The purpose of the African Women in Cinema Blog is to provide a space to discuss diverse topics relating to African women in cinema--filmmakers, actors, producers, and all film professionals. The blog is a public forum of the Centre for the Study and Research of African Women in Cinema.

Le Blog sur les femmes africaines dans le cinéma est un espace pour l'échange d'informations concernant les réalisatrices, comédiennes, productrices, critiques et toutes professionnelles dans ce domaine. Ceci sert de forum public du Centre pour l'étude et la recherche des femmes africaines dans le cinémas.

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12 June 2013

POKOU Princesse Ashanti | POKOU the Ashanti Princess


Afrika Toon presents | presente : POKOU Princesse Ashanti

Source: pokoulefilm.com

Le film : POKOU Princesse Ashanti
Personnage principal | Main character : Abla Pokou
Personnage secondaire | Second character : Kongouê Bian
Genre : Long métrage d´animation | Feature animation 
Format : 65 minutes
Style : Animation 3D
Réalisation | Direction : Afrikatoon 
Production : Afrikatoon
Public cible | Targeted audience  : Enfants à partir de 7 ans | Children from 7 years old


Context | Contexte :

[English]
African culture in general, and Ivorian culture in particular, is very rich. Rich because of its diversity and the myths that encompasse it. These legends and myths are not sufficiently promoted and presented to the public.

Yet, these stories are recounted in our books and even more, they are integrated into the national education : Sundjata Keita, Abla Pokou, Samory Touré, the King Behanzin. All of these stories bring out the messages and values that are necessary for a better appreciation of our cultures.

[Français]
La culture africaine en général et ivoirienne en particulier est très riche. Riche par sa diversité et par les mythes qui l'entourent. Ces mythes et légendes ne sont pas suffisamment exploités et présentés au public.

Ces histoires sont pourtant présentes dans nos livres et mieux, elles sont présentes dans le programme de l'éducation nationale; Soundjata Kéita , Abla Pokou, Samory Touré, le roi Béhanzin. Toutes ces histoires ressortent des messages et des valeurs nécessaires à la revalorisation de nos cultures.

Synopsis :

[English] 
In the eighteenth century, in the kingdom of the Ashanti people, which spans two-thirds of present Ghana, lives the princess Abla Pokou. A very influential advisor of the king Opokou Warê, she is also opposed to war. Pokou is a serious obstacle to Kongouê Bian, a former warrior who has turned to witchcraft. Thirsty for power, he attempts to overthrow the king, his best friend, in order to dispose of the legitimate heir to the throne. Using her charisma and mystical powers, Pokou intervenes to prevent a war between the Ashanti who as in favour of and those who are against the regime imposed by Kongouê Bian. She prefers exile to confrontation. Kongouê Bian sets off after them. He is determined to avert the prophesy that predicts that a woman will be the head of a new kingdom that is as powerful as the Ashanti.

[Français]
Au dix-huitième siècle, dans le royaume du peuple Ashanti, qui couvre les deux tiers de l'actuel Ghana, vit la princesse Abla Pokou. Conseillère très influente auprès du roi Opokou Warê, elle est opposée à la guerre. Pokou est un sérieux obstacle sur le chemin de l'ancien guerrier Kongouê Bian devenu adepte de sorcellerie. Assoiffé de pouvoir, il tente un coup d'Etat contre le roi, son meilleur ami et se débarrasse de l'héritier légitime du trône. Pokou, parvient grâce à son charisme et ses pouvoirs mystiques, à éviter une guerre entre les Ashanti favorables et ceux opposés au régime imposé par Kongouê Bian. Elle préfère l'exil à l'affrontement. Kongouê Bian se lance à leur poursuite. Il est déterminé à empêcher que se réalise la prophétie selon laquelle une femme prendra la tête d'un nouveau royaume aussi puissant que celui des Ashanti.

Note d'Intention :

[English]
Abla Pokou, still known as Abena Pokua or Abraha Poukou or still again, Aura Poku, is a princess who actually existed and played an important role in the history of the Ashanti kingdom, as well as the Côte d'Ivoire. She is indeed at the origin of the birth of the Baule people, one of the main Ivorian ethnic groups.

Even though it took place in the eighteenth century, the story of Pokou is strikingly topical :  Between the courage of a woman who is able to enforce her ideas in a world governed by men, of conspiracies and coups d'etats, the preference for dialogue rather than war, of exile to fratricidal war, of personal sacrifice for the welfare of all...It is a genuine overview of the values which at present tend to disappear.

As do all of the stories of that era, that of the princess Abla Pokou has different versions. She has even become a legend. We have chosen a formula that conserves certain historical facts on which there is consensus, while adding fictional characters and a mystical dimension, as well as special effects, humour and fantasy.

