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 ?
Le film a ete egalement prime du Grand prix Ousmane Sembene et du prix du meilleur scenario au Festival du cinema africain de Khouribga (FCAK), ainsi que du Grand prix du film arabe a Oran et du Festival national de Tanger.
Directed by Samba Gadjigo and Jason Silverman A biographical celebration of Ousmane Sembene, the "father of African cinema," and his monumental, 50-year-long battle to give Africans a voice.
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.
One of the first to do so was Ousmane Sembene, the Senegalese author who, realising that his literary endeavours would only reach a limited audience, turned, in 1963, to the medium of film.
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.
La presentation des perspectives du cinema de Ousmane Sembene par Jean Jonassaint, du regard d'un cineaste a la fois local et de reputation internationale, nous permet de repenser certains des aspects du cinema ethnographique, ce qui n'est pas sans consequences.
Spurred on by Caribbean and African writers such as Glissant and Ousmane Sembene, this protectionist approach has only recently begun to be replaced by a more honest understanding of the slave trade and its consequences.
The panelists nevertheless found positive examples in the Amhazigh cinema of Morocco and North Africa and the Wolof language productions of Senegalese filmmaker Ousmane Sembene.
So while Ousmane Sembene, Djibril Diop Membety, and Jean-Pierre Bekolo feature strongly in both books, other important filmmakers, like Jean-Marie Teno and Youssef Chahine, only appear in one study, respectively; yet others, like Kwaw Painstil Ansah, are noticeably absent from both publications.