified with Latin America, the dictator novel also has underacknowledged importance in the postcolonial literatures of francophone and anglophone Africa. Although scholars have noted similarities, this book is the first extensive comparative analysis of these traditions; it includes discussions of authors including Gabriel García Márquez, Ngũgĩ wa Thiong'o, Alejo Carpentier, Augusto Roa Bastos, Domingo Faustino Sarmiento, José Mármol, Esteban Echeverría, Ousmane Sembène, Chinua Achebe, Aminata Sow Fall, Henri Lopès, Sony Labou Tansi, and Ahmadou Kourouma. This juxtaposition illuminates the internal dynamics of the dictator novel as a literary genre. In so doing, Armillas-Tiseyra puts forward a comparative model relevant to scholars working across the Global South. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/latin-american-studies

Where there are dictators, there are novels about dictators. But "dictator novels" do not simply respond to the reality of dictatorship. As this genre has developed and cohered, it has acquired a self-generating force distinct from its historical referents. The dictator novel has become a space in which writers consider the difficulties of national consolidation, explore the role of external and global forces in sustaining dictatorship, and even interrogate the political functions of writing itself. Literary representations of the dictator, therefore, provide ground for a self-conscious and self-critical theorization of the relationship between writing and politics itself. Magalí Armillas-Tiseyra's book The Dictator Novel: Writers and Politics in the Global South (Northwestern UP, 2019) positions novels about dictators as a vital genre in the literatures of the Global South. Primarily identified with Latin America, the dictator novel also has underacknowledged importance in the postcolonial literatures of francophone and anglophone Africa. Although scholars have noted similarities, this book is the first extensive comparative analysis of these traditions; it includes discussions of authors including Gabriel García Márquez, Ngũgĩ wa Thiong'o, Alejo Carpentier, Augusto Roa Bastos, Domingo Faustino Sarmiento, José Mármol, Esteban Echeverría, Ousmane Sembène, Chinua Achebe, Aminata Sow Fall, Henri Lopès, Sony Labou Tansi, and Ahmadou Kourouma. This juxtaposition illuminates the internal dynamics of the dictator novel as a literary genre. In so doing, Armillas-Tiseyra puts forward a comparative model relevant to scholars working across the Global South. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Where there are dictators, there are novels about dictators. But "dictator novels" do not simply respond to the reality of dictatorship. As this genre has developed and cohered, it has acquired a self-generating force distinct from its historical referents. The dictator novel has become a space in which writers consider the difficulties of national consolidation, explore the role of external and global forces in sustaining dictatorship, and even interrogate the political functions of writing itself. Literary representations of the dictator, therefore, provide ground for a self-conscious and self-critical theorization of the relationship between writing and politics itself. Magalí Armillas-Tiseyra's book The Dictator Novel: Writers and Politics in the Global South (Northwestern UP, 2019) positions novels about dictators as a vital genre in the literatures of the Global South. Primarily identified with Latin America, the dictator novel also has underacknowledged importance in the postcolonial literatures of francophone and anglophone Africa. Although scholars have noted similarities, this book is the first extensive comparative analysis of these traditions; it includes discussions of authors including Gabriel García Márquez, Ngũgĩ wa Thiong'o, Alejo Carpentier, Augusto Roa Bastos, Domingo Faustino Sarmiento, José Mármol, Esteban Echeverría, Ousmane Sembène, Chinua Achebe, Aminata Sow Fall, Henri Lopès, Sony Labou Tansi, and Ahmadou Kourouma. This juxtaposition illuminates the internal dynamics of the dictator novel as a literary genre. In so doing, Armillas-Tiseyra puts forward a comparative model relevant to scholars working across the Global South. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-studies

Greetings Glocal Citizens! This week's guest is fast becoming a cultural icon across her chosen disciplines. Ghanaian by ancestry and born in German and spending a formative part of her life in England, Nana Oforiatta Ayim is a writer, filmmaker, and art historian. She is Founder of the ANO Institute of Arts and Knowledge (https://www.anoghana.org/), through which she has pioneered a Pan-African Cultural Encyclopaedia, a Mobile Museums Project, and curated Ghana's first pavilion at the Venice Biennale. She published her first novel The God Child (https://a.co/d/hjkYT9r) in 2019, and in German in 2021. She has made award-winning films for museums such as Tate Modern, Los Angeles County Museum of Art and The New Museum. She is the recipient of various awards and honours, having been named one of the Apollo '40 under 40'; one of 50 African Trailblazers by The Africa Report; a Quartz Africa Innovator in 2017; one of 12 African women making history in 2016 and one of 100 women of 2020 by Okayafrica. In 2020, she was appointed to the Advisory Council of Oxford University's Cultural Programme and was a Principal Investigator on the Action for Restitution to Africa programme. She received the Ghana Woman of the Year Award in 2021. And in 2022 she was awarded the world's biggest history prize from the Dan David Foundation for outstanding early and mid-career scholars and practitioners in the historical disciplines. Over the years it has been a treat to watch Nana's vision come into being and even better was the chance to sit with her in one of her places of peace in Osu, Accra. Where to find Nana? https://www.nanaoforiattaayim.com/ On LinkedIn (https://www.linkedin.com/in/nana-oforiatta-ayim-976644222) On Instagram (https://www.instagram.com/nanaoforiattaayim/?hl=en) On Facebook (https://www.facebook.com/nanaoforiattayim) On X (https://twitter.com/OforiattaAyim) What's Nana watching? Past Lives (https://en.wikipedia.org/wiki/Past_Lives_(film)) Other topics of interest: About [Akyem, Ghana](https://en.wikipedia.org/wiki/Akyem ] Aburi, Ghana (https://en.wikipedia.org/wiki/Aburi) About Piet Mondrian (https://en.wikipedia.org/wiki/Piet_Mondrian) Gus Casely-Hayford (https://en.wikipedia.org/wiki/Gus_Casely-Hayford) John Picton (https://soas.academia.edu/JohnPicton) About the Liverpool Biennial (https://www.biennial.com) Ousmane Sembène (https://en.wikipedia.org/wiki/Ousmane_Semb%C3%A8ne) Mooji (https://mooji.org/) The Renoir Cinema (https://www.theguardian.com/film/filmblog/2008/nov/19/renoir-cinema-rebranding) Special Guest: Nana Oforiatta Ayim.

Here is the second part of the second podcast with Omish. We continue by jumping into a discussion about cinema in Africa and the continent's state of storytelling and growth. We refer to an article in the Guardian by Julia Asante and Omish introduces me to the father of African cinema Ousmane Sambene.We also talk about international cinema and the different stories that emerge from different parts of the world. Omish has a clearly defined view of the storytelling qualities from Japan and in some parts of Europe. He has some very interesting suggestions for a new way to consume world cinema…Thank you Omish for your time.Enjoy!Some links from our chat:PanAfriArt documentary link: https://www.youtube.com/watch?v=TDFmzKuc-4MOusmane Sembène - Ousmane Sembène - Wikipediahttps://www.theguardian.com/global-development/commentisfree/2023/nov/13/african-cinema-has-come-a-long-way-now-we-need-funds-and-faith-to-unleash-creativity?CMP=Share_AndroidApp_OtherI welcome opinions of every kind so please come and find me on social media at:Instagram: TwoandaMicTwitter: TwoandaMic1Should I really have to ask?

Intervenant au colloque de Rabat sur l'esthétique africaine, le philosophe sénégalais Alpha Amadou Sy mettait en parallèle les oeuvres de deux monstres de la littérature et de l'art au Sénégal : Ousmane Sembène, dont on célèbre le centenaire en 2023, et Kalidou Kassé, surnommé « le pinceau du Sahel ». Présentation : Denise Époté. www.tv5monde.com/etsi

Bart and Jenna are rarely afraid to dive headfirst into uncharted areas of cinema, but certain movies are just too important for them to toss around in their usual subjective way. Gillo Pontecorvo's The Battle of Algiers is one such landmark work that seems irresponsible to discuss without a maximum amount of context. That's why Cinema60 invited African Studies and Decolonization scholar Christopher J. Lee to the podcast to help them unpack the history and politics of the film and the events that it depicts.In addition, Chris wanted to talk about Ousmane Sembène's Black Girl, another film from 1966 with a very different, but equally harsh, perspective on French colonialism in Africa. The two films, taken together, give a well-rounded visualization of the revolutionary ideas of political philosopher Frantz Fanon, whose thoughts got to the heart much of the social upheaval of the era. Listen as Chris gives a global backdrop to the rebellious spirit that inspired the big changes in the way people governed themselves, and in the way they made movies, in the mid-20th century.The following films are discussed:• The Battle of Algiers (1966) La battaglia di Algeri Directed by Gillo Pontecorvo Starring Brahim Hadjadj, Jean Martin, Yacef Saadi• Black Girl (1966) La noire de... Directed by Ousmane Sembène Starring Mbissine Thérèse Diop, Anne-Marie Jelinek, Robert FontaineAlso mentioned:• The Birth of a Nation (1915) Directed by D.W. Griffith Starring Lillian Gish, Mae Marsh, Henry B. Walthall• De Voortrekkers (a.k.a. Winning a Continent) (1916) Directed by Harold M. Shaw Starring Dick Cruikshanks, Caroline Frances Cooke, Jackie Turnbull• Rome, Open City (1945) Roma città aperta Directed by Roberto Rossellini Starring Anna Magnani, Aldo Fabrizi, Marcello Pagliero• Paisan (1946) Paisà Directed by Roberto Rossellini Starring Carmela Sazio, Gar Moore, William Tubbs• Bicycle Thieves (1948) Ladri di biciclette Directed by Vittorio De Sica Starring Lamberto Maggiorani, Enzo Staiola, Lianella Carell• Cry, the Beloved Country (1951) Directed by Zoltan Korda Starring Canada Lee, Sidney Poitier, Charles Carson• Le petit soldat (1961) Directed by Jean-Luc Godard Starring Anna Karina, Michel Subor, Henri-Jacques Huet• Cléo from 5 to 7 (1963) Cléo de 5 à 7 Directed by Agnès Varda Starring Corinne Marchand, Antoine Bourseiller, Dominique Davray• The Umbrellas of Cherbourg (1964) Les parapluies de Cherbourg Directed by Jacques Demy Starring Catherine Deneuve, Nino Castelnuovo, Anne Vernon• Nanny (2022) Directed by Nikyatu Jusu Starring Anna Diop, Michelle Monaghan, Sinqua WallsBooks discussed:• The Stranger by Albert Camus (1942)• Prison Notebooks by Antonio Gramchi (1947)• Black Skin, White Masks by Frantz Fanon (1952)• God's Bits of Wood by Ousmane Sembène (1960)• The Wretched of the Earth by Frantz Fanon (1961)• Frantz Fanon: Toward A Revolutionary Humanism by Christopher J. Lee (2015)

