Ousmane Sembène

(redirected from Ousmane Sembene)
Ousmane Sembène
Birthday
BirthplaceZiguinchor, Casamance, Senegal
Died
Occupation
film director, producer, screenwriter, actor & author

Sembène, Ousmane

 

Born 1923 in Ziguinchor. Senegalese author writing in French and Wolof.

During World War II, Sembène fought against the fascists in North Africa and Europe. From 1946 to 1958 he was a docker in Marseille. Since 1960 he has lived in Senegal. As a theorist of literature, Sembène takes Marxist positions. He was the first West African writer to create literary characters of African workers and their leaders, champions of independence. His novel The Black Docker (1956) was directed against racism, and the novel My Homeland, My Wonderful People (1957; Russian translation published as Son of Senegal, 1958) dealt with social transformations in the African countryside. Sembène’s novel The Reeds of the Lord God (1960; Russian translation, 1962) depicted the inculcation of proletarian solidarity in former peasants; the struggle for independence in West Africa was the theme of the novel Harmattan—the Hot Wind (1964; Russian translation, 1966). The two novellas constituting the book Vehiciosane (1965; Russian translation of the second novella published as The Postal Money Order, 1966) dispute the concept of negritude.

Sembène is also a screenwriter and film director. He made the feature films The Man With the Cart (1963), The Black Woman From … (1966), The Postal Money Order (1968), Emitaï (1971), and Impotence (1975).

WORKS

In Russian translation:
Novye stranitsy: Rasskazy i stikhi. [Compiled and with preface by G. I. Potekhina.] Moscow, 1964.

REFERENCES

Potekhina, G. I. Ocherki sovremennoi literatury Zapadnoi Afriki. Moscow, 1968.
Sovremennnye literatury Afriki: Severnaia i Zapadnaia Afrika. Moscow, 1973.
Vieyra, P. S. Ousmane Sembène, cinéaste; 1-ère période, 1962–1971. Paris [1972].

G. I. POTEKHINA

References in periodicals archive ?
Thus, the author draws upon classical Marxist aesthetics and the theories of African culture espoused by Frantz Fanon, Amilcar Cabral, and Ngugi wa Thiong'o in order to establish a new language of criticism, which then applies to a diverse array of works by modern African writers such as Chinua Achebe, Ousmane Sembene, Agostinho Neto, and Dennis Brutus.
So opens a unique account in a genre of its own devising that will engage readers interested in Ousmane Sembene as a writer and film director, in Senegal, in African film, in West Africa, or in books designed to be desirable objects in their own right.
that tells the unbelievable true story of the father of African cinema Ousmane Sembene, the self-taught novelist and filmmaker who fought against enormous odds in a monumental fifty-year battle to bring African stories to Africans.
For African cinema neophytes, there can surely be no superior introduction to the films of Ousmane Sembene than, well, the films of Ousmane Sembene: The late Senegalese novelist and filmmaker's scorching brand of political cinema has lost none of its rhetorical and sensory immediacy over the years, setting the bar high for any filmmaker attempting a contemporary appraisal of his work.
Chapter 2 charts the beginning of new imaginings of migration, with a focus on the literature and cinema of Ousmane Sembene and the cinema of Djibril Diop Mambety.
In his interview, Ousmane Sembene (Senegal) explains that "creation is never detached from the social context of the man himself.
Writings are organized by region and country, then chronologically, and are by writers like Chris Abani, Chimamanda Ngozi Adichie, Laila Lalami, Jamal Mahjoub, Adaobi Tricia Nwaubani, Mohammed Dib, Chenjerai Hove, Bessie Head, Ruth First, and Aminatta Forna, and include an interview with Ousmane Sembene, a speech by Patrice Lumumba, and court testimony by Steve Biko.
Ousmane Sembene himself conceived of Moolaade, his final film, as a pedagogical piece by, about, and for Africans (Sembene, "Power of Female Solidarity," 201).
She lauds dozens of artists and cultural figures, including Bob Rogers, Horace Tapscott, Julius Hemphill, Tom Feelings, Emilio Cruz, Al Loving, Alice Coltrane, John Coltrane, Jackie McLean, Pedro Pietri, June Jordan, Octavia Butler, and Ousmane Sembene.
Enfocandose en el papel como agente cultural del novelista senegales Ousmane Sembene, el ensayo muestra como la maquina funciona en su obra como una metafora extensiva de la cultura occidental.
Ejemplos son el poema Tiaroye, de Leopold Senghor, el poema en prosa a varias voces Aube africaine, de Keita Fodeba, los seis cuadros con epilogo Thiaroye Terre Rouge, y la pelicula Camp de Thiaroye, de Ousmane Sembene, asi como las memorias de Birago Diop o el diario de Bernard Dadie.
Some of those who have focused on elevating women are Chinua Achebe, Ousmane Sembene, Ngugi wa Thiong'o, Elechi Amadi, Cyprian Ekwensi, Isidore Okpewho, Chuks Iloegbunam, and so on.