Pub Date : 2018-06-12DOI: 10.31920/2516-2713/2018/V1N1A6
Servanne Woodward
The 1991 films of David Achkar, a French-Guinean filmmaker, and Raoul Peck, a Haitian filmmaker whose family spent many years in the Congo, intersect around Patrice Lumumba (1925-1961), the first Congolese prime minister and victim of a political murder. Both films remain intensely personal if not intimate. Achkar is reminiscent of Beckett in the depiction of “waiting for” an occurrence ever differed. What is haunting about Achkar’s quest is that the filmmaker is in search of his father Marof David Achkar (1930-1971), a choreographer of the Keïta Fodeba “Ballets Africains” (1955-1960) and cultural counsellor to the Guinean embassy in Washington (1960-1964). Marof had replaced Telli Diallo at the United Nations (1964-1968) when he worked against apartheid in South Africa; in 1968 U. Thant (secretary to the United Nations) recommended him to a post of high commissioner to the World Organization in Namibia, a proposal rejected by Sékou Touré (elected as the first President of Guinea, serving from 1958 until his death in 1984) who recalled him to Conakry. Upon his return to Guinea, Marof Achkar was arrested and brought to camp Boiro, where he was tortured, made to sign charges of embezzlement and executed on January 25, 1971. At the time, David Achkar was a child — something of the child remains in the biography of his father. Beyond his father’s political ordeal is the first-hand demonstration of the personal impact the execution had on him; he connects more publicly and didactically with the administration of justice versus political murders in his last film, Kiti, justice en Guinée (1996). Both Achkar and Peck employ collages of family reels, documentaries, and film that may be inspired by Surrealism, a movement mentioned in Death of a Prophet (1991). Peck also moved toward a stronger Marxist message in his 2017 film about the German philosopher, and though he has done several documentaries, he is attached to the current relevance of legacies when he depicts Marx as appealing to today’s youth. In both 1991 films, the sliding distance of political heroes, from public careers to intimate family documents is further complicated by the filmmakers’ decision to intertwine plain autobiography to their biographies. They are working from the premises of affective encounters to create a sense of community. Eventually, Achkar and Peck raise issues about the philosophical nature of identity and the autobiography involved in the encounter with sacrificed or resurrected prophets as interpreted in Allah-Tantou—God’s Will be Done [À la grâce de Dieu] (1991) by David Achkar (1960-1998) and Death of a Prophet, by Raoul Peck (1954-present).
1991年，法国-几内亚裔电影制作人大卫·阿奇卡尔(David Achkar)和海地电影制作人拉乌尔·佩克(Raoul Peck)的电影交织在刚果第一任总理、政治谋杀受害者帕特里斯·卢蒙巴(1925-1961)的周围。两部电影即使算不上亲密，也都保持着强烈的个人色彩。阿奇卡让人想起贝克特对“等待”不同事件的描述。阿奇卡尔的寻访之旅萦绕不去的是他的父亲马洛夫·大卫·阿奇卡尔(1930-1971)，他是Keïta Fodeba“非洲芭蕾舞团”的编舞家(1955-1960)，也是几内亚驻华盛顿大使馆的文化参赞(1960-1964)。马洛夫在联合国(1964年至1968年)接替泰利·迪亚洛(Telli Diallo)，当时迪亚洛在南非反对种族隔离;1968年，吴丹(联合国秘书长)推荐他担任世界组织驻纳米比亚高级专员一职，但被ssamukou tour(当选为几内亚首任总统，从1958年任职至1984年去世)拒绝，并将他召回科纳克里。回到几内亚后，马罗夫·阿奇卡尔被捕并被带到博罗集中营，在那里他受到酷刑，被迫签署挪用公款的指控，并于1971年1月25日被处决。当时，大卫·阿奇卡尔还是个孩子——他父亲的传记中保留了一些孩子的特征。除了他父亲的政治苦难之外，他还亲身见证了处决对他个人的影响;在他的最后一部电影《基蒂，正义的几内亚》(1996)中，他将司法与政治谋杀更加公开和说教地联系在一起。Achkar和Peck都使用了家庭影片、纪录片和电影的拼贴，这些作品的灵感可能来自超现实主义，这是《先知之死》(1991)中提到的一种运动。派克在2017年拍摄的关于这位德国哲学家的电影中，也倾向于传递更强烈的马克思主义信息。尽管他已经拍过几部纪录片，但当他把马克思描绘成对当今年轻人有吸引力的人物时，他还是依附于当代遗产的相关性。在这两部1991年的电影中，政治英雄从公开的职业生涯到亲密的家庭文件之间的距离越来越远，由于导演决定将普通的自传与他们的传记交织在一起，这种距离变得更加复杂。他们从情感接触的前提下工作，以创造一种社区感。最后，Achkar和Peck提出了关于身份的哲学本质以及与牺牲或复活的先知相遇所涉及的自传的问题，如David Achkar(1960-1998)和Raoul Peck (1954-present)的《安拉- tantou -上帝的意志》(À la grence de Dieu)(1991)和《先知之死》(Death of a Prophet)所解释的那样。
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Pub Date : 2018-06-12DOI: 10.31920/2516-2713/2018/V1N1A3
Obi Emelonye, F. Ugochukwu
Obi Emelonye, born on March 24, 1967 in Port-Harcourt (Nigeria), settled in London in the 1990s. A prolific film producer and director with a passion for excellence, he has greatly contributed to the professionalization of the Nigerian cinema in diaspora. A graduate of Theatre Arts from the University of Nigeria, Nsukka, with a Law degree from the British University of Wolverhampton, he turned to film production and direction after a short spell as a lawyer. He has since secured international distribution for most of his films, which treat a variety of contemporary subjects, and is now recognised as a truly international leader in the profession. In this personal interview dated August 23, 2018, he offers a panoramic view of his films and reveals the professionalism, passion and hard work which characterise his production and endeared his films to both Nigerian and international audiences.