Summer Solstice Greetings Glocal Citizens! I'm fresh off of a couple of weeks of ramping up the summer in Europe where the sun was truly a superstar right alongside my guest for the next few episodes. James Barnor is a Ghanaian (https://en.wikipedia.org/wiki/Ghana) photographer who has been based in London since the 1990s. His career spans six decades, and although for much of that period his work was not widely known, it has latterly been discovered by new audiences. In his street (https://en.wikipedia.org/wiki/Street_photography) and studio photography (https://en.wikipedia.org/wiki/Studio_photography), Barnor represents societies in transition in the 1950s and 1960s: Ghana moving toward independence (https://en.wikipedia.org/wiki/History_of_Ghana#Independent_Ghana), and London becoming a multicultural metropolis. He has said: "I was lucky to be alive when things were happening...when Ghana was going to be independent and Ghana became independent, and when I came to England the Beatles (https://en.wikipedia.org/wiki/The_Beatles) were around. Things were happening in the 60s, so I call myself Lucky Jim." He was Ghana's first full-time newspaper photographer in the 1950s, and he is credited with introducing color processing (https://en.wikipedia.org/wiki/Colour_photography) to Ghana in the 1970s. It has been said: "James Barnor is to Ghana and photojournalism what Ousmane Sembène (https://en.wikipedia.org/wiki/Ousmane_Semb%C3%A8ne) was to Senegal (https://en.wikipedia.org/wiki/Senegal) and African cinema." Barnor has spoken of how his work was rediscovered in 2007 during the "Ghana at 50" jubilee season by curator Nana Oforiatta-Ayim (https://en.wikipedia.org/wiki/Nana_Oforiatta-Ayim), who organized the first exhibition of his photographs at Black Cultural Archives (https://en.wikipedia.org/wiki/Black_Cultural_Archives) (BCA). Appreciation of his work as a studio portraitist, photojournalist (https://en.wikipedia.org/wiki/Photojournalism) and Black lifestyle photographer has been further heightened since 2010 when a major solo retrospective exhibition of his photographs, Ever Young: James Barnor, was mounted at Rivington Place (https://en.wikipedia.org/wiki/Rivington_Place), London, followed by a series of exhibitions including in the United States and South Africa (https://en.wikipedia.org/wiki/South_Africa). His photographs were collated by the non-profit agency Autograph ABP (https://en.wikipedia.org/wiki/Autograph_ABP) during a four-year project funded by the Heritage Lottery Fund (https://en.wikipedia.org/wiki/Heritage_Lottery_Fund) and in 2011 became part of the new Archive and Research Centre for Culturally Diverse Photography. Barnor's photographs have also in recent years had showings in Ghana, South Africa, France - (Paris Photo (https://en.wikipedia.org/wiki/Paris_Photo) 2011, Galerie Baudoin Lebon; Galerie Clémentine de la Féronnière), The Netherlands (https://en.wikipedia.org/wiki/The_Netherlands), the UK and the US. The first monograph of his work, entitled James Barnor: Ever Young, was published in 2015, including an extensive conversation between Barnor and Margaret Busby (https://en.wikipedia.org/wiki/Margaret_Busby) with Francis Hodgson. I'm honored to be able to share his story--the history, the craft, the artistry and the humor of Uncle Jim. Where to find James? On LinkedIn (https://www.linkedin.com/in/james-barnor-42569b11/) On Instagram (https://www.instagram.com/james_barnor_archives/?hl=en) On Facebook (https://www.facebook.com/james.barnor/) In the New York Times (https://www.nytimes.com/2023/06/30/arts/james-barnor-dia-ghana.html) What's Uncle Jim watching? America's Got Talent (https://www.youtube.com/user/americasgottalent) Britain's Got Talent (https://www.youtube.com/@BGT) Other topics of interest: About Two Coronations (https://www.bbc.com/historyofthebbc/100-voices/birth-of-tv/two-coronations/) Accra earthquake 1939 (https://www.nature.com/articles/147751a0) A brief history of housing in Ghana (https://www.ghanaweb.com/GhanaHomePage/NewsArchive/A-brief-history-of-housing-in-Ghana-117756) 1942 Shipwreck (https://www.science.org/content/article/germans-torpedoed-ship-during-world-war-ii-wreck-now-revealing-secrets-about-underwater) What is Akpeteshie? (https://en.wikipedia.org/wiki/Akpeteshie) On Kodak's Baby Brownie Camera (https://www.fi.edu/en/kodak-brownie-camera#:~:text=Eastman%20Kodak%20introduced%20the%20new,by%20a%20major%20advertising%20campaign) Other Kodak cameras (https://thedarkroom.com/resurrect-old-620-film-cameras-with-120-film/) Ghana's Daily Graphic (https://corporate.graphic.com.gh/about-us/our-history.html) Letterpress vs the Next-generation Press (https://hellolovely.design/top-tip/2022/3/26/letterpress-an-endangered-and-at-risk-craft) Ghana's Prized Boxer Roy Ankrah (https://en.wikipedia.org/wiki/Roy_Ankrah) About British Accra and the Seaview Hotel (http://www.ghanadot.com/Review.amarteifio.jamestownaccra.111015.htm) Krobo Edusei (https://en.wikipedia.org/wiki/Krobo_Edusei) World University Service - Canada (https://wusc.ca/) Drum Magazine (http://www.robertnewman.com/1950s-covers-of-south-africas-drum-africas-leading-magazine/#:~:text=Drum%20was%20a%20South%20African,anti%2Dapartheid%20protests%20and%20events) Achimota School (https://www.achimota.edu.gh/) Medway College of Arts - Kent (https://www.wearemedway.co.uk/learn/university-of-creative-arts/) Oko Kolamashie (https://www.facebook.com/FlyToGhana/photos/a.1201015243436520/1867644386773599/?type=3) Special Guest: James Barnor.

