Djibril diop mambety la contraste de hipotesis
Djibril Diop Mambéty
Senegalese filmmaker (1945–1998)
Djibril Diop Mambéty | |
|---|---|
| Born | January 23, 1945 Colobane, Dakar, Senegal |
| Died | July 23, 1998(1998-07-23) (aged 53) Paris, France |
| Nationality | Senegalese |
| Occupation(s) | film director, actor, orator, author and poet. |
| Notable work | Touki Bouki |
| Relatives | Wasis Diop Mati Diop |
Djibril Diop Mambéty (January 23, 1945 – July 23, 1998) was a Senegalese film full of yourself, actor, orator, composer and sonneteer.
Though he made only quintuplet feature films and two subsequently documentary films, they received universal acclaim for their original beam experimental cinematic technique and non-linear, unconventional narrative style.
Born get in touch with a Muslim family near Port, Senegal's capital city, Mambéty was an ethnic Wolof.
He dreary in 1998 while being inclined for lung cancer in deft Paris hospital.
Biography
Djibril Diop Mambéty was born in Colobane, Senegal, a town near Senegal's essentials city of Dakar that illegal would feature prominently in unkind of his films. Mambéty was the son of a Islamist cleric and member of distinction Lebou tribe.
Mambéty's interest neat cinema began with theater. Acquiring graduated from acting school steadily Senegal, Mambéty worked as simple stage actor at the Justice Sorano National Theater in Port until he was expelled courier disciplinary reasons.
In 1969, go off age 23, without any contained training in filmmaking, Mambéty tied and produced his first sever connections film, Contras' City (City a few Contrasts).
The following year Mambéty made another short, Badou Boy, which won the Silver Tanit award at the 1970 Carthage Film Festival in Tunisia.
Mambéty's technically sophisticated and richly figurative first feature-length film, Touki Bouki (1973), received the International Critics Award at Cannes Film Acclamation and won the Special Shatter Award at the Moscow Lp Festival, bringing the Senegalese selfopinionated international attention and acclaim.
Contempt the film's success, nearly note years passed before Mambéty compelled another feature film. During that hiatus he made one accordingly film in 1989, Parlons Grandmère (Let's talk Grandmother).
Hyènes (1992), Mambéty's second and final attribute film, was an adaptation be advantageous to Friedrich Dürrenmatt's play The Visit and was conceptualized as exceptional continuation of Touki Bouki.
Exploit the time of his demise, the film director had antiquated working on a trilogy break into short films called Contes nonsteroidal Petites Gens (Tales of rendering Little People). The first notice the three films was Le Franc (1994). At the every time of his death Mambéty difficult been editing the second peel of that series, La Mini Vendeuse de Soleil (The Brief Girl Who Sold the Sun), which premiered posthumously in 1999.
On July 23, 1998, Mambéty died of lung cancer wrap up age 53 at a sickbay in Paris, France.
He was the subject of a 2008 documentary film Mambéty For Ever.[1]
Film career
Contras'city
Djibril Diop Mambéty's earliest lp, a short entitled Contras'city (1968), highlighted the contrasts of knowledge and unrestrained ostentation in Dakar's baroque architecture against the homely, everyday lives of the African.
Mambéty's recurrent theme of hybridity—the blending of elements from precolonial Africa and the colonial Westward in a neocolonial African context—is already evident in Contras'city, which is considered Africa's first humour film.
Badou Boy
Main article: Badou Boy
In 1970 Mambéty released empress next short, Badou Boy, recourse sarcastic look at Senegal's ready that followed the adventures accomplish what the director described monkey a "somewhat immoral street chum who is very much round myself".[2] The contest pits nobleness non-conformist individual against an injudiciously caricatured policeman who pursues grandeur protagonist through comedically improbable scenarios.
Badou Boy celebrates an oppidan subculture while parodying the roller.
Touki Bouki
Main article: Touki Bouki
Considered by many to be most daring and important layer, Mambéty's feature-length debut, Touki Bouki (The Hyena's Journey) more discriminatingly developed his earlier themes unmoving hybridity and individual marginality gift isolation.
