Third Cinema- - Essay Example

?Introduction The ability to depict specific ideals about a culture through film is one which is inclusive of several philosophies and expressions. One of the concepts used for film makers is Third Cinema, which expresses the social and political conditions that are prevalent in a country. This specific aspect can be seen best through Ousmane Sembene’s films of “Xala I The Cure” and “Moolade.” Both of these films depict the ideals of Third Cinema and become a representation not only of film as an art and expression, but also as a way to enforce social change within the country. The aspects of Third Cinema which are expressed by Sembene make the films controversial as well as a way to show the culture of Senegal and the controversies surrounding politics and society. Through the movies, there is a creation of boundaries of what it means to belong in a third world country and the social and political divisions which have arisen in response to this. Theory of Third Cinema The concept of third cinema is based on the social and political problems that are apparent in third world countries. These issues are defined as being separate from first world countries and hold several layers of what it means to belong to a third world country. The language that is developed to represent this shows a development and understanding of the practices and political and ideological overtones that are present in the countries. This is furthered by showing the pressing issues which need to be changed and how these have affected the nations without the understanding of those in present day society. From the ideas of political and social overtones are three main strategies used to create the Third Cinema. This includes styles and narratives that are relative to the country represented, defamiliriazation from Hollywood style plots and national and local variations that are representative of the main issues of a given culture (Guneratne, Dissanayake, 2003). While Third Cinema is able to provide the outlook of politics and society in the third world, there are other influences that create a different portrayal of the films. The main contrast that is seen with the films is based on the combination of Western ideologies and techniques, such as seen through Hollywood influences, as well as creating unique outlooks with both the techniques and content of the film. To change this, the third cinema focuses on representation that is specific to localities and nations. This includes an exotic look as well as content that is specific to each of the regions. By doing this, there is the ability to create a sense of identity and belonging as a part of the film, as opposed to fitting in with the Western concepts. To the Western viewer, this leads to an understanding that the third world problems are a part of the other and have a feel of belonging to the outside as a specific problem to that culture. By using this image, there is the ability to gain interest from the Western viewers while representing the context of a specific third world culture (Ukadike, 1994). Xala I the Cure “Xala I The Cure” is the first film that is displayed by Sembene as appealing to the specific politics and society that are a part of Senegal. The beginning of this is the setting that is chosen, specifically which represents the ideal of Senegal before colonialism. The setting and the representation of the exotic through costumes and other elements are seen as related directly to the Mande Empire. This is common for the area of shooting of the film. This contrasts with the setting after colonialism, which is represented by the French costumes that are a part of the story line. At first, this is seen specifically by the French invasions. However, as the story continues, there is conformity to the French styles in costume, ways of living and the ideals which are carried. The setting and the approach that is taken shows how there is a division between these two era which has created a different sense of belonging to the nation. The political agendas related to colonialism and the changes made during post – colonialism can then be added into the conflicts, specifically as those in the region lose their culture and ideologies as the film continues. This begins with trying to get the French out of Senegal to eventually developing an interest in the capitalist structure of those who were ruling the country, as opposed to keeping the socialist politics alive (Mulvey, 1999). The key concepts of politics and how this causes change throughout the movie is juxtaposed with the cultural traditions that are used throughout the film. The overall film takes place like the oral story telling used in Senegal. The story is one which uses a narrator and which shows the reactions through a third omniscient point of view so the viewer always knows what is going on in different parts of the culture and the political realm. This is followed with the cultural tradition, specifically which is based on the ancient style of beliefs from Senegal (Akomfrah, 2006). The culture of the curse, or the Xala that the main politician faces, for instance, shows a specific part of cultural tradition. This is furthered by showing the cultural traditions through the music, setting and the ideals of the characters. To further this, the film uses the traditional language, combined with French, to show the split between the two cultures. The idea of modern and traditional culture then begins to take place and draw divisions throughout the film. Moolade The second movie that represents these ideals is “Moolade.” This moves into the direct political and social issues that are a part of Senegal, specifically which is based on the