Summer Solstice Greetings Glocal Citizens! I'm fresh off of a couple of weeks of ramping up the summer in Europe where the sun was truly a superstar right alongside my guest for the next few episodes. James Barnor is a Ghanaian (https://en.wikipedia.org/wiki/Ghana) photographer who has been based in London since the 1990s. His career spans six decades, and although for much of that period his work was not widely known, it has latterly been discovered by new audiences. In his street (https://en.wikipedia.org/wiki/Street_photography) and studio photography (https://en.wikipedia.org/wiki/Studio_photography), Barnor represents societies in transition in the 1950s and 1960s: Ghana moving toward independence (https://en.wikipedia.org/wiki/History_of_Ghana#Independent_Ghana), and London becoming a multicultural metropolis. He has said: "I was lucky to be alive when things were happening...when Ghana was going to be independent and Ghana became independent, and when I came to England the Beatles (https://en.wikipedia.org/wiki/The_Beatles) were around. Things were happening in the 60s, so I call myself Lucky Jim." He was Ghana's first full-time newspaper photographer in the 1950s, and he is credited with introducing color processing (https://en.wikipedia.org/wiki/Colour_photography) to Ghana in the 1970s. It has been said: "James Barnor is to Ghana and photojournalism what Ousmane Sembène (https://en.wikipedia.org/wiki/Ousmane_Semb%C3%A8ne) was to Senegal (https://en.wikipedia.org/wiki/Senegal) and African cinema." Barnor has spoken of how his work was rediscovered in 2007 during the "Ghana at 50" jubilee season by curator Nana Oforiatta-Ayim (https://en.wikipedia.org/wiki/Nana_Oforiatta-Ayim), who organized the first exhibition of his photographs at Black Cultural Archives (https://en.wikipedia.org/wiki/Black_Cultural_Archives) (BCA). Appreciation of his work as a studio portraitist, photojournalist (https://en.wikipedia.org/wiki/Photojournalism) and Black lifestyle photographer has been further heightened since 2010 when a major solo retrospective exhibition of his photographs, Ever Young: James Barnor, was mounted at Rivington Place (https://en.wikipedia.org/wiki/Rivington_Place), London, followed by a series of exhibitions including in the United States and South Africa (https://en.wikipedia.org/wiki/South_Africa). His photographs were collated by the non-profit agency Autograph ABP (https://en.wikipedia.org/wiki/Autograph_ABP) during a four-year project funded by the Heritage Lottery Fund (https://en.wikipedia.org/wiki/Heritage_Lottery_Fund) and in 2011 became part of the new Archive and Research Centre for Culturally Diverse Photography. Barnor's photographs have also in recent years had showings in Ghana, South Africa, France - (Paris Photo (https://en.wikipedia.org/wiki/Paris_Photo) 2011, Galerie Baudoin Lebon; Galerie Clémentine de la Féronnière), The Netherlands (https://en.wikipedia.org/wiki/The_Netherlands), the UK and the US. The first monograph of his work, entitled James Barnor: Ever Young, was published in 2015, including an extensive conversation between Barnor and Margaret Busby (https://en.wikipedia.org/wiki/Margaret_Busby) with Francis Hodgson. I'm honored to be able to share his story--the history, the craft, the artistry and the humor of Uncle Jim. Where to find James? On LinkedIn (https://www.linkedin.com/in/james-barnor-42569b11/) On Instagram (https://www.instagram.com/james_barnor_archives/?hl=en) On Facebook (https://www.facebook.com/james.barnor/) In the New York Times (https://www.nytimes.com/2023/06/30/arts/james-barnor-dia-ghana.html) What's Uncle Jim watching? America's Got Talent (https://www.youtube.com/user/americasgottalent) Britain's Got Talent (https://www.youtube.com/@BGT) Other topics of interest: About Two Coronations (https://www.bbc.com/historyofthebbc/100-voices/birth-of-tv/two-coronations/) Accra earthquake 1939 (https://www.nature.com/articles/147751a0) A brief history of housing in Ghana (https://www.ghanaweb.com/GhanaHomePage/NewsArchive/A-brief-history-of-housing-in-Ghana-117756) 1942 Shipwreck (https://www.science.org/content/article/germans-torpedoed-ship-during-world-war-ii-wreck-now-revealing-secrets-about-underwater) What is Akpeteshie? (https://en.wikipedia.org/wiki/Akpeteshie) On Kodak's Baby Brownie Camera (https://www.fi.edu/en/kodak-brownie-camera#:~:text=Eastman%20Kodak%20introduced%20the%20new,by%20a%20major%20advertising%20campaign) Other Kodak cameras (https://thedarkroom.com/resurrect-old-620-film-cameras-with-120-film/) Ghana's Daily Graphic (https://corporate.graphic.com.gh/about-us/our-history.html) Letterpress vs the Next-generation Press (https://hellolovely.design/top-tip/2022/3/26/letterpress-an-endangered-and-at-risk-craft) Ghana's Prized Boxer Roy Ankrah (https://en.wikipedia.org/wiki/Roy_Ankrah) About British Accra and the Seaview Hotel (http://www.ghanadot.com/Review.amarteifio.jamestownaccra.111015.htm) Krobo Edusei (https://en.wikipedia.org/wiki/Krobo_Edusei) World University Service - Canada (https://wusc.ca/) Drum Magazine (http://www.robertnewman.com/1950s-covers-of-south-africas-drum-africas-leading-magazine/#:~:text=Drum%20was%20a%20South%20African,anti%2Dapartheid%20protests%20and%20events) Achimota School (https://www.achimota.edu.gh/) Medway College of Arts - Kent (https://www.wearemedway.co.uk/learn/university-of-creative-arts/) Oko Kolamashie (https://www.facebook.com/FlyToGhana/photos/a.1201015243436520/1867644386773599/?type=3) Special Guest: James Barnor.

It's the final pick in our New Black Film Canon program, and Andrew has selected Ousmane Sembène's 1966 classic Black Girl. Before going long on what Joshua calls his favorite film they've covered, they'll review Disney/Pixar's Elemental and two films that they think are among the best of the year: Celine Strong's Past Lives and Wes Anderson's Asteroid City. After talking Ousmane "revolutionary" debut feature, they dig even deeper into this program's genesis, exploring Slate and NPR's list of The New Black Film Canon. For the rest of the summer, they take up films covered in Quentin Tarantino's book Cinema Speculation. Guest Cliff Froehlich, contributor and former editor for The Riverfront Times and former Executive Director of Cinema St. Louis, is on hand to talk Rolling Thunder. Until then, please share, subscribe, and review! Read on at TheTake-Up.com and follow us @thetakeupstl on ⁠Instagram⁠/⁠Twitter⁠/⁠Letterboxd⁠/⁠Facebook⁠. Special thanks to editor Jessica Pierce, Social Media Manager Kayla McCulloch, and our partners at ⁠Cinema St. Louis⁠. Theme music by AMP. --- Send in a voice message: https://podcasters.spotify.com/pod/show/thetakeupstl/message

Two dear friends and Film Festival colleagues attempt to bridge the gaps of their long-distance relationship AND their own film educations through a bi-weekly screening and discussion project of the gap films that have eluded their cinematic discovery.On this week's call, Scott and Jack deconstruct the STUNNING debut of  Senegalese filmmaker Ousmane Sembène. 

Summer Solstice Greetings Glocal Citizens! I'm fresh off of a couple of weeks of ramping up the summer in Europe where the sun was truly a superstar right alongside my guest for the next few episodes. James Barnor is a Ghanaian (https://en.wikipedia.org/wiki/Ghana) photographer who has been based in London since the 1990s. His career spans six decades, and although for much of that period his work was not widely known, it has latterly been discovered by new audiences. In his street (https://en.wikipedia.org/wiki/Street_photography) and studio photography (https://en.wikipedia.org/wiki/Studio_photography), Barnor represents societies in transition in the 1950s and 1960s: Ghana moving toward independence (https://en.wikipedia.org/wiki/History_of_Ghana#Independent_Ghana), and London becoming a multicultural metropolis. He has said: "I was lucky to be alive when things were happening...when Ghana was going to be independent and Ghana became independent, and when I came to England the Beatles (https://en.wikipedia.org/wiki/The_Beatles) were around. Things were happening in the 60s, so I call myself Lucky Jim." He was Ghana's first full-time newspaper photographer in the 1950s, and he is credited with introducing color processing (https://en.wikipedia.org/wiki/Colour_photography) to Ghana in the 1970s. It has been said: "James Barnor is to Ghana and photojournalism what Ousmane Sembène (https://en.wikipedia.org/wiki/Ousmane_Semb%C3%A8ne) was to Senegal (https://en.wikipedia.org/wiki/Senegal) and African cinema." Barnor has spoken of how his work was rediscovered in 2007 during the "Ghana at 50" jubilee season by curator Nana Oforiatta-Ayim (https://en.wikipedia.org/wiki/Nana_Oforiatta-Ayim), who organized the first exhibition of his photographs at Black Cultural Archives (https://en.wikipedia.org/wiki/Black_Cultural_Archives) (BCA). Appreciation of his work as a studio portraitist, photojournalist (https://en.wikipedia.org/wiki/Photojournalism) and Black lifestyle photographer has been further heightened since 2010 when a major solo retrospective exhibition of his photographs, Ever Young: James Barnor, was mounted at Rivington Place (https://en.wikipedia.org/wiki/Rivington_Place), London, followed by a series of exhibitions including in the United States and South Africa (https://en.wikipedia.org/wiki/South_Africa). His photographs were collated by the non-profit agency Autograph ABP (https://en.wikipedia.org/wiki/Autograph_ABP) during a four-year project funded by the Heritage Lottery Fund (https://en.wikipedia.org/wiki/Heritage_Lottery_Fund) and in 2011 became part of the new Archive and Research Centre for Culturally Diverse Photography. Barnor's photographs have also in recent years had showings in Ghana, South Africa, France - (Paris Photo (https://en.wikipedia.org/wiki/Paris_Photo) 2011, Galerie Baudoin Lebon; Galerie Clémentine de la Féronnière), The Netherlands (https://en.wikipedia.org/wiki/The_Netherlands), the UK and the US. The first monograph of his work, entitled James Barnor: Ever Young, was published in 2015, including an extensive conversation between Barnor and Margaret Busby (https://en.wikipedia.org/wiki/Margaret_Busby) with Francis Hodgson. I'm honored to be able to share his story--the history, the craft, the artistry and the humor of Uncle Jim. Where to find James? On LinkedIn (https://www.linkedin.com/in/james-barnor-42569b11/) On Instagram (https://www.instagram.com/james_barnor_archives/?hl=en) On Facebook (https://www.facebook.com/james.barnor/) In the New York Times (https://www.nytimes.com/2023/06/30/arts/james-barnor-dia-ghana.html) What's Uncle Jim watching? America's Got Talent (https://www.youtube.com/user/americasgottalent) Britain's Got Talent (https://www.youtube.com/@BGT) Other topics of interest: About Two Coronations (https://www.bbc.com/historyofthebbc/100-voices/birth-of-tv/two-coronations/) Accra earthquake 1939 (https://www.nature.com/articles/147751a0) A brief history of housing in Ghana (https://www.ghanaweb.com/GhanaHomePage/NewsArchive/A-brief-history-of-housing-in-Ghana-117756) 1942 Shipwreck (https://www.science.org/content/article/germans-torpedoed-ship-during-world-war-ii-wreck-now-revealing-secrets-about-underwater) What is Akpeteshie? (https://en.wikipedia.org/wiki/Akpeteshie) On Kodak's Baby Brownie Camera (https://www.fi.edu/en/kodak-brownie-camera#:~:text=Eastman%20Kodak%20introduced%20the%20new,by%20a%20major%20advertising%20campaign) Other Kodak cameras (https://thedarkroom.com/resurrect-old-620-film-cameras-with-120-film/) Ghana's Daily Graphic (https://corporate.graphic.com.gh/about-us/our-history.html) Letterpress vs the Next-generation Press (https://hellolovely.design/top-tip/2022/3/26/letterpress-an-endangered-and-at-risk-craft) Ghana's Prized Boxer Roy Ankrah (https://en.wikipedia.org/wiki/Roy_Ankrah) About British Accra and the Seaview Hotel (http://www.ghanadot.com/Review.amarteifio.jamestownaccra.111015.htm) Krobo Edusei (https://en.wikipedia.org/wiki/Krobo_Edusei) World University Service - Canada (https://wusc.ca/) Drum Magazine (http://www.robertnewman.com/1950s-covers-of-south-africas-drum-africas-leading-magazine/#:~:text=Drum%20was%20a%20South%20African,anti%2Dapartheid%20protests%20and%20events) Achimota School (https://www.achimota.edu.gh/) Medway College of Arts - Kent (https://www.wearemedway.co.uk/learn/university-of-creative-arts/) Oko Kolamashie (https://www.facebook.com/FlyToGhana/photos/a.1201015243436520/1867644386773599/?type=3) Special Guest: James Barnor.

