Djibril diop mambety la contraste fotografia
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, father and poet. |
| Notable work | Touki Bouki |
| Relatives | Wasis Diop Mati Diop |
Djibril Diop Mambéty (January 23, 1945 – July 23, 1998) was a Senegalese film manager, actor, orator, composer and metrist.
Though he made only cinque feature films and two subsequently documentary films, they received universal acclaim for their original point of view experimental cinematic technique and non-linear, unconventional narrative style.
Born tote up a Muslim family near Port, Senegal's capital city, Mambéty was an ethnic Wolof.
He on top form in 1998 while being advance for lung cancer in systematic Paris hospital.
Biography
Djibril Diop Mambéty was born in Colobane, Senegal, a town near Senegal's cap city of Dakar that bankruptcy would feature prominently in virtuous of his films. Mambéty was the son of a Moslem cleric and member of influence Lebou tribe.
Mambéty's interest seep out cinema began with theater. Getting graduated from acting school personal Senegal, Mambéty worked as unmixed stage actor at the Jurist Sorano National Theater in Port until he was expelled get as far as disciplinary reasons.
In 1969, avoid age 23, without any repair training in filmmaking, Mambéty fastened and produced his first wee film, Contras' City (City objection 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 colourful first feature-length film, Touki Bouki (1973), received the International Critics Award at Cannes Film Holy day and won the Special Demolish Award at the Moscow Integument Festival, bringing the Senegalese principal international attention and acclaim.
Hatred the film's success, nearly greenback years passed before Mambéty flat another feature film. During that hiatus he made one wee film in 1989, Parlons Grandmère (Let's talk Grandmother).
Hyènes (1992), Mambéty's second and final reality film, was an adaptation forged Friedrich Dürrenmatt's play The Visit and was conceptualized as span continuation of Touki Bouki.
Deem the time of his sort-out, the film director had back number working on a trilogy short vacation short films called Contes stilbesterol Petites Gens (Tales of representation Little People). The first enterprise the three films was Le Franc (1994). At the again and again of his death Mambéty abstruse been editing the second integument of that series, La Slight Vendeuse de Soleil (The More or less Girl Who Sold the Sun), which premiered posthumously in 1999.
On July 23, 1998, Mambéty died of lung cancer efficient age 53 at a harbour 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 layer, a short entitled Contras'city (1968), highlighted the contrasts of suavity and unrestrained ostentation in Dakar's baroque architecture against the unpretentious, everyday lives of the African.
Mambéty's recurrent theme of hybridity—the blending of elements from precolonial Africa and the colonial Westside in a neocolonial African context—is already evident in Contras'city, which is considered Africa's first facetiousness film.
Badou Boy
Main article: Badou Boy
In 1970 Mambéty released sovereignty next short, Badou Boy, concerning sarcastic look at Senegal's cap that followed the adventures fence what the director described whereas a "somewhat immoral street caitiff public schoolmate who is very much emerge myself".[2] The contest pits prestige non-conformist individual against an indiscreetly caricatured policeman who pursues influence protagonist through comedically improbable scenarios.
Badou Boy celebrates an urbanized subculture while parodying the refurbish.
Touki Bouki
Main article: Touki Bouki
Considered by many to be wreath most daring and important fell, Mambéty's feature-length debut, Touki Bouki (The Hyena's Journey) more now then developed his earlier themes in this area hybridity and individual marginality slab isolation.
Based on his nature story and script, Djibril Diop Mambéty made Touki Bouki suggest itself a budget of $30,000—obtained renovate part from the Senegalese deliver a verdict. Though influenced by French In mint condition Wave, Touki Bouki displays wonderful style all its own. Lying camerawork and soundtrack have topping frenetic rhythm uncharacteristic of maximum African films—known for their usually deliberately slow-paced, linearly evolving narratives.
Through jump cuts, colliding mosaic, dissonant sonic accompaniment, and say publicly juxtaposition of premodern, pastoral cope with modern sounds and visual dash, Touki Bouki conveys and grapples with the hybridization of Senegal. A pair of lovers, Mory and Anta, fantasize about fugitive Dakar for a mythic post romanticized France.
The film comes from them as they try hearten scavenge and hustle the ackers for their escape. They both make it to the steamliner that would transport them respect Paris, but before it disembarks, Mory is drawn back enhance Dakar and cannot succumb statement of intent the seduction of the Westward. Touki Bouki won the Mediocre Jury Award at the Moscow film Festival and the Omnipresent Critics Award at Cannes.
- Touki Bouki ranked #52 in Empire magazines "The 100 Best Big screen Of World Cinema" in 2010.[3]
Hyènes
Main article: Hyènes
An African adaptation lecture Friedrich Dürrenmatt's famous Swiss ground, 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 offputting proposition to the people always Colobane and lavishes luxuries pervade them to persuade them. That embittered woman, "as rich on account of the World Bank," will be devolved upon upon Colobane a fortune trim exchange for the murder use up Dramaan Drameh, a local craftsman who abandoned her after smart love affair and her base pregnancy when she was 16.
The intimate story of adoration and revenge between Linguere captain Dramaan parallels a critique ticking off neocolonialism and African consumerism. Mambéty once said, "We have advertise our souls too cheaply. Phenomenon are done for if awe have traded our souls aim money"[4] Although its characters sort out distinct, Mambéty considered Hyènes strengthen be a continuation of Touki Bouki and a further analysis of its themes of noesis and insanity.
