Livre/Book: La diversité du documentaire de creation en Afrique | The diversity of the creative documentary in Africa - ed. François Fronty, Delphe Kifouani

Livre/Book: La diversité du documentaire de creation en Afrique | The diversity of the creative documentary in Africa

English translation of title, description and table of contents (after French text).

La diversité du documentaire de creation en Afrique

Sous la direction de François FRONTY et Delphe KIFOUANI

Collection « Images Plurielles » ISBN : 978-2-343-06986-9 - 21,5 € - 210 pages

Cette publication réunit des textes issus du GRECIREA (Groupe d’Étude Cinéma du Réel en Afrique), un réseau international de chercheurs basé à l’Université Gaston Berger de Saint-Louis, au Sénégal. Notre but est d’élaborer un champ théorique dans le contexte de la pratique des cinémas documentaires qui émergent en Afrique depuis les années 2000 et la généralisation des outils numériques. Il s’agit ici du premier ouvrage associant des réflexions de cinéastes et une approche universitaire à propos d’un objet marqué du sceau d’enjeux esthétiques et politiques qui traversent tout le continent cinéma.

LES AUTEURS

Sous la direction de François Fronty, cinéaste, chargé de cours en cinéma (Université Paul Valéry Montpellier 3, France) et Delphe Kifouani, cinéaste, producteur, enseignant chercheur en cinéma (Université Gaston Berger, Saint-Louis du Sénégal).

SOMMAIRE

Introduction

François Fronty

PRÉFACE

L’inscription du cinéma documentaire en Afrique dans le champ des sciences humaines et sociales

Bertrand Cabedoche

CHAPITRE 1

La métamorphose du regard : Mamadou Sellou Diallo, la poésie du documentaire

Delphe Kifouani

CHAPITRE 2

Vers une nouvelle approche du cinéma africain : la "filmagriotie"

Mahamane Ousmane Ilbo

CHAPITRE 3

Le dispositif du « je » dans le cinéma documentaire africain des années 2000

Mamadou Sellou Diallo

CHAPITRE 4

Filmer le sacré en Afrique

François Fronty

CHAPITRE 5

Cinémas documentaires en Afrique au féminin

Beti Ellerson

CHAPITRE 6

Quand le procès Sud/Nord devient cinéma

Amanda Rueda

CHAPITRE 7

Afrique 50 de René Vautier : au-delà de la « monstration » un film anticolonialiste

Rufin Mbou Mikima

CHAPITRE 8

E.T. Comme Enfants de Troupe - Autour des trajectoires et des récits migratoires des élèves du Prytanée Militaire Charles N'Tchoréré de Saint-Louis du Sénégal

Momar Désiré Kane

Biblio-filmographies

Comité de lecture

Les auteurs

[English]

The diversity of the creative documentary in Africa

Under the direction of François Fronty and Delphe Kifouani

Collection "Images Plurielles" ISBN: 978-2-343-06986-9 •-21,5 € - 210 pages

This publication brings together the texts of GRECIREA (Groupe d’Étude Cinéma du Réel en Afrique), an international network of researchers based at the Université Gaston Berger of St. Louis, Senegal. Our goal is to develop a theoretical field in the context of the documentary cinema practice that has emerged in Africa since the 2000s and the spread of digital technologies. This is the first work that combines the reflections of filmmakers with an academic approach regarding aesthetic and political issues that traverse the cinematic experiences on the continent.

THE AUTHORS

Under the direction of François Fronty, filmmaker, in charge of cinema studies (Université Paul Valéry Montpellier 3, France) and Delphe Kifouani, filmmaker, producer, teaching researcher of film (Université Gaston Berger, St. Louis, Senegal).