It's a big one, folks! Go down the cinematic rabbit holes of Cheryl Dunye's Black queer classic ⁠The Watermelon Woman, Joshua's pick for for ⁠The New Black Film Canon⁠ program. Before that he and Andrew review a bevy of new releases, including: You Hurt My Feelings, The Little Mermaid remake, About My Father, The Eight Mountains, and In the Dusk. After taking up Dunye's film, Joshua and Andrew gush about the end of HBO's Succession before recommending the Critters films (yes, those Critters) and I Think You Should Leave with Tim Robinson. Whew! For the final film in our New Black Film Canon program, Andrew's chosen Ousmane Sembène's 1966 classic Black Girl. Until then, please share, subscribe, and review! Read on at TheTake-Up.com and follow us @thetakeupstl on ⁠Instagram⁠/⁠Twitter⁠/⁠Letterboxd⁠/⁠Facebook⁠. Special thanks to editor Jessica Pierce, Social Media Manager Kayla McCulloch, and our partners at ⁠Cinema St. Louis⁠. Theme music by AMP. --- Send in a voice message: https://podcasters.spotify.com/pod/show/thetakeupstl/message

L'écrivain et cinéaste sénégalais Ousmane Sembène (1923-2007) aurait eu 100 ans en 2023. Considéré comme le père du 7e art en Afrique, il est à l'origine de la Semaine du cinéma, futur FESPACO. Germain Coly, directeur de la Cinématographie du Sénégal, revient sur cette figure majeure de l'Afrique contemporaine. Présentation : Denise Époté. www.tv5monde.com/etsi

O Francês Sem Fronteiras é um convite para conhecer a língua francesa além da França. No primeiro episódio, você vai viajar com a Luiza Casali para o Senegal, país onde o francês é língua oficial e coexiste em meio a trinta idiomas locais. Vamos lá? On y va? Aqui você confere as indicações de livros (Eu, Tituba, de Maryse Condé; Loin de Médine, de Assia Djebar; Canção de Ninar, de Leïla Slimani) e de filmes (La noire de…, de Ousmane Sembène; Aujourd'hui, de Alain Gomis; Félicité, de Alain Gomis; Atlantique, de Mati Diop). Ficha técnica: Roteiro, locução e edição: Luiza Casali Participação: Josilene Pinheiro Mariz, Sabrina Aragão e Elhadji Amar Coordenadoria técnica: Roque Bezerra e Peter Lobo Colaboração de monitoria: Luana Consoli Orientação: Professor Áureo Moraes

This week we've got a bumper episode to kick off a new era for the podcast where we'll be talking to a host of exciting filmmakers, writers and actors. We look at Darren Aronofsky's Brenaissance igniting film, The Whale, and LWLies Digital Editor Hannah Strong spoke to the director about his heart-breaking tale of a self-destruction. Next up is Alice Diop's exquisite tragedy, Saint Omer. Things shift gears again for M Night Shyamalan's taut apocalyptic thriller Knock at the Cabin, and Hannah Strong's interview with the great man himself. If that wasn't, enough David Jenkins reports on the highlights of the Rotterdam Film Festival. Finally, for Film Club we revisit Ousmane Sembéne's 1969 masterpiece, Black Girl.Joining host Leila Latif are LWLies contributors Lillian Crawford and Rogan Graham.Truth & Movies is the podcast from the film experts at Little White Lies, where along with selected colleagues and friends, they discuss the latest movie releases. Truth & Movies has all your film needs covered, reviewing the latest releases big and small, talking to some of the most exciting filmmakers, keeping you across important industry news, and reassessing great films from days gone by with the Truth & Movies Film Club.Email: truthandmovies@tcolondon.comTwitter and Instagram: @LWLiesProduced by TCO Hosted on Acast. See acast.com/privacy for more information.

In this episode of What a Picture, Bryan and Hannah discuss Black Girl, the 1966 movie directed by Ousmane Sembène that ranks #95 on Sight and Sound's 2022 Greatest Films of All Time Critics' Poll. Music is "Phaser" by Static in Verona.

https://notesonfilm1.com/2023/01/21/thinking-aloud-about-film-black-girl-ousmane-sembene-france-senegal-1966/ A discussion of Ousmane Sembène's BLACK GIRL (France/ Senegal, 1966), a rich and poetic evocation of post-colonial subjectivity. A young girl (M'Bissine Thérèse Diop) goes to work as a nanny for a French family in Dakar and then joins them in France later to continue working for them. But the job has changed: instead of being a nanny, she ends up cooking, cleaning, washing. She feels herself imprisoned in the room, turned into a thing, fetishised as a display: a slave. Outside of her country and away from her family, community and lover, she's constantly reminded of her outsiderness, subjectivised into subalternity. In French the film's title has connotations lost in English: the black girl of, the black girl from; connotations of outsiderness, exclusion and possession, whose black girl is she that is not from here? The white family is confounded by her unhappiness and has no idea what is wrong with her. For Sembène, she's a symbol for the country and for post-colnialism in general. But is this enough? Sight & Sound pollsters thought so and ranked it one of the best 100 films of all time. The Film Foundation's World Cinema Project thought it important enough to fund a restoration with the Cineteca di Bologna. The film is available through Criterion, the BFI, and there is a very good version on You Tube. We found it fascinating but preferred Sembène's later Mandabi.

Der senegalesische Schriftsteller und Regisseur Ousmane Sembène gilt als Begründer des afrikanischen Kinos. Mit seinem Werk wollte der Sohn eines Fischers am Aufbau eines „neuen Afrikas“ mitwirken. So wird er gerne etwa mit Bertolt Brecht verglichen.Von Bettina Rühlwww.deutschlandfunk.de, KalenderblattDirekter Link zur Audiodatei

Si vous aimez le cinéma, vous allez adorer cet épisode du podcast le Salon du Livre.  J'ai eu l'honneur de recevoir dans ce nouvel épisode du podcast un grand nom du cinéma africain, le réalisateur camerounais Jean-Pierre Bekolo. Il est aussi producteur, auteur, conférencier et enseignant. À 25 ans, il est révélé au festival de Cannes avec son film Quartier Mozart (1992). Ce film est un classique du cinéma africain aujourd'hui. Jean-Pierre Bekolo partage avec nous comment il débute par des études de physique/chimie et se retrouve ensuite dans le cinéma. C'est une époque où les réalisateurs de film étaient, comme il le dit si bien, “de vrais auteurs”. On compte parmi ces réalisateurs des personnalités comme Ousmane Sembène, les frères Coen ou encore Spike Lee. Jean-Pierre Bekolo est un homme engagé, libre. Comme ses films. Certains décryptent une partie de l'Histoire de l'Afrique comme la série historique Our Wishes (2020); d'autres imaginent le futur africain par la Science-fiction ( Les Saignantes, 2005). Dans cet échange, il pose un regard sans concession sur l'évolution du cinéma mondial en général, et africain en particulier: Son modèle économique Les enjeux de la propriété intellectuelle en Afrique L'adaptation au cinéma des œuvres littéraires africaines L'Afrofuturisme et la spéculation : comment obtenir un futur qu'on ne sait pas imaginer? Jean-Pierre Bekolo revient aussi sur ses autres projets tels que: Scripto Sensa: programme d'adaptation à l'écran de romans africains L'espace culturel “Quartier Mozart” à Yaoundé Zili Jungle Studios (Nous Les Noirs, 2020) Foumban is Wakanda La liste de recommandation de films de Jean-Pierre Bekolo sur La Cine Tek : https://www.lacinetek.com/de-fr/la-liste-de/jean-pierre-bekolo Auteurs évoqués dans l'épisode: Lionel Ngakane Martin Scorsese Djibril Diop Mambéty Hemley Boum Thierry Ntamack Djaili Amadou Amal Livres de Jean-Pierre Bekolo Reatual: Guide du cinéma dans le métavers et la réalité augmentée Afropocène: Écrits sur un pays qui s'auto-détruit Le jour d'après Africa for the future sortir un nouveau monde du cinéma The struggle is not over yet an archive in relation Livres évoqués dans l'épisode: Les Maquisards Walaande, l'art de partager un mari 