Through the scenery, costumes and rituals, the film also takes the opportunity to introduce the Ashanti culture in particular and the Akan group in general.

[Français]
Abla Pokou encore appelée Abena Pokua ou Abraha Poukou ou encore Aura Poku est une princesse qui a réellement existé et a marqué l'histoire du royaume Ashanti mais aussi celle de la Côte d'Ivoire. Elle est en effet à l'origine de la naissance du peuple Baoulé, l'une des principales ethnies ivoiriennes.

Bien qu'ayant vécu au dix-huitième siècle, l'histoire de Pokou est d'une actualité frappante. Entre le courage d'une femme qui parvient à faire respecter ses idées dans un monde dirigé par les hommes, les complots et coups d'Etat, la préférence du dialogue à la guerre, de l'exil à une guerre fratricide, du sacrifice personnel pour le bien de tous ... C'est un véritable passage en revue des valeurs qui ont tendance à disparaître de nos jours.

Comme toutes les histoires de cette époque, celle de la princesse Abla Pokou a différentes versions. Elle prend même des allures de légende. Nous avons opté pour une formule conservant certains faits historiques consensuels mais en y ajoutant des personnages fictifs et une dimension mystique, faisant aussi appel à des effets spéciaux, à l'humour et au fantastique.

Ce film est aussi l'occasion de faire découvrir la culture Ashanti en particulier et celle du groupe Akan en général à travers les décors, les costumes et les rites.

Profil psychologique | Psychological profile :

[English]
Abla Pokou
Destined for an exceptional future, from an early age Abla Pokou is initiated by the king's priestesses, a commando of sorts, destined to protect the throne and fight mystical forces. Like her counterparts, she must not marry nor have children. But in contrast to the others, she holds a seat on the committee of the elders, and even though she is the youngest, she has the king's ear. And thus, opposed to violence, she manages to put an end to the wars of conquest in favour of negotiated settlements. Mysterious visions allow her to see the future and to guide her to her destiny.

Kongouê Bian
A former warrior and the king's best friend, he thirsts for power. Kongouê is also very bitter. He is among the king's advisors and is opposed to Abla Pokou's position, which favours dialogue. As such he has no qualms in using a group of soldiers headed by his son, as well as his mystical powers, to achieve his goal.

[Français]
Abla Pokou
Promise à un destin exceptionnel, Abla Pokou est initiée dès sa tendre enfance par les prêtresses du roi, une sorte de commando destiné à protéger le trône et à combattre les forces mystiques. Comme ses congénères, elle ne peut se marier ni avoir d'enfant. Mais contrairement aux autres, elle siège au sein du conseil des anciens et bien qu'étant la plus jeune, elle est très écoutée du roi. Ainsi, opposée à la violence, elle parvient à mettre fin aux guerres de conquêtes au profit des accords négociés. Des visions mystérieuses lui permettent de voir l'avenir et de se guider vers son destin.

Kongouê Bian
Ancien guerrier et meilleur ami du roi, il est assoiffé de pouvoir. Kongouê est aussi très aigri. Il fait partie du conseil du roi et est contrarié par la position défendue par Abla Pokou, visant à privilégier le dialogue. Il n'hésite donc pas à utiliser un groupe de soldats dirigés par son fils et ses pouvoirs mystiques pour assouvir son dessein.


07 June 2013

Mati Diop : Mille soleils | A Thousand Suns, Festival International de Cinéma FID Marseille 2013


Mati Diop : Mille soleils | A Thousand Suns, Festival International de Cinéma FID Marseille 2013

[Français]
Dans la compétition internationale « Mille Soleils » de Mati Diop sera présenté en première mondiale à la 24è édition du Festival International de Cinéma FID Marseille 02-08 juillet 2013.

Mille soleils enquête sur l’héritage personnel et universel que représente le film « Touki Bouki » réalisé à Dakar en 1972 par l’oncle de Mati Diop, le cinéaste Djibril Diop Mambety. Elle part à la recherche de ses origines sur les traces de ce mystérieux film et fait la connaissance, en chemin, des deux acteurs principaux de « Touki Bouki » trente-cinq ans après le tournage. Histoires de famille, de cinéma et d’exil se propagent comme des ondes les unes vers les autres, entre la sphère de l’intime et celle du mythe.

[English]

In the International Competition, Mille soleils (A Thousand Suns) by Mati Diop, will make its world premiere at the 24th edition of the International Film Festival - Marseille, 2-8 July, 2013.

A Thousand Suns explores the personal and universal legacy of the film Touki Bouki, made in Dakar in 1972 by Mati Diop's uncle, the late cineaste Djibril Diop Mambety. She journeys in search of her origins through the footprints of this mysterious film and along the way gets to know Touki Bouki's two main actors, thirty five years later. Between the boundaries of intimacy and myth, stories of family, cinema, and exile ripple from each other like waves.

