搜到约独一篇 求确认

夜幕如斯

跟狗里面的文章不大一样，但是我标出来的地方跟主人说的很像啊

Importance of Sembene's Film Work

As can be seen from this brief presentation, Ousmane Sembene's forty year film work bears an unparalleled social and artistic significance in the context of both world and African cinema. At the international level, Sembene has been unequivocally recognized as the father of African cinema and his has received countless awards and distinctions. His images are intended not only for entertainment and profit (Sembene adheres to Lenin's prescription that "An artist must make money in order to live and work, but not live and work in order to make money"), but rather as an educational tool. His work is aimed at promoting freedom, social justice, and at restoring pride and dignity to African people. To reach such a goal, Sembene seeks first to "indigenize" the medium by resorting first to the use of African languages (Wolof and Diola, two Senegalese languages, and Bambara, a language spoken in Eastern Senegal, in Mauritania, Mali, Burkina, and Côte d'Ivoire in Moolaade) Secondly, this primary emphasis on language allowed him to specify his public : "Africa is my "audience" while the West and the "rest" are only targeted as "markets". Thirdly, he borrows from the rich heritage of African oral narratives, handed down by the griots and rejecting a mere imitation of Hollywood's narrative techniques, Sembene's cinema ushered in a genuinely African film aesthetics. "We will never be Arabs or Europeans; we are African", Sembene likes to philosophize. Finally, bent on educating and on liberating the disenfranchised, Sembene's cinema uses the tools provided by Marxist analysis and the passion of a visionary who profoundly believes, like Antoine de Saint-Exupery's character, Riviere, (Vol de nuit ; Night Flight) that only creation gives meaning to life. Counter to the hegemonic"official" history of Senegal, produced by its local elite, Sembene's filmography, which critics have perceived as "A call to action" has given voice to the millions of marginalized and voiceless African peasantry, its workers, women, and children, while often putting him at odds with his country's powerful. Indeed, most of Sembene's films have been either banned or censored by former president Leopold Senghor's regime.

Moreover, since Camp De Thiaroye (1988), through Guelwaar (1993), Faat Kine (2000), and Moolaade (2003), Sembene's film work has taken on and fulfilled a manifold objective that, symbolically, goes well beyond the strict realm of art as symbolic representation. Indeed since 1957, with the independence of Nkrumah's Ghana, and the creation of The Organization of African Unity (OAU) in Addis Ababa in 1963 by thirty newly independent states (and the fifty-three nations making up the current African Union), Africa's political leaders have failed to reach the triple objective of putting an end to its "balkanization" by political unity, of performing its economic integration, nor of ending its technological dependence on the West.

Indeed, for the financing of Camp De Thiaroye, Sembene, without giving up on the vertical model of cooperation with Europe (North-South axis), took the fresh approach of a hitherto uncharted model of a horizontal, inter-African (South-South axis) cooperation. For the financing of the film Sembene performed a symbolic "economic integration" through a co-production budget between SNPC (Senegal), ENAPROC (Algeria), SATPEC (Tunisia), and his own production company (Filmi Domireew/Filmi Kajoor). For the first time, Sembene also called on the services of a Tunisian lab for post-production of his film. Moreover, a film about a colonial massacre (the killing by French officers of African soldiers who returned from WWII, Camp Thiaroye ) also offers a unified approach to African history by also echoing the 1954 Setif colonial massacre that heralded the war of independence in Algeria. Although Guelwaar (1993) is a co-production with Galatee-Films, a French production company, its post-production was also done in Morocco. As for Faat Kine, the production was the result of a truly international cooperation (France, Germany, Switzerland, USA, Cameroon, and Senegal) and the post-production was again done in Morocco. With Moolaade, for the first time, Sembene has made a film outside Senegal's national borders, in Burkina Faso, seventeen kms, east of the border with Côte d'Ivoire, and in Bambara (a language spoken in eastern Senegal, in Mali, southern Mauritania, and, of course Burkina Faso). The technical crew was French (camera, sound, lighting), the set designer was from Benin, the production managers were from Burkina Faso and some machinists were from Senegal. The cast was selected by Casting Sud in Burkina Faso and includes Malians and Burkinabe as well as actors from Côte d'Ivoire. Thus, in his project as an artist-film maker, Ousmane Sembene realized the dream of a unified Africa, which its political leaders still have yet to produce.

WIWMM

这篇太像了  估计就是

天津lbsh1990

非洲导演那篇

ryk1120

这个是原文么   ？楼主有原题么？

夜幕如斯

这个是原文的最后三段
http://newsreel.org/articles/OusmaneSembene.htm
这个是链接，里面的文章特别长

狗里面有给题目