1:05 "his art is inconceivable without his politics". Ms. Davis is incorrect here. Sembene's films mock politicians and politics in general. Sembene hated the colonial governments, and after the post-colonial governments took over, he mocked them as well. This was done quite brilliantly in his film Xala. In his film Ceddo, he mocked the post-colonial governments of the time, and the film was actually banned in Senegal. So his art touched on politics, for sure, but her statement makes it sound like his films were explicitly political, aka arguing for one side, when in reality, they are not. Art is above politics.
“Cinema is like an ongoing political rally with the audience. In a movie theatre, you have Catholics, Muslims, Gaullists, Communists if the film is any good” Ousmane Sembène
From an obvious polemic against female circumcision in 2004’s Moolaadé to the treatment of the disenfranchised working class in Black Girl, please explain how his films are not political
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I Adore Ousmane Sembene
i love angela davis too. i was honoured to play my drum for him to welcome her before her presentation.
i agree about his humility. i met him while he was in town to present one of his films. he said with a friend of mine we he was in toronto, canada.
1:05 "his art is inconceivable without his politics".
Ms. Davis is incorrect here. Sembene's films mock politicians and politics in general. Sembene hated the colonial governments, and after the post-colonial governments took over, he mocked them as well. This was done quite brilliantly in his film Xala. In his film Ceddo, he mocked the post-colonial governments of the time, and the film was actually banned in Senegal. So his art touched on politics, for sure, but her statement makes it sound like his films were explicitly political, aka arguing for one side, when in reality, they are not. Art is above politics.
“Cinema is like an ongoing political rally with the audience. In a movie theatre, you have Catholics, Muslims, Gaullists, Communists if the film is any good” Ousmane Sembène
From an obvious polemic against female circumcision in 2004’s Moolaadé to the treatment of the disenfranchised working class in Black Girl, please explain how his films are not political