- Born:
- Jan. 1, 1923, Ziguinchor-Casamance, Seneg., French West Africa
- Died:
- June 9/10, 2007, Dakar, Seneg.
- Movement / Style:
- Third Cinema
Ousmane Sembène
-
Who was Ousmane Sembène?
Ousmane Sembène (1923-2007) was a Senegalese writer and film director known for his historical and political themes. He spent his early years as a fisherman and was later drafted into the French army in 1939. After World War II, he remained in France, working as a docker and becoming a trade unionist.
Sembène taught himself to read and write in French, publishing his first novel, Le Docker noir (Black Docker), in 1956. Around 1960, he developed an interest in motion pictures, and his 1966 film, La Noire de⌠(Black Girl), is considered the first major film by an African filmmaker.
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Where was Ousmane Sembène from?
Ousmane Sembène, a Senegalese writer and film director known for his historical and political themes, was born on January 1, 1923, in Ziguinchor-Casamance, Senegal. Sembène, who died on June 9 or 10, 2007, in Dakar, is celebrated for works that reflect the nuances of Senegalese life.
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What kinds of stories did Ousmane Sembène write or direct?
Ousmane Sembène was a Senegalese writer and film director known for his historical and political themes.
Sembène's stories often reflected a strong social commitment. His first novel, Le Docker noir (Black Docker), was based on his experiences in Marseille. Other works include Les Bouts de bois de Dieu (God's Bits of Wood), depicting an African workers' railroad strike and attempts to combat colonialism; and Xala, which also became one of his best films.
Interested in reaching a broader audience, Sembène made films reflecting his social concerns. La Noire de... (Black Girl) portrays the virtual enslavement of a Senegalese servant by a French family. Ceddo (Outsiders) is about African religions, and MoolaadÊ (Protection) explores female circumcision.
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Why is Ousmane Sembène often called the father of African cinema?
Ousmane Sembène is often called the father of African cinema because his 1966 film, La Noire de⌠(Black Girl), is considered the first major film produced by an African filmmaker. Sembène, a Senegalese writer and film director, sought to connect with a broader African audience, especially those who didn't read French or have access to books. His films often addressed historical and political themes, reflecting a strong social commitment. In 1968, with Mandabi (The Money Order), he made the revolutionary decision to film in the Wolof language to connect with local audiences.
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What are some of Ousmane Sembèneâs most famous films or books?
Ousmane Sembène, a Senegalese writer and film director, is renowned for his historical and political themes. His notable works include his first novel, Le Docker noir (Black Docker). Other famous books are Les Bouts de bois de Dieu (God's Bits of Wood) and Niiwam; suivi de Taaw (Niiwam; and Taaw).
Sembène's 1966 film, La Noire de⌠(Black Girl), is considered the first major film by an African filmmaker. Mandabi (The Money Order) was revolutionary for being filmed in the Wolof language. His other films include Ceddo (Outsiders), Camp de Thiaroye (The Camp at Thiaroye), Guelwaar, and MoolaadÊ (Protection).
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How did Ousmane Sembèneâs work address social or political issues in Senegal and Africa?
Ousmane Sembène, a Senegalese writer and film director, addressed historical and political themes relevant to Senegal and Africa in his work.
Sembène's films often reflected a strong social commitment. Black Girl (1966) depicts the enslavement of a Senegalese servant by a French family. In 1968, he made the revolutionary decision to film in the Wolof language with Mandabi, a comedy about daily life and corruption in Dakar. Ceddo (1977) portrays the clash between African and Islamist beliefs. Camp de Thiaroye (1987) depicts the slaughter of rebellious African war veterans by French troops. Guelwaar (1993) is a commentary on Senegal's religious life. MoolaadÊ (2004) explores female circumcision.
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Ousmane Sembène (born Jan. 1, 1923, Ziguinchor-Casamance, Seneg., French West Africaâdied June 9/10, 2007, Dakar, Seneg.) was a Senegalese writer and film director known for his historical and political themes.
(Read Martin Scorseseâs Britannica essay on film preservation.)
Sembène spent his early years as a fisherman on the Casamance coast. He studied at the School of Ceramics at Marsassoum and then moved to Dakar, where he worked as a bricklayer, plumber, and apprentice mechanic until he was drafted into the French army in 1939. In 1942, during World War II, he joined the Free French forces and landed in France for the first time in 1944. After demobilization he remained in France, working as a docker in Marseille, and became a militant trade unionist.
Sembène taught himself to read and write in French and in 1956 published his first novel, Le Docker noir (Black Docker), based on his experiences in Marseille. After a spinal disorder forced him to give up physical labour, he made literature his livelihood. Among the works that followed were Ă pays, mon beau peuple! (1957; âO My Country, My Good Peopleâ), Les Bouts de bois de Dieu (1960; Godâs Bits of Wood), which depicts an African workersâ railroad strike and the attempts to combat colonialism, a volume of short stories titled VoltaĂŻque (1962; Tribal Scars and Other Stories), LâHarmattan (1964; âThe Windâ), and Xala (1973), which also provided the subject of one of his best films (1974). In 1987 the novella collection Niiwam; suivi de Taaw (Niiwam; and Taaw) was published.
About 1960 Sembène developed an interest in motion pictures, in an attempt to reach an African popular audience, 80 percent of whom did not know French or have access to books in any language. After studying at the Moscow Film School, Sembène returned to Africa and made three short subject films, all reflecting a strong social commitment. His 1966 feature film, La Noire deâŚ(Black Girl), was considered the first major film produced by an African filmmaker. It depicts the virtual enslavement of an illiterate girl from Dakar employed as a servant by a French family. The film won a major prize at the 1967 Cannes international film festival.
With Mandabi (âThe Money Orderâ), a comedy of daily life and corruption in Dakar, Sembène in 1968 made the revolutionary decision to film in the Wolof language. His masterpiece, Ceddo (1977; âOutsidersâ), an ambitious, panoramic account of aspects of African religions, was also in Wolof and was banned in his native Senegal. Camp de Thiaroye (1987; âThe Camp at Thiaroyeâ) depicts an event in 1944 in which French troops slaughtered a camp of rebellious African war veterans. Guelwaar (1993), a commentary on the fractious religious life of Senegal, tells of the confusion that arises when the bodies of a Muslim and a Catholic (Guelwaar) are switched at the morgue. MoolaadĂŠ (2004; âProtectionâ), which received the prize for Un Certain Regard at Cannes, mixed comedy and melodrama to explore the practice of female circumcision.
The writer-directorâs cinematic achievements are examined in A Call to Action: The Films of Ousmane Sembene, edited by Sheila Petty (1996).
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