Sembene, Ousmane

(redirected from Ousmane, Sembene)

Sembene, Ousmane

Sembene, Ousmane (o͝osmäˈnĕ səmbĕˈnĕ), 1923–2007, Senegalese author and film director who wrote and made films in French and Wolof, often regarded as the father of sub-Saharan African cinema. He left school at 15 and after being drafted into the French Army in 1939, joined the Free French forces in 1942, accompanying them to liberated France in 1944. After World War II, Sembene became a dockworker in Marseilles, joined the Communist party, and drew on his experiences for his first novel, Le Docker noir (1956; tr. The Black Docker, 1981). He became disabled, and turned to literature as his primary occupation. His books from this period include Les Bouts de bois de dieu (1960; tr. God's Bits of Wood, 1962), which chronicles a Senegalese railroad strike of the late 1940s. In the early 1960s, he studied film at the Gorki Studios in Moscow.

Returning to Senegal in 1963, Sembene wished to reach a larger and more diverse audience and to develop a truly African style. He soon turned to filmmaking, producing a number of feature and short films that ranged from satirical comedies to serious dramas and documentaries. In general, his films explore the lives of ordinary Africans, treat women's stories and issues with particular sensitivity, and view such larger themes as colonialism, racism, and social class from a populist and leftist point of view. In 1966 he directed La Noire de … [black girl], which uses a combination of realistic Western narrative and traditional African storytelling to follow a young African woman's mistreatment by a French family. A landmark in film history, it was the first feature ever produced by an African filmmaker and won a prize at the 1967 Cannes Film Festival.

Beginning with Mandabi [the money order] (1968), Sembene produced films in the Wolof language, taking his work to cities and villages throughout Senegal. Angry and often bitingly satirical views of modern African regimes, his subsequent films, including Xala (1974) and Ceddo [outsiders] (1977), were temporarily banned or censored in Senegal because parts of them were deemed offensive to government standards. His later films include Guelwaar (1992), a groundbreaking satire on Muslim-Christian conflicts in a small village; Samori (1994); and his final films, Faat-Kiné (2000) and Moolaadé (2004), both of which again reflect Sembene's profound concern for African women.


See F. Pfaff, The Cinema of Ousmane Sembene (1984); R. Faulkingham et al., ed., Ousmane Sembene: Dialogues with Critics and Writers (1994); S. Petty, ed., A Call to Action: The Films of Ousmane Sembene (1996); D. Murphy, Sembene: Imagining Alternatives in Film and Fiction (2001).

The Columbia Electronic Encyclopedia™ Copyright © 2022, Columbia University Press. Licensed from Columbia University Press. All rights reserved.
The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

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).


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


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].


The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
Par contre, dans le Dictionnaire historique, thematique et technique des litteratures, l'entree est a << OUSMANE >> (Demougin 1986 : 1183), alors qu'a l'index du Dictionnaire des oeuvres litteraires negro-africaines de langue francaise, il y a une entree a << Ousmane, Sembene >> qui renvoie a << Sembene, Ousmane >>, ou se trouvent les donnees (Kom 1983 : 637, 658).
Par ailleurs, force est de reconnaitre que la Bibliotheque Nationale de France donne comme << forme internationale >> : << Sembene, Ousmane >>, rejetant la forme << Ousmane, Sembene >> qu'on retrouve a son catalogue general 1960-1969 (7).
(8.) Par exemple, pour le meme titre, God's Bits of Wood (la traduction anglaise de Les Bouts de bois de Dieu par Francis Price), publie la meme annee (1970), par le meme editeur (Heinemann), nous avons deux entrees avec de noms differents : << Sembene, Ousmane >> et << OUSMANE, Sembene >> [sic].