Groundwork

"Man shall be trained for war, and woman for the recreation of the warrior: all else is folly." (Nietzsche)

A few propositions to be worked out, challenged, refined here. 1a) That conservative and right-wing cinema exists as a structurally viable minoritarian "pole" in mainstream film & media so as to venture critique of capitalist modernity, that is, as the only critique of capitalist modernity in this arena: John Milius, Mel Gibson, elements of 300. 1b) The corrolary here is that left-wing commercial cinema is gutted, reformulated to fit capitalism's ends, resistance packaged & revolution sold: V for Vendetta, The Matrix, etc. 1c) The function is the illusion of parity between "right-wing" and "left-wing" cinema when none really exists. A more exact understanding of this relationship is to be analyzed & articulated. 2) That in much neoliberal commercial cinema (as well as the "left-wing" product) there is a great deal of reversibility, so that film-texts are constructed so as to accomodate a "reading" and its opposite so as to sell conflicts for viewers to engage in (taking sides in the Culture Wars as portrayed by the media) in order to mask larger and true conflicts.

(Sembène material still in the pipeline ...)

Sembène & Money

Some preliminary thoughts here on Ousmane Sembène as I gradually get into posting in earnest about his work--because From the Clouds needn't be all about finished products, but about collaborations, labor, criticisms, correction, new ideas. I have still only seen a few films by Sembène, and will see more over the next few weeks, but thus far the two major polarities seem to be sketching themselves out along the backdrop of Senegal's (and Africa's) place and identity in world history and geopolitics--the axes are feminism (or women) and money. The circulation of money from Europe & North America to Africa (and, of course, away from it) is the catalyst and backdrop for Mandabi and it is a kind of background motif in Faat Kiné, where characters make comments about Old and New Africa, "black" (i.e., not European, not "civilized") ways of conducting business, and education or vacations abroad (to France, to Canada). Sembène's cinema is also of course highly supportive of matriarchy--if not as an absolute, then as a materially necessary combatant to patriarchy and all its offensive defense mechanisms. Tradition is important to a lot of these characters, including very sympathetic ones, but they (and hence Sembène) make clear that not all tradition is to be kept blindly, such as the climactic moment with the long-absent fathers in Faat Kiné. Consider also, in Mooladé, that it is a tradition of female togetherness, of solidarity in their roles as daughters/wives/mothers, that allows the women to band together to overcome a tradition of FGM.

Ousmane Sembène

1923-2007

It is with a heavy heart that we note the passing of Ousmane Sembène, the great Sengalese artist: a filmmaker, a writer, a progressive mind. His work was something genuine and special, and his passing is along the same lines of that of Tomás Gutiérrez Alea or Danièle Huillet: we have lost someone whose commitment to great and challenging artistry was rivaled only by a commitment to people and to progressive politics, who seriously bridged gaps between participation with people and aesthetic power and complexity (pioneering artists who were strong and fortunate enough to not be lapdogs of a studio, or art dealers, or any moneyed interests).

From the Clouds will dedicate a short series of posts to Sembène very soon.