Text & Image Source : CNC

31 May 2013

Juliette Akouvi Founou : "The CNA Togo is in its launching phase" | «Le CNA Togo est à sa phase de décollage»


Juliette Akouvi Founou : The CNA Togo is in its launching phase

Image and Text Source: CNA.ORG. [http://www.c-n-a.org/cna-togo-actualites.php#togo1]
Translation from French by Beti Ellerson

The president of L'Association Togolaise du Cinéma Numérique Ambulant (ATCNA), the Togolese association of mobile digital cinema talks about the 31 May event, which is a gala evening highlighting the association's activities.

You are organising a CNA Togo event on 31 May, what does it entail? 

It involves a review of the activities of CNA Togo which has three components: a photo exhibition of the activities; a screening of short films about CNA Togo and the screening of the fiction film by Abalo Kilizou entitled, Venu de France (Coming from France). The purpose is to promote a Togolese film, and African cinema in general, which is the objective of the CNA associations.

This event is organised in partnership with the French Embassy and the French Institute of Togo. How did this partnership evolve?

Recently the CNA Togo started film screenings in remote areas of the city of Lomé without any partnership funding. When the cultural departments of the French Embassy and the French Institute noticed the work we were doing at these locations, and after several meetings, we decided to collaborate in organising an evening of activities.

What would the CNA Togo like to achieve with this event?

We would like to let the public know about the wonderful things we are daring to do with cinema as a means to entertain, educate and raise the consciousness of the population in order to contribute to the development of Togo. 

How would you assess the operations of CNA Togo?

The CNA Togo was actually created in 2012. We launched our activities in February 2012 in conjunction with the Cinéma Itinérant du Togo (CIT), (the Traveling Cinema of Togo) directed by Jacques Do Kokou.  The Association became a legal entity at the end of the year in December 2012. The CNA Togo is still in its launching phase. In other words, there is not yet funding support and therefore it continues to reach out to partners. In order to achieve this we have put out a call to cultural stakeholders to embrace the efforts of CNA Togo to involve the population by entertaining, communicating, educating and building awareness through cinema.

Association Togolaise du Cinéma Numérique Ambulant (ATCNA)
Juliette Akouvi Founou, President

Also of interest on the African Women in Cinema Blog:
Rosalie Ndah, president of CNA Afrique talks about the CNA tribute to women at Fespaco 2013


Juliette Akouvi Founou «Le CNA Togo est à sa phase de décollage»

La présidente du CNA Togo parle de la grande soirée de présentation des activités de l’association le 31 mai à Lomé.

Vous organisez une présentation du CNA Togo le 31 mai. De quoi s'agit-il?

Il s'agit de faire un bilan des activités du Cinéma Numérique Ambulant Togo le soir du vendredi 31 mai à partir de 18 heures au Grand Rex à Lomé. La soirée va se dérouler en trois phases : 1- une exposition des photos des activités ; 2- la projection d'un court-métrage sur le CNA Togo et 3- la projection d'un film de fiction intitulé « Venu de France » du réalisateur togolais Abalo Kilizou. Le but est de promouvoir un film togolais et au-delà, le cinéma africain car c'est la première préoccupation de tous les CNA. 
À LIRE DANS SON INTÉGRALITÉ : http://www.c-n-a.org/cna-togo-actualites.php#togo1

Image Source : CNA.ORG

29 May 2013

Journal of African Cinemas : Celebrating 40 years of films made by women directors in francophone Africa


Volume 4 Issue 2
Cover Date
October 2012

CONTENTS

Editorial

Celebrating 40 years of films made by women directors in francophone Africa
BRIGITTE ROLLET


Articles

Aesthetic and narrative strategies in the films of selected African women directors
SHEILA PETTY 

The emergence of women’s film-making in francophone sub-Saharan Africa: From pioneering figures to contemporary directors
LIZELLE BISSCHOFF

A transnational feminist rereading of post-Third Cinema theory: The case of Maghreb documentary
STEFANIE VAN DE PEER

Women in Film in Cameroon: Thérèse Sita-Bella, Florence Ayisi, Oswalde Lewat and Josephine Ndagnou
OLIVIER JEAN TCHOUAFFÉ - SEE COMMENTS BELOW

BETI ELLERSON

Book review

Screens and Veils: Maghrebi Women's Cinema, Florence Martin (2011)
STEFANIE VAN DE PEER 

Reports

Festival International de Cinéma Vues d’Afrique
SHEILA PETTY 

A gender perspective on the 23rd edition of the JCC
PATRICIA CAILLÉ



COMMENTS BY BETI ELLERSON ON
Women in Film in Cameroon: Thérèse Sita-Bella, Florence Ayisi, Oswalde Lewat and Josephine Ndagnou
by Olivier Jean Tchouaffé 