On today's episode of Mouth-Off I will be interviewing film programmer and curator YVONNE CONNIKIE. Yvonne's background is in ethnography, and she is also a PHD candidate at the University of South Wales, exploring Leisure Activities of the Windrush Caribbeans in Butetown Cardiff. She draws on her own life experiences with race, film, and the culture in her work. Yvonne was the founder of the BLACK FILM FESTIVAL WALES and is a founding member and chair of the NEW BLACK FILM COLLECTIVE. She is also the Assistant Curator for Black London Film Heritage. NB - the music tracks included in this podcast are used for the purpose of critique and analysis. ACKNOWLEDGEMENTS Intro Music - music by Clary Saddler A Time for Dream (short film trailer) – film by Yvonne Connikie [taken from YouTube] Citizen Ash (official trailer) – film by Rex Miller and Sam Pollard [taken from YouTube] Do the Right Thing (official trailer) – film by Spike Lee [taken from YouTube] Hero (feature film trailer) – film by Frances-Anne Solomon [taken from YouTube] I May Destroy you (official trailer) – film by Michaela Coel [taken from YouTube] Moolaadé (official trailer) – film by Ousmane Sembène [taken from YouTube] Pariah (official trailer) – film by Dee Rees [taken from YouTube] Stud Life (official trailer) – film by Campbell Ex [taken from YouTube] Windrush Film Festival (promo video) – event by Yvonne Connikie [taken from YouTube] The Hard Stop (official trailer) – film by George Amponsah [taken from YouTube] Outro Music - music by Clary Saddler

Heute senden wir in der Lesung im Rahmen des ARD-Radiofestivals einen Auszug aus dem Roman "Chala" des senegalesischen Autors und Filmregisseurs Ousmane Sembène. Der Roman ist eine Satire auf die Korruption und Selbstbereicherung der senegalesischen Oberschicht nach dem Ende der Kolonialherrschaft. Ein Gespräch mit dem Afrikanisten Manfred Loimeier.

The harrowing story of the GOOD MADAM, begins with the death of her grandmother, the woman who raised her, Tsidi (Chumisa Cosa) and her daughter are forced to move in with Tsidi's estranged mother, Mavis (Nosipho Mtebe), who has lived and worked in the wealthy suburbs of Cape Town for most of Tsidi's life. Residues of apartheid-era domestic servitude confront legacies of colonial land theft in South African auteur Jenna Cato Bass's daring horror-satire. Jenna Cato Bass (High Fantasy, Flatland) transforms the legacies of South Africa's colonial land theft and Black domestic service to white bosses into a gutsy psychological thriller. Co-written with Babalwa Baartman, Mlungu Wam (Good Madam) grapples with the daily violence that haunts the nation's most pressing political issues, long after the end of apartheid. Summoning horror-satire references from Ousmane Sembène's Black Girl to Jordan Peele's Get Out, Bass and Baartman's suspenseful descent into complex, searing allegory insists on reckoning with the enduring presence of traumas deceptively labelled “history.” Director Jenny Cato Bass and co-screenwriter Babalwa Baartman join us for a conversation on the inspiration for GOOD MADAM, impact and legacy on today's South Africa, their on-going collaboration, and the superb cast of actors who helped them realize their vision. For more on Good Madam go to: shudder.com

Africa's first filmmakers boldly revealed how, and why, colonialism lived on after the independences. Sarah Jilani takes a closer look at the works of Ousmane Sembène and Souleymane Cissé. The Malian director's 1982 film Finye (the Bambara word for wind) considers students as the winds of change, whilst Sembène's Mandabi, made in 1968, takes its title from a Wolof word deriving from the French for a postal money order – le mandat postale. Adapting his own novel about the frustrations of bureaucracy, the Senegalese director made the decision to make the film in the Wolof language. Sarah Jilani teaches at City, University of London and was chosen as a 2021 New Generation Thinker on the scheme run by BBC Radio 3 and the Arts and Humanities Research Council which makes research into radio. You can hear her discussing another classic of African cinema on Free Thinking in this episode about Touki Bouki https://www.bbc.co.uk/programmes/m0013js4 and Satyajit Ray's Indian Bengali drama Jalsaghar, which depicts a landlord who would prefer to listen to music than deal with his flood ravaged properties https://www.bbc.co.uk/programmes/m000v9gj Producer: Torquil MacLeod

Africa's first filmmakers boldly revealed how, and why, colonialism lived on after the independences. Sarah Jilani takes a closer look at the works of Ousmane Sembène and Souleymane Cissé. The Malian director's 1982 film Finye (the Bambara word for wind) considers students as the winds of change, whilst Sembène's Mandabi, made in 1968, takes its title from a Wolof word deriving from the French for a postal money order – le mandat postale. Adapting his own novel about the frustrations of bureaucracy, the Senegalese director made the decision to make the film in the Wolof language. Sarah Jilani teaches at City, University of London and was chosen as a 2021 New Generation Thinker on the scheme run by BBC Radio 3 and the Arts and Humanities Research Council which makes research into radio. You can hear her discussing another classic of African cinema on Free Thinking in this episode about Touki Bouki https://www.bbc.co.uk/programmes/m0013js4 and Satyajit Ray's Indian Bengali drama Jalsaghar, which depicts a landlord who would prefer to listen to music than deal with his flood ravaged properties https://www.bbc.co.uk/programmes/m000v9gj Producer: Torquil MacLeod

We discuss the work of Writer/Director of Ousmane Sembène and his films BLACK GIRL, XALA and MOOLAADÉ. Join the Patreon now for an exclusive episode every week, access to our entire Patreon Episode back catalogue, your name read out on the next episode, and the friendly Discord chat: patreon.com/theimportantcinemaclub Subscribe, Review and Rate Us on Apple Podcasts: podcasts.apple.com/us/podcast/the-…ub/id1067435576 Follow the Podcast: twitter.com/ImprtCinemaClub Follow Will: twitter.com/WillSloanESQ Follow Justin: twitter.com/DeclouxJ Check out Justin's other podcasts THE BAY STREET VIDEO PODCAST (@thebaystreetvideopodcast) and NO SUCH THING AS A BAD MOVIE (@nosuchthingasabadmovie) as well as Will's other podcast MICHAEL AND US (@michael-and-us)

Join Mike and Dustin on an all-new episode of the podcast where they sit down at the roundtable to discuss the seminal 1975 Senegalese movie by filmmaker, Ousmane Sembène, Xala. Music: "Bourdalee" (Star Band de Dakar) Like us on Facebook Follow us on Twitter Join our Patreon Subscribe for free: itunes Spotify Stitcher

https://notesonfilm1.com/2021/12/04/the-youssef-chahine-film-club-no-3-mandabi-ousmane-sembene-1968/ A discussion of Ousmane Sembène's Mandabi. José had never seen it before and found it a revelation. Richard's now seen it twice, once at the cinema in a beautiful restoration that's now been put out by Criterion. The film is currently screening on MUBI and we highly recommend it. We talk issues of representation, gender, colonialism, how structures seem designed to oppress a sector of the population which nonetheless constitutes 'the people'. We also talk film aesthetics and what it was about the film that Youssef Chahine might have found so appealing.

Ken and Mike welcome Kirsten (KJ) Johnson, who recently won Best Director for her groundbreaking film, "Dick Johnson is Dead." This film is like no other film you'll find in your Netflix queue. KJ's boundary-pushing documentary uses the art of cinema to keep the ravages of time and the onset of dementia from taking her beloved father Dick away from her. The solution? Keep killing her father over-and-over again on camera, all with Dick's active participation and encouragement.  Once you survive the film, you'll definitely want to join Mike and Ken for this refreshingly candid conversation with KJ who constantly questions everything (including our questions!) and proves herself to be every bit as provocative, playful and engaging as the film itself. Covering everything from Seventh-day Adventism and the best way to stage your father's funeral while he's still alive to Vertov's Man with a Movie Camera and, of course, chocolate cake, this week's podcast is one you'll be dying to listen to. And look out for that falling air conditioner!  You can follow us on twitter @topdocspod Other films directed by Kirsten Johnson: Cameraperson Deadline   People who worked on the film: Judy Karp Michael Hilow Nels Bangerter Peter Horner Nadia Hallgren John Foster Simon Mendes Marilyn Ness   Hidden Gem:  Marjoe   Also mentioned in the pod: Ousmane Sembène  Djibril Diop Mambéty Wellington Bowler Young Frankenstein Monty Python's Flying Circus Charles Addams Lacan on social death  Derrida (the documentary) Quantum Entanglement The Rise and Fall of Mars Hill  

Nicole Mballa Mikolo est une journaliste camerounaise, auteure et poétesse. Elle publie en 2016 son premier livre Les calebasses brisées chez l'Harmattan en 2016. Passionnée de lecture et d'écriture, elle s'inspire du Haïku, cette forme de poème japonais de 3 vers qui lie le cœur, les yeux et la main.  L'étoile est ma demeure est son dernier recueil de poèmes sorti aux Éditions Renaissance Africaine en octobre 2020. Il a été préfacé par le poète et écrivain sénégalais le Dr. Ndongo MBaye qui l'a poussée à faire de la poésie. Avec chaque poème de L'étoile est ma demeure, la poétesse veut offrir des paquets de bonheur, de liberté, d'amour et d'espoir au lecteur, car ce sont les mots qui éclairent son quotidien comme des étoiles. Dans cet épisode, Nicole Mballa Mikolo, revient sur ses 12 années vécues au Japon et comment la culture japonaise a influencé sa philosophie de vie et sur son écriture. Les auteurs africains jouent également un très grand rôle dans sa culture littéraire depuis son enfance. Elle donne aussi son avis par rapport à la polémique à propos du choix de la traductrice néerlandaise de la poétesse afro-américaine Amanda Gorman, qui avait secoué le monde de la poésie il y a quelques mois.  Les livres évoqués dans cet épisode : - Nini, Mulâtresse du Sénégal d'Abdoulaye Sadji - Maïmouna d'Abdoulaye Sadji - Karim de Ousmane Socé - Une si longue lettre de Mariama Bâ - Les Bouts de bois de Dieu de Ousmane Sembène - Chroniques de Mvoutessi de Guillaume Oyônô Mbia - Ville cruelle de Mongo Béti - De Tilène au Plateau : Une enfance dakaroise de Nafissatou Niang Diallo - Né un mardi de Elnathan John - Amkoullel d'Amadou Hampaté Ba