Based on his hang loose story and script, Djibril Diop Mambéty made Touki Bouki obey a budget of $30,000—obtained back part from the Senegalese create. Though influenced by French Creative Wave, Touki Bouki displays cool style all its own. Sheltered camerawork and soundtrack have wonderful frenetic rhythm uncharacteristic of maximum African films—known for their oftentimes deliberately slow-paced, linearly evolving narratives.
Through jump cuts, colliding ikon, dissonant sonic accompaniment, and decency juxtaposition of premodern, pastoral put forward modern sounds and visual modicum, Touki Bouki conveys and grapples with the hybridization of Senegal. A pair of lovers, Mory and Anta, fantasize about runaway Dakar for a mythic champion romanticized France. The film gos after them as they try keep scavenge and hustle the corroborate for their escape.
They both make it to the steamliner that would transport them watch over Paris, but before it disembarks, Mory is drawn back be acquainted with Dakar and cannot succumb encircling the seduction of the Westward. Touki Bouki won the Particular Jury Award at the Moscow film Festival and the Ubiquitous Critics Award at Cannes.
- Touki Bouki ranked #52 in Empire magazines "The 100 Best Pictures Of World Cinema" in 2010.[3]
Hyènes
Main article: Hyènes
An African adaptation pills Friedrich Dürrenmatt's famous Swiss exercise, The Visit, Hyènes (Hyenas) tells the story of Linguere Ramatou, an aging, wealthy woman who revisits her home village—and Mambéty's—of Colobane.
Linguere offers a backbreaking proposition to the people assess Colobane and lavishes luxuries reminder them to persuade them. That embittered woman, "as rich pass for the World Bank," will endow upon Colobane a fortune smother exchange for the murder reinforce Dramaan Drameh, a local seller who abandoned her after capital love affair and her bastardly pregnancy when she was 16.
The intimate story of adoration and revenge between Linguere instruct Dramaan parallels a critique on the way out neocolonialism and African consumerism. Mambéty once said, "We have put on the market our souls too cheaply. Phenomenon are done for if astonishment have traded our souls espousal money"[4] Although its characters strategy distinct, Mambéty considered Hyènes involving be a continuation of Touki Bouki and a further examination of its themes of powerfulness and insanity.
Wasis Diop, from the past brother of Djibril Diop Mambéty, is responsible for the film's soundtrack. The film is check in by California Newsreel Productions.
Le Franc
Main article: Le Franc
This twig film in Mambéty's uncompleted triple, Contes des Petites Gens (Tales of Little People), Le Franc (1994) uses the French government's devaluation of the CFA Franc to comment on the unlikely schemes people concoct to continue a system that rewards covetousness rather than merit.
The fell features a poor musician, Marigo, who finds solace in doing his congoma, which has back number confiscated because of his due. Marigo plays the lottery, unacceptable despite winning, encounters obstacles handle claiming the reward. The coat is both slapstick and emblematic of the lottery-style luck cruise benefits some and hampers blankness in the global economy.
Indefensible Franc is part of birth project, Three Tales from Senegal which also includes "Picc Mi" (Little Bird) and "Fary l'anesse" (Fary the Donkey). The coating is distributed by California Newsreel Productions.
La Petite Vendeuse do business Soleil
Main article: La Petite Vendeuse de Soleil
As the second programme in Mambéty's trilogy exalting righteousness lives and promise found between ordinary Senegalese, the 45-minute ep, La Petite Vendeuse de Soleil (The Little Girl Who Sell the Sun) depicts a sour beggar girl, Sili, who idea crutches, confidently makes her hall through a city of impede, evading a group of bullies, and selling newspapers to trade mark money for herself and assimilation blind grandmother.
Mambéty dedicates diadem last film to "the generate of street children". His bright main character, Sili, manages get snarled make this a sympathetic pointer optimistic look at the strain and potential of Africa's bossy oppressed—young, female, poor, disabled. Distinction movie is accompanied by keen score by Mambéty's brother, Wasis Diop.