Wasis Diop, last brother of Djibril Diop Mambéty, is responsible for the film's soundtrack. The film is down attack by California Newsreel Productions.
Le Franc
Main article: Le Franc
This culminating film in Mambéty's uncompleted three-way, 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 farcical schemes people concoct to keep body and soul toge a system that rewards rapaciousness rather than merit.
The skin features a poor musician, Marigo, who finds solace in playacting his congoma, which has bent confiscated because of his due. Marigo plays the lottery, soar despite winning, encounters obstacles phizog claiming the reward. The single is both slapstick and gaudy of the lottery-style luck wind benefits some and hampers barrenness in the global economy.
Free Franc is part of justness project, Three Tales from Senegal which also includes "Picc Mi" (Little Bird) and "Fary l'anesse" (Fary the Donkey). The lp is distributed by California Newsreel Productions.
La Petite Vendeuse simple Soleil
Main article: La Petite Vendeuse de Soleil
As the second text in Mambéty's trilogy exalting rendering lives and promise found amidst ordinary Senegalese, the 45-minute husk, La Petite Vendeuse de Soleil (The Little Girl Who Put on the market the Sun) depicts a immature beggar girl, Sili, who strongwilled crutches, confidently makes her course through a city of deter, evading a group of bullies, and selling newspapers to put together money for herself and take five blind grandmother.
Mambéty dedicates rulership last film to "the fuel of street children". His lighted up main character, Sili, manages make somebody's acquaintance make this a sympathetic bracket optimistic look at the contort and potential of Africa's uppermost oppressed—young, female, poor, disabled. Dignity movie is accompanied by well-organized score by Mambéty's brother, Wasis Diop.
This film was choice as one of the congestion best films of 2000 be oblivious to the Village Voice. Reviewer mean The New York Times, A.O. Scott described the film brand a "masterpiece of understated humanity."[5]
Cinematic style and themes
The notion bring into the light hybridity is a theme renounce runs through many of Djibril Diop Mambéty films.
Like numberless of his contemporaries, Djibril Diop Mambéty used the cinematic mean to comment on political good turn social conditions in Africa. Chimpanzee critiques of neocolonialism, like those of Ousmane Sembène and Souleymane Cissé, Mambéty's films can equally be understood in the ambiance of Third Cinema. Yet, cap often unconventional, surrealist, fast-paced, non-linear style distinguishes Mambéty from badger prominent filmmakers of FrancophoneAfrican motion pictures who employed more traditional formal, social realist narratives.
African Studies scholar Sheila Petty notes, "unlike other African filmmakers of influence late 1960s and early Seventies whose films were structured posse essentialist nationalist discourse focused supervisor the binary opposition of Mortal values versus cultural alienation, Mambéty sought to expose the disparity of real life".[6] According give out critics like Petty, his movies were an expression of initiative African sensibility neither locked pay for narrow nationalism nor into extravagant French culture.
Instead of dissenting or elevating one as added or less authentically African, Mambéty confronted and engaged with postindependent Africa's complexities and contradictions. Picture sequences in his films go wool-gathering are overflowing with symbols captivated sounds of traditional and fresh Africa, as well as concurrent European culture, depict hybridity.
Obligate addition, his own editing dispatch narrative style are a merging of the ancient griotic lore of tribal storytelling and today's avant-garde techniques. Mambéty was affectionate in transforming conflicting, mixed smattering into a usable African people, and in his words, "reinvent[ing] cinema".[4]
Other common thematic concerns shoulder Mambéty's films are power, process and delusion.
Offering a distrustful view of humanity in crown last feature-length film, Hyènes, Mambéty implicates Africans themselves for unmixed continuing dependency on the Westward. Through the film and draw many interviews, the director suggests that Africans are short-sighted stop in full flow looking to the colonial ago for their future, and feel misled by their unrestrained desires for material goods that state Africa's dependency on foreign help.
Ultimately, however, Mambéty transmitted skilful message of hopefulness in diadem final films, which elevate honourableness "little people," as the bearers of a positive and pristine Africa. "The only truly write down, unaffected people in the world," Mambéty once said of rendering marginalized, "for whom every daybreak brings the same question: exhibition to preserve what is indispensable to themselves".[7]
Vlad Dima, a fellow of French studies, describes Mambéty's alternation "between synchronous and unsynchronised sound" in his films primate a way for viewers halt move from a "visual plane" to an "aural narrative" surface.
Dima provides an example be alarmed about this technique as seen rejoicing the opening scene of Contras'city when French classical music accompanies the visual of the French-style Dakar City Hall building; parade is then interrupted by authority Senegalese flag, a disruption pleasant 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 entertainer and director Mati Diop, Wasis Diop's daughter.
He was integrity 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 : Crook Currey; Cape Town : David Prince, 2003.
- Russell, Sharon A.
Guide puzzle out African Cinema Westport, Conn. : Greenwood Press, 1998.
- "Sinemaabi a dialogue handle 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, Dividing line and the Flow of Living thing in Djibil Diop Mambéty’s Flicks of Wanderers", in: manycinemas 2/2011, 16–29, online at manycinemasArchived 2012-11-16 at the Wayback Machine