In At Penpoint: African Literatures, Postcolonial Studies, and the Cold War (Duke UP, 2020), Monica Popescu traces the development of African literature during the second half of the twentieth century to address the intertwined effects of the Cold War and decolonization on literary history. Popescu draws on archival materials from the Soviet-sponsored Afro-Asian Writers Association and the CIA-funded Congress for Cultural Freedom alongside considerations of canonical literary works by Ayi Kwei Armah, Ngugi wa Thiong'o, Ousmane Sembène, Pepetela, Nadine Gordimer, and others. She outlines how the tensions between the United States and the Soviet Union played out in the aesthetic and political debates among African writers and intellectuals. These writers decolonized aesthetic canons even as superpowers attempted to shape African cultural production in ways that would advance their ideological and geopolitical goals. Placing African literature at the crossroads of postcolonial theory and studies of the Cold War, Popescu provides a new reassessment of African literature, aesthetics, and knowledge production. Monica Popescu is Associate Professor and William Dawson Scholar of African Literatures in the Department of English at McGill University. She is the author of South African Literature beyond the Cold War and The Politics of Violence in Post-communist Films. Victoria Oana Lupașcu is an Assistant Professor of Comparative Literature and Asian Studies at University of Montréal. Her areas of interest include medical humanities, visual art, 20th and 21st Chinese, Brazilian and Romanian literature and Global South studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

In At Penpoint: African Literatures, Postcolonial Studies, and the Cold War (Duke UP, 2020), Monica Popescu traces the development of African literature during the second half of the twentieth century to address the intertwined effects of the Cold War and decolonization on literary history. Popescu draws on archival materials from the Soviet-sponsored Afro-Asian Writers Association and the CIA-funded Congress for Cultural Freedom alongside considerations of canonical literary works by Ayi Kwei Armah, Ngugi wa Thiong'o, Ousmane Sembène, Pepetela, Nadine Gordimer, and others. She outlines how the tensions between the United States and the Soviet Union played out in the aesthetic and political debates among African writers and intellectuals. These writers decolonized aesthetic canons even as superpowers attempted to shape African cultural production in ways that would advance their ideological and geopolitical goals. Placing African literature at the crossroads of postcolonial theory and studies of the Cold War, Popescu provides a new reassessment of African literature, aesthetics, and knowledge production. Monica Popescu is Associate Professor and William Dawson Scholar of African Literatures in the Department of English at McGill University. She is the author of South African Literature beyond the Cold War and The Politics of Violence in Post-communist Films. Victoria Oana Lupașcu is an Assistant Professor of Comparative Literature and Asian Studies at University of Montréal. Her areas of interest include medical humanities, visual art, 20th and 21st Chinese, Brazilian and Romanian literature and Global South studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-studies

In At Penpoint: African Literatures, Postcolonial Studies, and the Cold War (Duke UP, 2020), Monica Popescu traces the development of African literature during the second half of the twentieth century to address the intertwined effects of the Cold War and decolonization on literary history. Popescu draws on archival materials from the Soviet-sponsored Afro-Asian Writers Association and the CIA-funded Congress for Cultural Freedom alongside considerations of canonical literary works by Ayi Kwei Armah, Ngugi wa Thiong'o, Ousmane Sembène, Pepetela, Nadine Gordimer, and others. She outlines how the tensions between the United States and the Soviet Union played out in the aesthetic and political debates among African writers and intellectuals. These writers decolonized aesthetic canons even as superpowers attempted to shape African cultural production in ways that would advance their ideological and geopolitical goals. Placing African literature at the crossroads of postcolonial theory and studies of the Cold War, Popescu provides a new reassessment of African literature, aesthetics, and knowledge production. Monica Popescu is Associate Professor and William Dawson Scholar of African Literatures in the Department of English at McGill University. She is the author of South African Literature beyond the Cold War and The Politics of Violence in Post-communist Films. Victoria Oana Lupașcu is an Assistant Professor of Comparative Literature and Asian Studies at University of Montréal. Her areas of interest include medical humanities, visual art, 20th and 21st Chinese, Brazilian and Romanian literature and Global South studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

In At Penpoint: African Literatures, Postcolonial Studies, and the Cold War (Duke UP, 2020), Monica Popescu traces the development of African literature during the second half of the twentieth century to address the intertwined effects of the Cold War and decolonization on literary history. Popescu draws on archival materials from the Soviet-sponsored Afro-Asian Writers Association and the CIA-funded Congress for Cultural Freedom alongside considerations of canonical literary works by Ayi Kwei Armah, Ngugi wa Thiong'o, Ousmane Sembène, Pepetela, Nadine Gordimer, and others. She outlines how the tensions between the United States and the Soviet Union played out in the aesthetic and political debates among African writers and intellectuals. These writers decolonized aesthetic canons even as superpowers attempted to shape African cultural production in ways that would advance their ideological and geopolitical goals. Placing African literature at the crossroads of postcolonial theory and studies of the Cold War, Popescu provides a new reassessment of African literature, aesthetics, and knowledge production. Monica Popescu is Associate Professor and William Dawson Scholar of African Literatures in the Department of English at McGill University. She is the author of South African Literature beyond the Cold War and The Politics of Violence in Post-communist Films. Victoria Oana Lupașcu is an Assistant Professor of Comparative Literature and Asian Studies at University of Montréal. Her areas of interest include medical humanities, visual art, 20th and 21st Chinese, Brazilian and Romanian literature and Global South studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

In At Penpoint: African Literatures, Postcolonial Studies, and the Cold War (Duke UP, 2020), Monica Popescu traces the development of African literature during the second half of the twentieth century to address the intertwined effects of the Cold War and decolonization on literary history. Popescu draws on archival materials from the Soviet-sponsored Afro-Asian Writers Association and the CIA-funded Congress for Cultural Freedom alongside considerations of canonical literary works by Ayi Kwei Armah, Ngugi wa Thiong'o, Ousmane Sembène, Pepetela, Nadine Gordimer, and others. She outlines how the tensions between the United States and the Soviet Union played out in the aesthetic and political debates among African writers and intellectuals. These writers decolonized aesthetic canons even as superpowers attempted to shape African cultural production in ways that would advance their ideological and geopolitical goals. Placing African literature at the crossroads of postcolonial theory and studies of the Cold War, Popescu provides a new reassessment of African literature, aesthetics, and knowledge production. Monica Popescu is Associate Professor and William Dawson Scholar of African Literatures in the Department of English at McGill University. She is the author of South African Literature beyond the Cold War and The Politics of Violence in Post-communist Films. Victoria Oana Lupașcu is an Assistant Professor of Comparative Literature and Asian Studies at University of Montréal. Her areas of interest include medical humanities, visual art, 20th and 21st Chinese, Brazilian and Romanian literature and Global South studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Mortars, marabouts, and colonialist briefcases, oh my! Shaun Duke and Brandon O'Brien take At the Movies in a truly new direction as they explore Ousmane Sembène's Xala! Together, Shaun and Brandon explore the history of one of the earliest and significant works of African SF/F cinema, from its themes of family, pride, and greed to […]

The First Congress of Black Writers and Artists in Paris 1956 staged debates about colonial history which are still playing out in the protests of the Gilets Noirs. New Generation Thinker Alexandra Reza leafs through the pages of the journal Présence Africaine, and picks out a short story by Ousmane Sembène tracing the dreams of a young woman from Senegal. Her experiences are echoed in a new experimental patchwork of writing by Nathalie Quintane called Les enfants vont bien. And what links all of these examples is the idea of papers, cahiers and identity documents. Producer: Emma Wallace Alexandra Reza researches post-colonial literature at the University of Oxford. You can hear her in a Free Thinking discussion about Aimé Césaire https://www.bbc.co.uk/programmes/m000nmxf She also appears alongside Tariq Ali and Kehindre Andrews in a discussion Frantz Fanon's Writing https://www.bbc.co.uk/programmes/m000tdtn And in last week's Free Thinking episode looking at the fiction of Maryse Condé https://www.bbc.co.uk/programmes/m000v86y She is a New Generation Thinker on the scheme run by BBC Radio 3 and the Arts and Humanities Council to select academics to turn their research into radio.

The First Congress of Black Writers and Artists in Paris 1956 staged debates about colonial history which are still playing out in the protests of the Gilets Noirs. New Generation Thinker Alexandra Reza leafs through the pages of the journal Présence Africaine, and picks out a short story by Ousmane Sembène, tracing the dreams of a young woman from Senegal. Her experiences are echoed in a new experimental patchwork of writing by Nathalie Quintane called Les Enfants Vont Bien. And what links all of these examples is the idea of papers, cahiers, and identity documents. Producer: Emma Wallace Alexandra Reza researches post-colonial literature at the University of Oxford. You can hear her in a Free Thinking discussion about Aimé Césaire https://www.bbc.co.uk/programmes/m000nmxf She also appears alongside Tariq Ali and Kehinde Andrews in a discussion Frantz Fanon's Writing https://www.bbc.co.uk/programmes/m000tdtn And in a Free Thinking episode looking at the fiction of Maryse Condé https://www.bbc.co.uk/programmes/m000v86y She is a New Generation Thinker on the scheme run by BBC Radio 3 and the Arts and Humanities Research Council to select academics to turn their research into radio.