In the article “Women in Film in Cameroon” by Olivier Jean Tchouaffé, published in Journal of African Cinemas in 2012, he gives an overview of Thérèse Sita-Bella and her pioneering work as cineaste, lauding the trailblazing path that she has left for those who follow. However, in his book Passion of the Reel: Cinematic versus Modernist Political Fictions in Cameroon, (Intellect Books) published three years later in 2015, curiously, she is not cited among the pioneers of Cameroonian cinema and is basically ignored, with scant attention paid to her and her work under the title "Cameroonian Women in Film: Thérèse Sita-Bella, Florence Ayisi, Oswalde Lewat and Josephine Ndagnou. This gaping omission is puzzling, especially after the prominent place that she is accorded in “Women in Film in Cameroon”. It is as if there are two faces to Olivier Jean Tchouaffé’s approach in the discussion of women. In the issue devoted to African women filmmakers, she is given accolades for her role as pioneer, while in a broader discussion of Cameroonian cinema as a whole she is dismissed and snubbed—giving place to only the men of Cameroonian cinema history. Was this article about women filmmakers in the Journal of African Cinemas a mere stepping stone for Olivier Jean Tchouaffé to more “serious” matters about men?

23 May 2013

Rama Thiaw talks about the "making of" her film "The revolution won’t be televised"

Rama Thiaw talks about the "making of" her film "The revolution won’t be televised"

A conversation with Rama Thiaw and Beti Ellerson, May 2013.
Rama Thiaw, born in Nouakchott, Mauritania, is author, director and producer at Boul Fallé Images, a Senegalese film production company. Mauritanian and Senegalese, she grew up between Senegal and France. After obtaining a Master's degree in International Economics at the Sorbonne, she gravitated towards cinema receiving a diploma in filmmaking at the University of Paris 8 and after, a Master's at the University of Paris 3 at Censier Daubenton.

Rama, you are in the middle of the production of the film titled, "The Revolution Will Not Be Televised" which appears to be inspired by the late Gil Scott-Héron. What motivated you to make this film?

The film "The revolution won’t be televised" is in fact a tribute to Gil Scott-Heron. In the note of intention of my film, I give the reasons that motivated me to make the film as follows:

"Far from the images that journalist present in the media, in my documentary, "the revolution will not be televised", I want to film them as they are, Romantic beings. In their 'Actions' as activists in the service of the People, and in their 'Dreams' as they return to the stage as poets-musicians."

"In the 1980s, Senegal was dominated by an unnamed dictatorship. The man who stood against this system, Maître Abdoulaye Wade, decided to establish political liberalism. However, after he was elected, this hero quickly became worse than his predecessors.

My film begins on January 17, 2012, at the end of the Senegalese legislative campaign—12 years after the presidential election of Maître Abdoulaye Wade.

During this same period, Thiat and Kilifeu, members of the Keur Gui Band, decided to take action where the socialist opposition failed to do so. They mobilised and created with other friends--musicians, artists and journalists, a peaceful and apolitical group called ‘Y'en a marre’ (We’re fed up).

They organised marches and demonstrations to ensure that the Constitutional Council would revoke the candidacy of the outgoing president. The mobilisation was unprecedented. The recently-roused opposition joined the young artists of ‘Y'en a marre’. United under the banner of the M23, they stood up to the former man of law who tried to usurp the democracy of 10 million Senegalese.

In this atmosphere of revolution, using direct cinema, I filmed Thiat and Kilifeu, the two protagonists of this citizen uprising. But President Wade did not want an African Spring to happen in Sub-Sahara Africa. The rebellion had to be stopped before it spread. Between threats and intimidation, in and out of prison, and bribery attempts, I followed these two musicians in their daily lives. Through interviews facing the camera, they shared with us their feelings about their commitment and their sudden media attention, but also their doubts after the arrests. Far from highlighting only these moments, I wanted to understand the origins behind their behaviour, which is why I decided to give an intimate portrayal as well. Throughout the first part of the movie, I show how one lives a revolution from day to day, with all the dangers, uncertainties and joys it brings."

You are using a crowd-funding strategy at Kisskissbank, why this choice?

In fact, the crowd-funding idea is two-fold. One, it is to talk about the film in order to get an opportunity to find a distributor and to get visibility in the theatres. And as I am also a producer, I went into debt to do the first 8-week shoot with a 6-person crew in addition to myself. Initially I intended to do fundraising on a US platform but I don't live in the United States so I couldn't. It is also for this reason that we have an English-language version because I think that this film would interest an Anglo-Saxon public more so than a French one. Because these themes are rather far from the audience in France, and besides, events that take place in Senegal get very little media attention. Therefore, there is still a long way to go, since I must go back to shoot the second part before editing the film.

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