African Filming - Essay Example

Student’s name Course code+name Professor’s name University name Date of submission Introduction During the time African continent was under colonial era, cinematic images of the continent effectively served to strengthen the Western vision and intention on ‘dark continent’, viewing Africa as wild and savage place, outside the history. This is the reason why African cinema has remained problematic in the sense that Western filmmakers do not want to decolonise their beliefs and representations of Africa (Diawara 1988). Sub-Saharan cinema began in the early 1960s at the height of decolonisation and this became as a result of many Africans feeling their images had been dominated by jungle epics; ranging from the Tarzan series to King Solomon’s Mines---which was deeply racist (Rushton and Bettinson 2010). Therefore, need to decolonise the screen did not come as surprise as African filmmakers wanted to delink themselves from Western captivity. The best way Western images were replaced was through filmmakers acting as Griots and Griottes. This is the process Tomaselli et al. (1995) terms as ‘decolonisation of the screen’ (p.23). Based on this, the essay seeks to critically analyse theorists ideas regarding ‘decolonising the screen’ in the context of African cinema and how the process has been achieved using Griots and Griottes. The essay will also apply the ideologies to the film of Sembene. Theorists discussing ‘decolonising the screen’ African films show efforts to control Western dominance and proliferation of their unrated films. However, decolonisation of screen has continued to grow and there has been in depth critical theories on the process. Francoise bases his argument on post colonial theory. And in so doing, contextualises and criticises African films that try to delink themselves completely from Western images (Francoise 1983). Mentioning the case of Manthia Diawara (represented as the first African filmmaker to publish a book regarding African film), Francoise’s ideology is that decolonising the screen through Griots and Griottes is indeed adaptations of African and non-African literature but much of what Griots and Griottes represent in the new wake are merely violence and retrogressive cultures (Phipps 2009). In his view, the post-colonial theory he represents explains that on the one hand, African filmmakers are developing a distinct filmic identity but on the other hand, engage in a platform transcending geographical and cultural identities. Francoise explains that even though these films try do decolonise the screen, there are some problems linked to African cinemas of this nature. One of such is the failure to fuse western culture with totalised African identities. Referring to FESPACO (arts festivals in Africa), Francoise cites that works of artists such as Tsitsi Dangarembgba and Achilie Mbembe if translated into a film can exhibit successful fusion of Griots and Griottes to achieve the desired goals but such continue to delink Africa from what he terms, ‘reality of film world’ (Francoise 1983, p. 46). He adds, “…the persistence of Griots and Griottes as reality of African identities only shows beliefs and attitudes in the African film scenes. However, we are not cautioned against overlooking the imagination, desires and subjectivity of such decolonisation of African cinematic identities…this cannot compete with intercontinental scales” (p.26) Cameron notes that post-colonial theory as argued by Francoise tend to reduce Africa rewritings of canonical texts to what is a now seen as resistance, opposition and appropriation (Prince 2010). Representing theory of film adaptation, Cameron argues that from the beginning, African filmmakers and directors have chosen to use Griots and Griottes not only to look at the process of colonialism and its legacy in postcolonial forms of violence and oppression but also redeem the image of Africans. He interestingly exemplifies his beliefs by mentioning some of the very first films made in African by Africans. An example of the film he mentions is the La Noire de… (Ousmane Sembene, 1965) which has been acted as a representation of the sub-Saharan life that was full of racism and struggle for materials by its protagonists. While agreeing that Africa still need advanced technology to move to the levels of Hollywood films, he recognise that using Griots and Griottes help illustrate broader trend in African filmmakers and audiences; in particular these films not only decolonise the screen but redeem the image of Africa from social unrealities, violence and retrogressive cultures associated with black man (Pramaggiore and Wallis 2008; Thackway 2003a). Unfortunately, film adaptation theory as argued by Cameron is limited compared with Francoise’s post-colonial theory in the sense that there still exist a strong sense of authorship held by post-colonial African filmmakers. Nevertheless, Theodor Adorno’s theory of mimesis brings a different approach in understanding the process of decolonisation of