In this episode, we mark the release of revenge thriller Promising Young Woman by discussing the important debates on sexual harassment taking place in the UK. CW: This episode contains discussions of sexual assault. Anna is first joined by film critic and broadcaster Leila Latif to delve into Promising Young Woman and talk about some of the relevant issues it raises. She discusses her brilliant article on ‘Nice Guys’ in the movies and recommends a thought-provoking documentary to accompany your viewing of Promising Young Woman. Anna and Leila think about past depictions of sexual assault on screen and how our understanding is slowly changing for the better. Next, Ammaarah Zayna talks to Anna about her activism and experience as a frontline gender-based violence worker. She discusses the Sarah Everard vigil and the importance of calling out all forms of gender-based violence. As a woman of colour, Ammaarah shares her thoughts on police brutality and the frustrations of not feeling heard until more privileged women speak up. She points out that film is a tool that can not only change perceptions, but that filmmaking can be a healing process for survivors. Finally, ex-police officer and campaigner Susannah Fish opens up to Anna about the shocking sexist obstacles she faced when joining the police force in the 80s. Considering the proposal to place undercover cops in bars, Susannah recounts a horrifying history of undercover policing. She further discusses her campaign for misogyny to be recognised as a hate crime and why we must transform the education of our boys and men. Promising Young Woman is on Sky Cinema and NOW from April 16 2021. Other Movie and TV mentions: I Care A Lot, The Accused, Red Roll Red, Violation, Saint Maud, Sex and the City, Nomadland & Chloe Zhaó’s previous works, the works of Ousmane Sembène, I May Destroy You, Big Mouth. Leila Latif’s article on ‘Nice Guys’: https://lwlies.com/articles/the-noble-stalker/ LevelUp: https://www.welevelup.org VAWG survey: https://act.welevelup.org/surveys/22 Ammaarah’s article on NRPF survivors: https://www.independent.co.uk/voices/domestic-violence-vawg-migrants-b1802351.html# Ammaarah’s website: https://www.ammaarahzayna.com Our Streets Now website: https://www.ourstreetsnow.org 16Days16Films: https://www.16days16films.com/ 16Days16Films x Girls On Film 2020 Awards: https://youtu.be/z7Qd3bIpIwo Article on Australian campaign & how men can help women to feel safe: https://www.stylist.co.uk/life/walk-like-a-woman-campaign-tips-for-men-make-women-feel-safe-street/252236 Sisters Uncut: https://www.sistersuncut.org/ Ammaarah’s Instagram: @_azayna Leila Latif’s Twitter: @Leila_Latif Susannah’s Twitter: @SusannahFish Become a patron of Girls on Film on Patreon here: www.patreon.com/girlsonfilmpodcast Follow us on socials: www.instagram.com/girlsonfilm_podcast/ www.facebook.com/girlsonfilmpodcast www.twitter.com/GirlsOnFilm_Pod www.twitter.com/annasmithjourno Watch Girls On Film on the BFI’s YouTube channel: www.youtube.com/playlist?list=PLX…L89QKZsN5Tgr3vn7z Girls On Film is an HLA production. Executive producer: Hedda Archbold. Audio Producer: Emma Butt. Principal Partner: Peter Brewer. Assistant Producer and Social Media Manager: Heather Dempsey. Assistant Producer: Elliana Jay.

This is a preview of our Patreon-only episode about Ousmane Sembène & Thierno Faty Sow's historical drama Camp de Thiaroye (1988), about the mutiny of French West African troops at a transit camp in Dakar and their subsequent massacre by French forces on 1 December 1944, following on from this month's Resonance 104.4fm programme. Here, Juliet talks to Dr Samba Gadjigo, co-director of Sembène! (2015) and biographer of the writer/filmmaker, as well as Helen Day Gould Professor of French at the Mount Holyoake University in Massachusetts, about one of Sembème's greatest works. They discuss how closely it was based on the actual events and on Sembène's experiences; controversies around the film's content, commission and funding; its relationship with the history of colonialism and African independence movements; its reception in Senegal and France; its importance in the cultural memory of the massacre; and more. To hear the entire episode, please subscribe at www.patreon.com/suite212.

In this month's Resonance 104.4fm show, made available a day early for our Patreon subscribers, Juliet talks to Dr Samba Gadjigo, author of a biography on the subject and co-director of the feature-length documentary Sembène! (2015), about the life and work of Senegalese writer and filmmaker Ousmane Sembène (1923-2007). They talk about the place of Senegal within the French empire, Sembène's upbringing in French West Africa and his political and literary awakening in post-war Marseille, his film training in the USSR and cinematic work in post-independence Senegal, his relationship with President (and poet/cultural theorist) Léopold S. Senghor, and his place within Senegalese, African and global cinema. A full list of references is available for our Patreon subscribers - please visit https://www.patreon.com/suite212 to sign up.

A few days ago, The Criterion Collection announced they’d be releasing a movie called Mandabi , by one of the true deities of world cinema, the late Senegalese director Ousmane Sembène.

A few days ago, The Criterion Collection announced they’d be releasing a movie called Mandabi , by one of the true deities of world cinema, the late Senegalese director Ousmane Sembène.

God's Bits of Wood is a 1960 novel by the Senegalese author Ousmane Sembène that concerns a railroad strike in colonial Senegal of the 1940s. It was written in French under the title Les bouts de bois de Dieu. The book deals with several ways that the Senegalese and Malians responded to colonialism. There are elements that tend toward accommodation, collaboration, or even idealization of the French colonials. At the same time the story details the strikers who work against the mistreatment of the Senegalese people. The novel was translated into English in 1962 and published by William Heinemann as God's Bits of Wood as part of their influential African Writers Series. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/pbliving/message Support this podcast: https://anchor.fm/pbliving/support

O historiador Victor Martins de Souza volta a'O Nome Disso é Política para discutir o cinema africano, destacando propostas, argumentos, estéticas e o que há de racismo e preconceito no olhar ocidental sobre África. Apresentação: Heitor Loureiro Entrevistado: Victor Martins de Souza Edição: 20 a 20 Arte da vitrine: JP Martins Feed: http://onomedissoemundo.com/feed/podcast/ Streaming: Spotify — Booking — Reserve seu hotel pelo Booking.com. — Links — Apoia.se do ONDEM Grupo do ONDEM no Facebook Telegram do ONDEM ONDE África #008 – O Sol do cinema ONDE Política #013 – Cinema “A Aljava e o Arco: o que a África tem a dizer sobre Direitos Humanos – um estudo da Carta Mandinga”, por Victor Martins “A poética e a política no cinema de Glauber Rocha e Sembene Ousmane”, por Victor Martins “Olhares sobre o Contemporâneo”, por Victor Martins. Touki Bouki, por Djibril Diop (1973) La Noire de…, por Ousmane Sembène (1966) Keïta! l'Héritage du griot, por Dani Kouyaté (1995) Assaltos em Luanda, por Henrique Narciso - Dito (2005) Bamako, por Abderrahmane Sissako (2006) Nelisita: narrativas nyaneka, por Ruy Duarte de Carvalho (1982) Nha Fala, por Flora Gomes (2002) Uma Estética da Fome, por Glauber Rocha (1965) Você pode entrar em contato com a gente pelo Twitter, Instagram e Facebook. Para não perder nenhum episódio, assine o podcast no iTunes, no seu agregador de podcast preferido ou no Spotify. Para apoiar o ONDEM, acesse apoia.se/ondem e contribua com nosso projeto.

Mike and Nick celebrate Black art in their humble way by reviewing two films from Senegal: 1966 - Ousmane Sembène's Black Girl & 1973 - Djibril Diop Mambéty's Touki Bouki.

For this episode of Mydylarama's Top Picks podcast, we're joined by our guest, academic, film programmer and Japanese Avant-Garde and Experimental Film Festival producer George Crosthwait.  George's pick of the week, and also his first trip back to the cinema since February, is Shannon Murphy's debut film Babyteeth (2019),  an Australian coming-of-age drama that both impressed and confused him due to it's tonal eccentricities. Abla's picks of the week include Richard Pryor: Omit The Logic (2013), now available on Sky, a pretty engaging and informative documentary about the comedian's life, and a couple of festivals to look out for: the Cologne International Film Festival, whose first - and entertainingly eclectic - edition will run 11-12 September 2020 across various venues in the city, and the London Kurdish Film Festival (15-24 August), offering a collection of 50 screenings carefully curated into various themes, all available ONLINE and for FREE!  George's choice for this episode take the podcast deep into the beehive for Beyoncé's ambitious new visual album 'Black is King'. A kaleidoscopic collage of symbolism, music and visual splendour, involving an impressive roll call of African diasporic performers and artists, 'Black is King' is the first in a reported three picture deal between Beyoncé and Disney. We discuss the film's aesthetic qualities and cultural merit, as well as its more problematic dimensions, its simplistic, potentially fetishistic depiction of a vague and all-encompassing "African" culture, its celebration of opulence and capitalist ambitions as a lever of Black empowerment, and the way it highlights a melancholic search for identity, roots and heritage among many African Americans. We mention a number of other films, namely The Burial of Kojo (2018), that you can watch on Netflix, the excellent Black Girl (1966) by Ousmane Sembène, freely available on YouTube! As an aside, here is an article Abla mentions Disney's dodgy credentials when it comes to matters of race and ethnicity—not to mention its history of plagiarism, sexism and dubious business practices.  Comments and feedback welcome @mydylarama and if you like our work donate at mydy.link/support.   Follow us and comment! @mydylarama on Twitter & Facebook

We discuss Black Girl - Senegalese director Ousmane Sembène's 1966 critique of the lingering colonialist mindset of the French in a supposedly post-colonial world. Black Girl was the first feature length movie out of Africa.Plus!Protests, race relations, hope, depression, staying sane in difficult times, laser farts, and psychedelic cartoons.Also: Leave us a voicemail! We’ll play it on the show. Or, email us - podcast@solidsix.netFollow us on Instagram, Facebook, and Twitter. Leave us a review on Apple Podcasts!