SUMMARY

Introduction

François Fronty

PREFACE

The contribution of documentary filmmaking in the humanities and social sciences in Africa

Bertrand Cabedoche

CHAPTER 1

The metamorphosis of the gaze: Mamadou Diallo Sellou, the poetry of the documentary

Delphe Kifouani

CHAPTER 2

Towards a new approach to African cinema: "filmagriotie"

Mahamane Ousmane Ilbo

CHAPTER 3

The approach of the "I" in the African documentary cinema of the 2000s

Mamadou Diallo Sellou

CHAPTER 4

Filming the sacred in Africa

François Fronty

CHAPTER 5

Women’s documentary cinemas in Africa

Beti Ellerson

CHAPTER 6

When the Sud/Nord project becomes cinema

Amanda Rueda

CHAPTER 7

Afrique 50 by René Vautier: beyond "exhibiting" an anticolonial film

Rufin Mbou Mikima

CHAPTER 8

E.T. As Children of the Troupe - Across the trajectories and migration stories of students of Prytanée Military Charles N'Tchoréré of St. Louis, Senegal

Momar Désiré Kane

Biblio-filmographies

Peer review panel

Contributors

Women and Intangible Cultural Heritage: The experience of the “creative” documentary film in sub-Sahara Africa

Women and Intangible Cultural Heritage: The experience of the “creative” documentary film in sub-Sahara Africa by Bertrand Cabedoche, professor of Sciences de l’Information et de la Communication and in charge of the chair of Unesco Communication internationale de l’Université Stendhal-Grenoble.

Bertrand Cabedoche introduces the study with a quote by Pierre Perrault followed by a provocative observation of the film, Une fenêtre ouverte (An open window) by Senegalese director Khady Sylla, both of which set the tone for his research on the documentary filmmaking of women as intangible cultural heritage. Below is an elaboration of the English abstract of the French text. Read the entire text in French| Lire le texte dans son intégralité

“We began to see ourselves the day that we stopped seeing ourselves through the eye of our neighbour.” (Pierre Perrault. ONF. Canada)

Aminta Ngom is mad. Her pain cries out on screen. Director Khady Sylla films this malaise, sometimes behind the camera, sometimes on the screen. In making this film, atypical in its treatment of madness as a theme (a very sensitive topic as it crosses the line of a reality that is not revealed publicly), Khady Sylla conducts her own therapy, pushing the limits of the unspeakable. “I see what others cannot see, explaining it to those who have not experienced this suffering that plagues the world.” Beyond this very encouraging artistic critique, it is symbolic of an African cinema renewal. Moreover, the above reinforces Africadocs’ investment in the initiative. The Africadocs Association has worked to build new relationships within the filmmaking sector and to renew terms with all stakeholders, especially with women. From this special experiment, the anthropological gaze on the African woman emerges transformed, directed by the African woman herself, as subject, filmmaker and producer of her own image.

The genre and format of the documentary (52 minutes on the screen) across all productions, seem particularly well suited to the continent, in terms of film projects in general. The importance of the scriptwriting workshops, which have expanded to a dozen African countries since 2003 (Senegal, Mali, Burkina Faso, Togo, Gabon, Mauritania, Congo, Niger, Cameroon, Cape Verde ...) is indicative of the crop of projects that has emerged from them attesting to the need to document, to influence the way Africa is represented to the world, to confront social contradictions, and even to fantasise, especially when the issues deal with the reality of African women’s lives. For it is on this experience that both male and female documentarist focus in search of a new aesthetic, as well as a renewed écriture regarding social issues, past and present, but that are also in constant evolution.

Within this context, the university institution is fully involved right from the start of the training of future African documentarists, at the same time encouraging an academic distance, in order to strive towards building an intangible heritage as a common property of Humanity. Above all, it reveals a new understanding of intangible heritage as is encouraged by the Convention for the Safeguarding of Intangible Cultural Heritage, signed by UNESCO on 17 October 2003, designating “the practices, representations, expressions, knowledge, skills – as well as the instruments, objects, artefacts and cultural spaces associated therewith – that communities, groups and, in some cases, individuals recognize as part of their cultural heritage.” (art. 2.1)

Image source: GRECIREA logo