Africa screen by adopting Griots and Griottes (Hammonds 1997). Before discussing this theory, it needs to be understood that since the beginning of the new millennium, African film industry has seen surge in research on film adaption and decolonisation. However, there have been little accounts on African practices of adaptation (adaptation in this context means African films adapting to their socio-cultural environments). This is where Theodor Adorno’s theory of mimesis banks on. Pointing at African filmmakers such as Sissoko who refer themselves as “screen griots”, this theory believes that African films have not fully adapted and claiming a post (“screen griots”) as the inheritors of the ancient communal West African oral narratives or storytellers in African films needs critique. Unlike the two theories, the theory of mimesis posits that the role of African filmmakers as griots and griottes in real African film is ‘hyped’ as the prominent features of the traditional griots and griottes are missing among filmmakers. The theory categorically mentions the use of voice-over as seen in the Jean-Pierre Bekolo (Cameroonian filmmaker). An interesting school of thought regards post-structuralist theorists. They argue that adopting the title ‘decolinising the screen’ and further translating oral stories as well as literary tests to the screen makes African filmmakers reach non-literate African audiences besides encouraging audiences to react to the cinematic experiences unlike films dominated by Western cultures (Gandhi 1998). Gandhi adds that the use of griots and griottes by African filmmakers give African films real identities and the audiences are also given critical and modifying eye just like they would attend griots or griottes performance of oral tale. “African screen is completely decolonised in the sense that we are not seeing absent minded passivity of African audiences as we used to---expecting nothing but entertainment” (p.12) While other theories have tried to argue for or against the use of griots and griottes to decolonise the screen, performative criticism theory argue that most of African films seems to be concerned or engaged in the opposite process. For instance, Sissons (2005) argues, “…as it can be seen from the works of Bassek Ba Kobhio I think it is not the question of redeeming self identity but using the hyper-embodied films to air their own versions of rationality” (p. 23) It can be concluded that performative criticism theorists do not understand how films or filmmakers create a new symbolic order through their films narrative just because there is adoption of griots and griottes. Application of the theorists views to the Sembène's film Xala Giving an overview of the film, Sembène adapted his own novel of 1997 of the same name. The film depicts El Hadji cursed with erectile dysfunction. Sembène addresses the nature of musical and verbal art as represented by the historical griots. He depicts roles played by griots and griottes through El Hadji and the third wife. How does the representation of griots and griottes in this film depict views held by the theorists above? Just like Theodor Adorno’s theory of mimesis posits, Xala depicts role of the griot as self reflexive character. This is well developed through language which also plays an essential role in Sembène’s griotic project. Mimesis theory suggests that there have been little accounts on African practices of adaptation. While this is true, Sembène brings an aspect to dispute this allegation. This happens as Xala shows self-proclaimed position and griot is seen becoming hybridised especially when he chooses to use two languages in Xala (English and French). This scene is well illustrated when El Hadji’s third wife is expected to develop into a new African woman; well educated and enlightened to bring together elements of traditional and modernism. Secondly, Xala depicts griot carried in a myriad of cultural connotations. How does this compare with the theory of film adaptation as explained by Cameron? Traditionally, griots as represented in this film manifest a certain caste. Illustrating this, Sembène defines himself in this film as a modern griot. As Francoise identifies, there is failure to fuse Western culture with totalised African identities. This in the first place, a correct conclusion in that looking at Xala, Rama is not attracted to automatic machines of the Western world. She only prefers Western cultures that can help her life. These include modern technology and education. Comparing this further, Sembène portrays women as characters who have the symbolic implications existed in the narratives and tales of the traditional oral narratives---actually the biting irony is evidenced in Xala. Sembène concepualises the notion acting as the storyteller. Xala also shows instances where Sembène performs ritual incantation of words and images which connects reality to metaphor. This differs with the ideologies presented by Theodor Adorno’s theory as Xala shows griot as the world of imagery whose source goes as far as earliest times of men. A clear indication of this is when El Hadji addresses Awa in Wolof. This is also clear when together with Awa; El Hadji recovers his ‘Africanness.’ It is also important to mention that the argument presented by performative criticism theory do not hold waters. The reason is that from tradition, every object in the universe has a twofold significance. This is to mean Sembène’s aim was to entirely rely on socio-realism while succinctly recording film on all the problems and segments Senegalese female face. It also needs to be pointed out that unlike the opinion of performative criticism theory, Xala portrays a griot which in the deeper sense, acts as an artist that informs, develops, and educate socio-cultural awareness of Africans by using dialectic both within and outside realism. There is a unique aspect theories above have failed to capture. Through the film, Sembène brings the need for re-interpretation of the role of griot especially when looking at Xala from the perspective of contemporary Africa. The forgotten point is that Sembène’s claim as a new griot is basically political. And this goes beyond his articulation of artistic camaraderie compared with his previous works or other genres. This comes out when Sembène brings out the characteristics of Awa and contracts them with Rama’s (character depicted to be very close to her mother.) The political griot is manifested when El Hadji sits in front of a political map of Africa showing its present frontiers. In order to understand how Sembène decolonise the screen or views his role as a griot, it is necessary to explore his relationship vis-à-vis griot. Unlike how Cameron puts it in the theory, Xala do not show Sembène as gewel by birth (by gewel it means someone belonging to the traditional griot caste) but achieves it by trade. This film also shows Sembène defining himself as a griot to lend authenticity to his corpus. Unlike the argument that decolonisation of the screen is about African filmmakers reaching non-literate African audiences, (post-structuralist theorists) Xala is mainly concerned with redefining the griot as a character upholding justice and truth in the face of moral cruelty. The best illustration regarding this is the figure of the beggar who is represented in griotic functions. Though the figure appears only in three scenes such becomes integral part of the film. Conclusion For the African film generally, it is morning yet on creation day. African filmmakers have managed through griots and griottes, decolonise the screen. It needs to be noted that theories will be many; in fact, we should expect many divergent ones. Senegelese filmmaker Paulin Vieyra agrees with this assertion adding that Africa films are doing better since the incorporation of griots and griottes. This essay also realises that decolonisation of the screen goes beyond the roles griots and griottes have been given in most African films. Therefore paradigms of decolonisation or powers within these films need to be controlled so that the negativities portrayed by the above theorists can be addressed. References Cameron, M 1994, ‘Africa on Film.’ Beyond Black and White/ Rob Nixon. New York: Continuum. Main Stack PN1995.9.A43.C36. Diawara, M 1988, ‘Popular Culture and Oral Traditions in African Film’, Film Quarterly 41, No. 3 (Spring) pp. 6-14. Francoise, P 1983, ‘Cinema In Francophone Africa.’ Africa Quarterly 22(3-4): 41-48. Discusses the film work and philosophy of Senegalese Ousmane Sembène. Gandhi, L1998, Extract from ‘After Colonialism’ inPostcolonial theory: A critical introduction, pp. 1-3(Ch. 1) Hammonds, EN 1997, ‘New technologies of race’, in Terry, J& Calvert, M (Eds.) Processed lives: gender and technology in everyday life, London, Routledge, pp. 107-121 (Ch. 11.) Eds.) 2000, The gendered cyborg: a reader, Routledge, pp. 305-318. Phipps, P 2009, ‘Globalization, indigeneity and performing culture’, in Local/Global. Identity, Security, Community Vol 6, Globalism Research Centre, RMIT, Melbourne, pp. 28-48. Pramaggiore, M and Wallis, T 2008, ‘Film and ideology’, in Film A Critical Introduction, London, Laurence King, 2nd edition Prince, S 2010, ‘Film criticism and Interpretation’, in Movies and Meaning: an introduction to film, Boston, Allyn and Bacon, (5th edn.) Rushton, R & Bettinson, G 2010, ‘Cinemas of the Other: Postcolonialism, race, and queer theory”, in What is film theory? An introduction to contemporary debates, McGraw-Hill England; New York Sissons, J 2005, ‘Indigenism’, in First peoples: indigenous Cultures and their futures, Reaktion Books, London, pp. 6-35 & notes pp. 161-162 Thackway, M 2003a, ‘Excerpt from Screen Griots: Orature and Film’, in Africa Shoots Back Alternative Perspectives on Sub-Saharan Francophone African Film, pp. 49-57, Oxford, Boomington, Cape Town, James Curry/Indiana University Press/David Philip. Tomaselli, KG Shepperson, A & Eke, MN 1995, ‘Towards a theory of orality in African cinema’, Research in African Literatures 26, 3 (Fall), pp. 18-35. Read More