Pub Date : 2020-12-17DOI: 10.13110/framework.61.2.0023
Tahar Cheriaa
Ousmane Sembene: Pas «K’sala.» «Khâla»! Il faut prononcer «Khâla,» avec un Khâ arabe de «Khâlifa,» par exemple. Etymologiquement, “xala” veut dire en langue ouolof, «impuissance sexuelle temporaire.» Nous sommes ici dans une «zone culturelle» différente, même si nous sommes continentalement solidaires. «Xala» ça peut arriver à tous les hommes, qu’ils soient riches ou pauvres, ça peut être la conséquence d’un sentiment agressif de jalousie et de rivalité, ça peut prévenir d’un vice, ou d’autre chose. Le «xala” en ouolof usuel veut dire aussi I’arc, cette arme qui tire des flèches. Or, Ie sexe de l’homme en repos est toujours courbé, comme un arc. Comme l’arc, iI se tend à un moment donné, pour un acte donné, puis il reprend sa forme détendue, qui est alors courbe. D›où Ie sens du mot, sur le plan culturel: impuissance sexuelle temporaire. Avoir le “xala,” c’est avoir “l’arc au repos”. Et, si c’est à un moment où il ne le faudrait pas, cela peut être très regrettable, évidemment. Ça, c’est une première donnée, d’ordre culturel, une donnée linguistique, si tu veux. Mais mon film n’est pas un film pornographique ou érotique. Cet aspect sexuel n’est qu’un prétexte à une réflexion sur la société sénégalaise d’aujourd’hui et sur la problématique de sa libération. . .
{"title":"Issues in African Film: The Artist and the Revolution: \"Interview with Ousmane Sembene\" in French","authors":"Tahar Cheriaa","doi":"10.13110/framework.61.2.0023","DOIUrl":"https://doi.org/10.13110/framework.61.2.0023","url":null,"abstract":"Ousmane Sembene: Pas «K’sala.» «Khâla»! Il faut prononcer «Khâla,» avec un Khâ arabe de «Khâlifa,» par exemple. Etymologiquement, “xala” veut dire en langue ouolof, «impuissance sexuelle temporaire.» Nous sommes ici dans une «zone culturelle» différente, même si nous sommes continentalement solidaires. «Xala» ça peut arriver à tous les hommes, qu’ils soient riches ou pauvres, ça peut être la conséquence d’un sentiment agressif de jalousie et de rivalité, ça peut prévenir d’un vice, ou d’autre chose. Le «xala” en ouolof usuel veut dire aussi I’arc, cette arme qui tire des flèches. Or, Ie sexe de l’homme en repos est toujours courbé, comme un arc. Comme l’arc, iI se tend à un moment donné, pour un acte donné, puis il reprend sa forme détendue, qui est alors courbe. D›où Ie sens du mot, sur le plan culturel: impuissance sexuelle temporaire. Avoir le “xala,” c’est avoir “l’arc au repos”. Et, si c’est à un moment où il ne le faudrait pas, cela peut être très regrettable, évidemment. Ça, c’est une première donnée, d’ordre culturel, une donnée linguistique, si tu veux. Mais mon film n’est pas un film pornographique ou érotique. Cet aspect sexuel n’est qu’un prétexte à une réflexion sur la société sénégalaise d’aujourd’hui et sur la problématique de sa libération. . .","PeriodicalId":43199,"journal":{"name":"Framework-The Journal of Cinema and Media","volume":"62 1","pages":"23 - 33"},"PeriodicalIF":0.2,"publicationDate":"2020-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81265404","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 : 2020-12-17DOI: 10.13110/framework.61.2.0184
Teresa Castro
{"title":"Cinema as Oracle","authors":"Teresa Castro","doi":"10.13110/framework.61.2.0184","DOIUrl":"https://doi.org/10.13110/framework.61.2.0184","url":null,"abstract":"","PeriodicalId":43199,"journal":{"name":"Framework-The Journal of Cinema and Media","volume":"32 1","pages":"184 - 190"},"PeriodicalIF":0.2,"publicationDate":"2020-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78870672","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 : 2020-12-17DOI: 10.13110/framework.61.2.0180
Melissa Lyde
{"title":"The renegades who rescue Black Cinema Classics and the post-COVID future for these reflections of the Black imagination","authors":"Melissa Lyde","doi":"10.13110/framework.61.2.0180","DOIUrl":"https://doi.org/10.13110/framework.61.2.0180","url":null,"abstract":"","PeriodicalId":43199,"journal":{"name":"Framework-The Journal of Cinema and Media","volume":"22 1","pages":"180 - 183"},"PeriodicalIF":0.2,"publicationDate":"2020-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88143092","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 : 2020-12-17DOI: 10.13110/framework.61.2.0107
Alexander Medvedkin
{"title":"Red Films, Blue Prints: Early Soviet Cinema's Architectural Imaginary","authors":"Alexander Medvedkin","doi":"10.13110/framework.61.2.0107","DOIUrl":"https://doi.org/10.13110/framework.61.2.0107","url":null,"abstract":"","PeriodicalId":43199,"journal":{"name":"Framework-The Journal of Cinema and Media","volume":"11 1","pages":"107 - 144"},"PeriodicalIF":0.2,"publicationDate":"2020-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85280022","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 : 2020-12-17DOI: 10.13110/framework.61.2.0012
Tahar Cheriaa
{"title":"Issues in African Film: The Artist and the Revolution: \"Interview with Ousmane Sembene\"","authors":"Tahar Cheriaa","doi":"10.13110/framework.61.2.0012","DOIUrl":"https://doi.org/10.13110/framework.61.2.0012","url":null,"abstract":"","PeriodicalId":43199,"journal":{"name":"Framework-The Journal of Cinema and Media","volume":"65 1","pages":"12 - 22"},"PeriodicalIF":0.2,"publicationDate":"2020-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79239173","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 : 2020-12-17DOI: 10.13110/framework.61.2.0046
