Political engagement in African cinema: An analysis of Djibril Diop Mambéty’s Touki Bouki and Hyènes
During colonization and especially decolonization, African cinema, like literature, had a strong political dimension. Conscious of their mission to awaken consciences, most African filmmak-ers considered their films as a means to assert their political commitment, by openly denounc-ing the misdeeds of colonial policy and that led by African leaders since independence on the development of the continent. Since the denunciation of the colonization as one of the great-est evils in Africa’s history has been the subject of several scientific works, we intend in this paper to focus on the question of political engagement in African postcolonial cinema, particu-larly in the two full-length films, Touki Bouki (1973) and Hyenas (1992), produced by the Senegalese filmmaker, Djibril Diop Mambéty. To this end, we will analyze at first the filmic narration techniques which are strongly anchored in a symbolic language that the Senegalese filmmaker uses in these two feature films to castigate the many development problems in Af-rica due to a poor political governance. Secondly, we will address the question relating to so-lutions which Djibril Diop Mambéty recommends so that, through new political direction, the expected development of the black continent would become a reality.
Auteur(s) : Cheikh Anta Babou
Pages : 158-175
Année de publication : 2020
Revue : L’HARMATTAN-SÉNÉGAL
Type : Article
Mise en ligne par : BABOU Cheikh Anta