Le décès de George Floyd a réveillé les polémiques autour de monuments à l'effigie de figures du colonialisme. C'est le cas en Belgique où les statues de l’ancien roi, Léopold II, sont controversées en raison des actes de cruauté qu’il a fait commettre au Congo. En fin d’émission, coup de projecteur sur le réalisateur sénégalais Ousmane Sembène. Mais tout d’abord le mot du jour : Manifestation...

Dekadraj'ın yeni bölümünde Güvenç Atsüren ve konuğu Berna Güler, Afrika sinemasının kurucusu olarak da anılan önemli yönetmen Ousmane Sembene'i filmleri ve temsilcisi olduğu Üçüncü Sinema hareketi üzerinden konuşuyor.

Dekadraj'ın yeni bölümünde Güvenç Atsüren ve konuğu Berna Güler, Afrika sinemasının kurucusu olarak da anılan önemli yönetmen Ousmane Sembene'i filmleri ve temsilcisi olduğu Üçüncü Sinema hareketi üzerinden konuşuyor.

Neste programa, Fernando Machado, Leandro Luz, Marina Oliveira e Pedro Tobias convidam Diego Quaglia para viajar até o Senegal e discutir a obra de Ousmane Sembène, pai do cinema africano e responsável por filmes como "La Noire de..." de 1966, "Xala" de 1975 e "Moolaadé" de 2004. Portanto pegue seu fone de ouvido, prepare o café e nos acompanhe nesta jornada, pois a partir de agora você está em um plano-sequência! Ficha Técnica: Duração: 02h25min. | Pauta: Fernando Machado | Arte da Capa: Marina Oliveira | Edição e Montagem: Pedro Tobias | Mixagem de Som e Trilha Sonora: Fernando Machado | Publicação: Fernando Machado ===================================================== Caso você queira ouvir os comentários apenas sobre um dos filmes, confira a minutagem em que cada um entra: 00:23:31:07 - La noire de... (1966) 00:44:50:13 - Mandabi (1968) 01:03:18:08 - Xala (1975) 01:21:22:06 - Ceddo (1977) 01:40:13:16 - Moolaadé (2004) 01:59:58:15 - Top 3, Considerações Finais, etc ===================================================== Dúvidas, sugestões, críticas ou feedbacks podem ser enviados para o e-mail contato@plano-sequencia.com ou através de nossas redes sociais. Estamos no Twitter @planoseqcast, no Instagram @planoseqcast e no Facebook/planosequenciapodcast. Não deixe de avaliar o podcast no iTunes para que possamos ter mais visibilidade dentro da plataforma. Para este episódio contamos com a parceria da Amazon para oferecer descontos exclusivos em produtos relacionados ao cinema de Ousmane Sembène. Links abaixo: África: Um continente no cinema, por Carolin Overhoff Ferreira Cinema no mundo: África - indústria, política e mercado - Volume 4, por Alessandra Meleiro Ousmane Sembène: The Making of a Militant Artist, por Samba Gadjigo ===================================================== Artigo - Ousmane Sembene e o Cinema Senegalês Artigo - Ousmane Sembène e o(s) Cinema(s) da África Matéria - Sembène Ousmane e as Invenções Verídicas da África Matéria - Sembènes Cinema Documentário - Ousmane Sembène documentary =====================================================

Welcome to another edition of the Rep Report, our regular roundup of retrospectives, repertory cinema, and other film series in New York. This week, we turn our attention to a remarkable series at Film Forum titled The Hour of Liberation: Decolonizing Cinema, 1966–1981. The series looks at landmark works from around the world that pushed cinema and political critique into bold new directions, and includes rarely screened films by Ousmane Sembène, Med Hondo, Sara Gómez, Glauber Rocha, and many others. FC Editor-in Chief Nicolas Rapold is joined by Elspeth Carroll, the curator of the series and Repertory Programming Associate at Film Forum, and Ashley Clark, Senior Repertory and Specialty Film Programmer at BAM.

En 1983 Férid Boughedir, critique et réalisateur de film tunisien, remonte l’histoire alors méconnue du cinéma africain. Constitué de nombreuses images d’archives, le documentaire « Caméra d’Afrique » est une rencontre acec les plus grands cinéastes du continent : Ousmane Sembène, Med Hondo, Safi Faye et bien d’autres. Nous avons discuté de la genèse de ce projet de "mémoire collective" ensemble, mais également de l’impact du film lors de sa diffusion et de sa restauration dans le cadre de la sélection Cannes Classics Durant le Festival de Cannes 2019 nous avons l'occasion de nous entretenir avec des créateurs et créatrices qui viennent y présenter leurs films. Ces épisodes plus courts sont l'occasion de se concentrer sur une œuvre mis à l'honneur et qui feront l'actualité de l'année à venir. Découvrez-les sur la page évènement : http://negatif.co/cannes-2019

En 1983 Férid Boughedir, critique et réalisateur de film tunisien, remonte l’histoire alors méconnue du cinéma africain. Constitué de nombreuses images d’archives, le documentaire « Caméra d’Afrique » est une rencontre acec les plus grands cinéastes du continent : Ousmane Sembène, Med Hondo, Safi Faye et bien d’autres. Nous avons discuté de la genèse de ce projet de "mémoire collective" ensemble, mais également de l’impact du film lors de sa diffusion et de sa restauration dans le cadre de la sélection #CannesClassics Découvrez l'ensemble des critiques et entretiens du Blog Cannes Classics 2019 à cette adresse : https://cannesclassics2019.home.blog/

“Taipei Story”, “A Negra de…”, “Urga” e “Zonas Úmidas” Calma, calma. O tema do nosso episódio 6 não se trata, felizmente, de gravações VHS que aquele tio fez no nosso primeiro aniversário ou da fita de algum casamento. Mas, sim, de filmes que vimos, adoramos e nunca achamos ninguém para conversar sobre. Indo de Taiwan, passando pela Rússia, pelo Senegal, até a Alemanha, os filmes deste episódio traçam um caminho pouco navegado por espectadores desavisados, mas que nos levam longe. Para desenterrar essas pérolas, Henrique Persequini, Marco Melo, Gabriel Araújo e, estreando no Falecast, Camila Felix batem um papo tão gostoso quanto descobrir esses filmes. Ah, e não termina por aí: fiquem até o fim, pois revelaremos, vergonhosamente, filmes que todo mundo viu, menos a gente. Puxe a cadeirinha, pegue o fone de ouvido e venha fazer parte dessa conversa conosco. Este podcast é gravado e editado pela Rádio Estudantil, no qual integra sua programação. Você pode ouvi-lo pelo Soundcloud e também pelo Itunes. “Taipei Story”, de Edward Yang (03:47) “Urga”, de Nikita Mikhalkov (14:59) “A Negra de…”, de Ousmane Sembène (28:54) “Zonas Úmidas”, de David Wnendt (28:54) te programa é gravado e editado por João Pedro Viegas na Rádio Estudantil Arte das capas por Tássio Braga e Matheus Carvalho Confira nossas indicações diárias no Instagram e no Facebook

Episode 4 - Black Girl In this episode, Robert and Christophe discuss Ousmane Sembène's heartwrenching post-colonial sentiments in his film Black Girl. They also check out the latest True Detective trailer as well as other news on upcoming independent cinema.

Ryan is joined by Aaron West and Mark Hurne to discuss some recent Criterion Collection news.

Rendre le service civique universel, c'est le souhait qu'a formulé François Hollande dans sa conférence de presse du 5 février. Tout jeune qui le demanderait pourrait alors effectuer un service civique rémunéré 573 euros par mois, dans une assocation, une collectivité ou une organisation à but non-lucratif. Seulement aujourd'hui l'Agence du Service Civique n'offre "que" 35 000 postes de volontariat pour 120 000 demandes en 2014, faute de moyens. Pour pouvoir acceuillir tous les volontaires il faudrait un budget de 600 millions d'euros, bien plus que les 170 millions actuels. Cette proposition est-elle réalisable ? Est-ce une bonne idée pour la jeunesse ? On en parle avec Nadia Bellaoui, présidente du Mouvement Associatif. _________________ L'Association des étudiants africains de la Sorbonne (ADEAS) organise cette année son premier Festival du film africain. Un festival qui a pour objectifs de valoriser et faire "(re)découvrir les grands classiques du cinéma africain, reconnus et largement primés. " Du documentaire d'Alice Diop La Mort de Danton au classique  Guelwaar d'Ousmane Sembène, en passant par Twaaga, le court-métrage de Cédric Ido, coup de cœur de notre invitée Vanessa Vertus, membre de l'ADEAS. Au programme de cette Matinale également : la chronique Actu étudiante de Maud et la chronique web de Fanny ! L'équipe : Présentation : Thibaud Texeire / Co-interviews : Léa Capuano et Elsa Landard / Chroniques : Maud Wailly et Fanny Malek / Réalisation : Tiffany Battistel / Web et coordination : Elsa Landard

#70 La noire de... (1966), de Ousmane Sembène by Civilcinema