{"title":"Exploring the diasporan dimension of Nollywood – a conversation with Obi Emelonye","authors":"Obi Emelonye, F. Ugochukwu","doi":"10.31920/2516-2713/2018/V1N1A3","DOIUrl":"https://doi.org/10.31920/2516-2713/2018/V1N1A3","url":null,"abstract":"Obi Emelonye, born on March 24, 1967 in Port-Harcourt (Nigeria), settled in London in the 1990s. A prolific film producer and director with a passion for excellence, he has greatly contributed to the professionalization of the Nigerian cinema in diaspora. A graduate of Theatre Arts from the University of Nigeria, Nsukka, with a Law degree from the British University of Wolverhampton, he turned to film production and direction after a short spell as a lawyer. He has since secured international distribution for most of his films, which treat a variety of contemporary subjects, and is now recognised as a truly international leader in the profession. In this personal interview dated August 23, 2018, he offers a panoramic view of his films and reveals the professionalism, passion and hard work which characterise his production and endeared his films to both Nigerian and international audiences.","PeriodicalId":23712,"journal":{"name":"Volume 4 Issue 1","volume":"2 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-06-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75539480","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-06-12DOI: 10.31920/2516-2713/2018/V1N1A7
F. Ugochukwu
Wole Soyinka, best known as a Nigerian writer, playwright and Nobel laureate, has been a staunch supporter of the Nigerian cinema, and one of his plays, Death and the King’s horseman, is currently in the process of being adapted to the screen. He embodies the link between the Nigerian society, Yoruba culture and Nollywood. This book of essays in honour of Wole Soyinka’s life and works, offered to him on his 80th birthday, brings together a good number of contributions - short paragraphs, long essays, formal interviews, impromptu conversations and poems. The authors of these texts include a former general Commonwealth secretary, university dons from various fields, internationally acclaimed writers such as Ngugi, Aidoo or Mazrui, diplomats and politicians, journalists, students and personal friends.
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Pub Date : 2018-06-12DOI: 10.31920/2516-2713/2018/v1n1a1
Osakue Stevenson Omoera
The phenomenal rise of Lancelot Oduwa Imasuen (LOI) as a filmmaker and director in Nollywood and indeed in Africa is worth probing and documenting for posterity of scholars and professionals, especially against the backdrop of his native Benin (Edo) language videofilm industry and tradition, which he has given his gestaltist support so effusively in terms of technical finesse, global exposure, great storylines, actor/talent development and business architecture, among others. Using the interview, direct observation and literary methods, this article engages LOI in a conversation aimed at unburdening or unpacking the contents of his mind as regards Nollywood and African films, with the hope that upcoming African film producers and directors, especially in the Benin film sector of Nollywood, will gain from his wide-ranging experiences and his perspectives on the current issues that tug at the heart of the globalizing African film tradition and industry called Nollywood.
{"title":"The Imasuen factor in the Benin language videofilm sector of Nollywood","authors":"Osakue Stevenson Omoera","doi":"10.31920/2516-2713/2018/v1n1a1","DOIUrl":"https://doi.org/10.31920/2516-2713/2018/v1n1a1","url":null,"abstract":"The phenomenal rise of Lancelot Oduwa Imasuen (LOI) as a filmmaker and director in Nollywood and indeed in Africa is worth probing and documenting for posterity of scholars and professionals, especially against the backdrop of his native Benin (Edo) language videofilm industry and tradition, which he has given his gestaltist support so effusively in terms of technical finesse, global exposure, great storylines, actor/talent development and business architecture, among others. Using the interview, direct observation and literary methods, this article engages LOI in a conversation aimed at unburdening or unpacking the contents of his mind as regards Nollywood and African films, with the hope that upcoming African film producers and directors, especially in the Benin film sector of Nollywood, will gain from his wide-ranging experiences and his perspectives on the current issues that tug at the heart of the globalizing African film tradition and industry called Nollywood.","PeriodicalId":23712,"journal":{"name":"Volume 4 Issue 1","volume":"19 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-06-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87480070","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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