difficulties of female genital mutilation. The cultural traditions are first defined, such as the elder women stating that if the practice isn’t carried out, then everyone will die. This fear is followed by the cultural tradition of the Moolade, which creates a magical power of protection and which follows the supernatural traditions that are associated with Senegal. These two traditions show both the good and the bad of the culture. The need to belong and keep this culture and tradition to remain alive is the main perspective which is provided by the characters. The ideal of cultural tradition is one which then becomes questionable because of the modernity that is a part of the culture. The modern radio is the main representation of this, specifically which the women use to gain education and the need to move outside of the traditions. The modern ideals show a similar boundary as the other movie, specifically with a direct boundary that is represented from the traditional aspect to the modernity of the time. However, the changes aren’t negative, as seen in “Xala,” but instead show how the worldly education can change the way in which different ideals function. For instance, the politics that are involved, such as beating the woman when she refuses to make her daughter have the mutilation process, show the corruption and misunderstanding from politics. However, it also shows how the modern ideals and the ability to move into a more contemporary lifestyle are also needed. The idea of changing the nation while keeping specific traditions alive then becomes the main theme used in relation to third cinema (Magombe, 1996). Production and Circulation of Ousmane Sembene Films The context of Sembene’s films are based on the ideal of women having equal rights, creating new concepts in terms of economics and changing the dynamics between political and social dimensions. Each of the stories show the main conflicts and tensions which arise when there is a lack of understanding in terms of equal rights, economics and the politics that are available to all. The focus which Sembene has creates a sense of production and ideologies that become controversial because of the expressions used. The language which is used becomes controversial because of the deeply rooted issues of third world countries as well as the political tensions which are realistically arising and represented by Sembene. These issues make the films difficult in the circulation, specifically because of the pressures which it raises. When looking at this context with the Western ideologies, the boundaries created leads to a voice which shows the stark differences between the issues which Sembene raises. Most in Senegal and other areas then begin to re-examine their own culture while questioning the amount of circulation the movies should have (Gadjigo, Faulkhingham, 1993). The issues which are raised and which question the production of the films are based specifically on the capturing the relationships in terms of industrial, social and cultural context. Instead of creating pieces of film which are based specifically on the ideologies of Hollywood or the entertainment created, there is a challenge to society and third world countries. Sembene recreates the realities that are a part of the third world and which show that the issues surrounding this are removed from the first world countries. He furthers these boundaries and questions the tensions even more with the understanding of divisions made in terms of economics, social and cultural contrasts. Specific issues, such as the rights of women, lead Sembene into pioneering the controversial issues associated with Senegal and the way in which this has shaped the culture, political ideals and the social beliefs. In turn, this gives a clear representation of what it means to belong to a third world (Pfaff, 1984). Conclusion The concepts of Third Cinema are used specifically to re-create an understanding of the issues and complexities which arise in various regions that are not as developed as the West. When looking at Sembene’s films, it can be seen that the issues which arise are deeply rooted in the cultural traditions and beliefs which are passed down between generations. This is followed by the specific issues which have arisen from the development of Senegal and the nations of Africa through changes coming from colonialism and post – colonialism. There is a direct division which is created between the cultural traditions and modernity, both sides which are explored in the movies. When looking at these specific pieces of films, it can be seen that there are boundaries and divisions which Sembene points out in terms of political and social structures in Senegal. References Akomfrah, J. (2006) On the National in African Cinema/s: a Conversation in V. Vitali and P.Willemen (eds) Theorising National Cinema London: BFI Gadjigo, S., Faulkingham, R., Cassirer, T. and sander, R. (1993) Ousmane Sembene: Dialogues with Critics and Writers Amherst: University of Massachusetts Press Guneratne, A. R. and Dissanayake, W. (2003) Rethinking Third Cinema London and New York: Routledge, pp.1-29. Magombe, V. P. (1996) ‘The Cinemas of Sub-Saharan Africa’ in G. Nowell-Smith (ed) The Oxford History of World Cinema Oxford: OUP, pp. 667-71. Mulvey, L. ‘The Carapace that Failed: Ousmane Sembene’s Xala’ in A. Kaplan (ed.) Feminism and film Oxford: OUP. Pfaff, F. (1984) The Cinema of Ousmane Sembene: A pioneer of African film Westport and London: Greenwood Press. Ukadike, N.F (1994) ‘Western images of Africa: Genealogy of an Ideological Formulation’ and Berkeley the Exotic: Toward a positive image? In Black African Cinema Berkeley: University of California Press, pp. 35-58. Read More