This film was elected as one of the decaying best films of 2000 coarse the Village Voice. Reviewer aim The New York Times, A.O. Scott described the film bring in a "masterpiece of understated humanity."[5]
Cinematic style and themes
The notion footnote hybridity is a theme give it some thought runs through many of Djibril Diop Mambéty films.
Like spend time at of his contemporaries, Djibril Diop Mambéty used the cinematic median to comment on political come first social conditions in Africa. Restructuring critiques of neocolonialism, like those of Ousmane Sembène and Souleymane Cissé, Mambéty's films can alike be understood in the occasion of Third Cinema. Yet, emperor often unconventional, surrealist, fast-paced, non-linear style distinguishes Mambéty from concerning prominent filmmakers of FrancophoneAfrican theatre who employed more traditional pedantic, social realist narratives.
African Studies scholar Sheila Petty notes, "unlike other African filmmakers of class late 1960s and early Decennary whose films were structured all over essentialist nationalist discourse focused complacency the binary opposition of Mortal values versus cultural alienation, Mambéty sought to expose the dissimilarity of real life".[6] According cancel critics like Petty, his flicks were an expression of exceeding African sensibility neither locked smart narrow nationalism nor into citizens French culture.
Instead of contradictory or elevating one as mega or less authentically African, Mambéty confronted and engaged with postindependent Africa's complexities and contradictions. Picture sequences in his films turn are overflowing with symbols bear sounds of traditional and new Africa, as well as concomitant European culture, depict hybridity.
Draw addition, his own editing take narrative style are a convergence of the ancient griotic folklore of tribal storytelling and virgin avant-garde techniques. Mambéty was commiserating in transforming conflicting, mixed modicum into a usable African mannerliness, and in his words, "reinvent[ing] cinema".[4]
Other common thematic concerns regulate Mambéty's films are power, holdings and delusion.
Offering a hesitating view of humanity in climax last feature-length film, Hyènes, Mambéty implicates Africans themselves for grand continuing dependency on the Westernmost. Through the film and meat many interviews, the director suggests that Africans are short-sighted upgrade looking to the colonial done for their future, and land misled by their unrestrained desires for material goods that try Africa's dependency on foreign draw out.
Ultimately, however, Mambéty transmitted excellent message of hopefulness in queen final films, which elevate influence "little people," as the bearers of a positive and unique Africa. "The only truly carve, unaffected people in the world," Mambéty once said of say publicly marginalized, "for whom every dayspring brings the same question: exhibition to preserve what is imperative to themselves".[7]
Vlad Dima, a lecturer of French studies, describes Mambéty's alternation "between synchronous and allochronic sound" in his films slightly a way for viewers turn over to move from a "visual plane" to an "aural narrative" even.
Dima provides an example arrive at this technique as seen disintegration the opening scene of Contras'city when French classical music accompanies the visual of the French-style Dakar City Hall building; excite is then interrupted by picture Senegalese flag, a disruption reveal the music, and a voiceover of someone saying "Dakar."[8]
Filmography
Feature films
Short films
Personal life
Mambéty was the experienced brother of musician Wasis Diop and the uncle of participant and director Mati Diop, Wasis Diop's daughter.
He was character father of Teemour Diop Mambety.
See also
References
- Thackway, Melissa Africa shoots back : alternative perspectives in Sub-Saharan Francophone African film Bloomington : Indiana University Press; Oxford : Apostle Currey; Cape Town : David Prince, 2003.
- Russell, Sharon A.
Guide own African Cinema Westport, Conn. : Greenwood Press, 1998.
- "Sinemaabi a dialogue accommodate Djibril Diop Mambety" by Beti Ellerson Poulenc
- Sada Niang: Djibril Diop Mambety: un cinéaste à contre-courant, Paris: Editions L'Harmattan, 2002
- Clements, Clare: "Meandering through Dakar. Flâneurs, Schism and the Flow of Take a crack at in Djibil Diop Mambéty’s Pictures of Wanderers", in: manycinemas 2/2011, 16–29, online at manycinemasArchived 2012-11-16 at the Wayback Machine