M. Diop
Le Cercle des noyés/Drowned in Oblivion (BE, 2007) is the third feature on Mauritanian society and culture by Belgian documentarist Pierre-Yves Vandeweerd.1 The film enjoys a wide circulation on the festival circuit and on lowprofile, “underexposed” grassroots networks of film circulation.2 After earning many accolades and drawing a flurry of critical hosannas,3 it is now available on DVD and Blu-Ray. The end result of a decade-long research in Belgium, among Mauritanian expatriates and political refugees, and in Mauritania, Drowned in Oblivion stands as a powerful poetic evocation of the plight of members of the Black minority who were arrested, tortured and sentenced to four years of detention in faraway Oualata for their alleged involvement with FLAM (Forces de Libération Africaines de Mauritanie), a militant organization founded in 1985 to advocate for the political rights of Black Mauritanians.4 In the “Liner Notes” to the DVD set, Birgit Kohler provides a concise summary of the film:
Le Cercle des noy /淹没在遗忘(BE, 2007)是比利时纪录片导演Pierre-Yves vandeweerd关于毛里塔尼亚社会和文化的第三部故事片。这部电影在电影节和低调的、“曝光不足的”基层电影流通网络中广泛流传在赢得了许多赞誉和好评之后，这部电影现在已经有了DVD和蓝光版。在比利时、毛里塔尼亚侨民和政治难民以及毛里塔尼亚进行的长达十年的研究的最终结果是，《淹死在遗忘中》有力地诗意地唤起了黑人少数民族成员的困境，他们因被指控与毛里塔尼亚的利比亚武装组织有牵连而在遥远的瓦拉塔被捕、遭受酷刑并被判处四年监禁。一个成立于1985年的激进组织，旨在倡导毛里塔尼亚黑人的政治权利。4在DVD集的“内线笔记”中，Birgit Kohler对这部电影做了一个简明的总结:
{"title":"Postcolonial Amnesia: The \"Vanishing Present\" of the Past in Le Cercle des noyés","authors":"M. Diop","doi":"10.13110/framework.61.2.0046","DOIUrl":"https://doi.org/10.13110/framework.61.2.0046","url":null,"abstract":"Le Cercle des noyés/Drowned in Oblivion (BE, 2007) is the third feature on Mauritanian society and culture by Belgian documentarist Pierre-Yves Vandeweerd.1 The film enjoys a wide circulation on the festival circuit and on lowprofile, “underexposed” grassroots networks of film circulation.2 After earning many accolades and drawing a flurry of critical hosannas,3 it is now available on DVD and Blu-Ray. The end result of a decade-long research in Belgium, among Mauritanian expatriates and political refugees, and in Mauritania, Drowned in Oblivion stands as a powerful poetic evocation of the plight of members of the Black minority who were arrested, tortured and sentenced to four years of detention in faraway Oualata for their alleged involvement with FLAM (Forces de Libération Africaines de Mauritanie), a militant organization founded in 1985 to advocate for the political rights of Black Mauritanians.4 In the “Liner Notes” to the DVD set, Birgit Kohler provides a concise summary of the film:","PeriodicalId":43199,"journal":{"name":"Framework-The Journal of Cinema and Media","volume":"29 1","pages":"46 - 69"},"PeriodicalIF":0.2,"publicationDate":"2020-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84232663","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 : 2020-12-17DOI: 10.13110/framework.61.2.0089
S. Gadjigo, J. Silverman
{"title":"Sembene Across Africa Project: Bringing African Stories to Africans","authors":"S. Gadjigo, J. Silverman","doi":"10.13110/framework.61.2.0089","DOIUrl":"https://doi.org/10.13110/framework.61.2.0089","url":null,"abstract":"","PeriodicalId":43199,"journal":{"name":"Framework-The Journal of Cinema and Media","volume":"51 1","pages":"89 - 93"},"PeriodicalIF":0.2,"publicationDate":"2020-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73559782","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 : 2020-12-17DOI: 10.13110/framework.61.2.0147
Susan M. Potter
{"title":"Did the Tree Call Chantal to It?","authors":"Susan M. Potter","doi":"10.13110/framework.61.2.0147","DOIUrl":"https://doi.org/10.13110/framework.61.2.0147","url":null,"abstract":"","PeriodicalId":43199,"journal":{"name":"Framework-The Journal of Cinema and Media","volume":"57 1","pages":"147 - 148"},"PeriodicalIF":0.2,"publicationDate":"2020-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89882436","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 : 2020-12-17DOI: 10.13110/framework.61.2.0202
D. Broe
{"title":"Post Corona Film and Television: Stream It, Skip It, or Revolutionize It?","authors":"D. Broe","doi":"10.13110/framework.61.2.0202","DOIUrl":"https://doi.org/10.13110/framework.61.2.0202","url":null,"abstract":"","PeriodicalId":43199,"journal":{"name":"Framework-The Journal of Cinema and Media","volume":"115 1","pages":"202 - 216"},"PeriodicalIF":0.2,"publicationDate":"2020-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88099192","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}
{"title":"In Limbo","authors":"Patrícia Mourão Ela de Andrade, Ela Bittencourt","doi":"10.2307/j.ctt13x057m.7","DOIUrl":"https://doi.org/10.2307/j.ctt13x057m.7","url":null,"abstract":"","PeriodicalId":43199,"journal":{"name":"Framework-The Journal of Cinema and Media","volume":"133 1","pages":"191 - 201"},"PeriodicalIF":0.2,"publicationDate":"2020-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73521507","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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