Splitting the scene, distributing the cinema: about Bamako, by Abderrahmane Sissako
Autor(a) principal: | |
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Data de Publicação: | 2017 |
Tipo de documento: | Artigo |
Idioma: | por |
Título da fonte: | Rebeca (São Paulo) |
Texto Completo: | https://rebeca.socine.org.br/1/article/view/394 |
Resumo: | The film Bamako (2006), by the Mauritanian director Abderrahmane Sissako, places the African people, dispossessed of their ways of life, and the world's major financial corporations, side by side in an imaginary court that enables the film to rewrite history against the grain. In a cinematographic fiction that is crossed by the real and impregnated by dust from the ground and the black people who lives in a divided and unjust world, where only the capital owners have a voice, rewriting history is to give to the other the time of image and of the word. This, thus, amounts to reinventing politics altogether. |
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Splitting the scene, distributing the cinema: about Bamako, by Abderrahmane SissakoCindir a cena, partilhar o cinema: sobre Bamako, de Abderrahmane SissakoAfrican cinemaDeviceDissensusDistribution of the sensibleCinema africanoDispositivoDissensoPartilha do sensívelThe film Bamako (2006), by the Mauritanian director Abderrahmane Sissako, places the African people, dispossessed of their ways of life, and the world's major financial corporations, side by side in an imaginary court that enables the film to rewrite history against the grain. In a cinematographic fiction that is crossed by the real and impregnated by dust from the ground and the black people who lives in a divided and unjust world, where only the capital owners have a voice, rewriting history is to give to the other the time of image and of the word. This, thus, amounts to reinventing politics altogether.No filme Bamako (2006), o diretor mauritano Abderrahmane Sissako coloca lado a lado, num tribunal imaginário, o povo africano (expropriado de suas formas de vida) e as grandes corporações financeiras mundiais. Assim, permite ao cinema escrever a história a contrapelo. No terreno das ficções cinematográficas, atravessada pelo real, impregnada pelo pó da terra e por rostos negros, num mundo dividido e injusto, onde só os donos do capital têm voz, reescrever a história é conceder ao outro o tempo da imagem e do verbo. É, portanto, reinventar a política.SOCINE - Sociedade Brasileira de Estudos de Cinema e Audiovisual2017-03-31info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://rebeca.socine.org.br/1/article/view/39410.22475/rebeca.v5n2.394REBECA - Brazilian Journal for Cinema and Audiovisual Studies; Vol. 5 No. 2 (2016): REBECA 10REBECA - Revista Brasileña de Estudios de Cine y Audiovisual; Vol. 5 Núm. 2 (2016): REBECA 10Rebeca - Revista Brasileira de Estudos de Cinema e Audiovisual; v. 5 n. 2 (2016): REBECA 102316-9230reponame:Rebeca (São Paulo)instname:Sociedade Brasileira de Estudos de Cinema e Audiovisual (SOCINE)instacron:SOCINEporhttps://rebeca.socine.org.br/1/article/view/394/230Copyright (c) 2017 Rebeca - Revista Brasileira de Estudos de Cinema e Audiovisualinfo:eu-repo/semantics/openAccessVeiga, Roberta Oliveira2017-03-31T19:03:56Zoai:ojs.emnuvens.com.br:article/394Revistahttps://rebeca.socine.org.br/1ONGhttps://rebeca.socine.org.br/1/oairebeca@socine.org.br2316-92302316-9230opendoar:2017-03-31T19:03:56Rebeca (São Paulo) - Sociedade Brasileira de Estudos de Cinema e Audiovisual (SOCINE)false |
dc.title.none.fl_str_mv |
Splitting the scene, distributing the cinema: about Bamako, by Abderrahmane Sissako Cindir a cena, partilhar o cinema: sobre Bamako, de Abderrahmane Sissako |
title |
Splitting the scene, distributing the cinema: about Bamako, by Abderrahmane Sissako |
spellingShingle |
Splitting the scene, distributing the cinema: about Bamako, by Abderrahmane Sissako Veiga, Roberta Oliveira African cinema Device Dissensus Distribution of the sensible Cinema africano Dispositivo Dissenso Partilha do sensível |
title_short |
Splitting the scene, distributing the cinema: about Bamako, by Abderrahmane Sissako |
title_full |
Splitting the scene, distributing the cinema: about Bamako, by Abderrahmane Sissako |
title_fullStr |
Splitting the scene, distributing the cinema: about Bamako, by Abderrahmane Sissako |
title_full_unstemmed |
Splitting the scene, distributing the cinema: about Bamako, by Abderrahmane Sissako |
title_sort |
Splitting the scene, distributing the cinema: about Bamako, by Abderrahmane Sissako |
author |
Veiga, Roberta Oliveira |
author_facet |
Veiga, Roberta Oliveira |
author_role |
author |
dc.contributor.author.fl_str_mv |
Veiga, Roberta Oliveira |
dc.subject.por.fl_str_mv |
African cinema Device Dissensus Distribution of the sensible Cinema africano Dispositivo Dissenso Partilha do sensível |
topic |
African cinema Device Dissensus Distribution of the sensible Cinema africano Dispositivo Dissenso Partilha do sensível |
description |
The film Bamako (2006), by the Mauritanian director Abderrahmane Sissako, places the African people, dispossessed of their ways of life, and the world's major financial corporations, side by side in an imaginary court that enables the film to rewrite history against the grain. In a cinematographic fiction that is crossed by the real and impregnated by dust from the ground and the black people who lives in a divided and unjust world, where only the capital owners have a voice, rewriting history is to give to the other the time of image and of the word. This, thus, amounts to reinventing politics altogether. |
publishDate |
2017 |
dc.date.none.fl_str_mv |
2017-03-31 |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://rebeca.socine.org.br/1/article/view/394 10.22475/rebeca.v5n2.394 |
url |
https://rebeca.socine.org.br/1/article/view/394 |
identifier_str_mv |
10.22475/rebeca.v5n2.394 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.none.fl_str_mv |
https://rebeca.socine.org.br/1/article/view/394/230 |
dc.rights.driver.fl_str_mv |
Copyright (c) 2017 Rebeca - Revista Brasileira de Estudos de Cinema e Audiovisual info:eu-repo/semantics/openAccess |
rights_invalid_str_mv |
Copyright (c) 2017 Rebeca - Revista Brasileira de Estudos de Cinema e Audiovisual |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
SOCINE - Sociedade Brasileira de Estudos de Cinema e Audiovisual |
publisher.none.fl_str_mv |
SOCINE - Sociedade Brasileira de Estudos de Cinema e Audiovisual |
dc.source.none.fl_str_mv |
REBECA - Brazilian Journal for Cinema and Audiovisual Studies; Vol. 5 No. 2 (2016): REBECA 10 REBECA - Revista Brasileña de Estudios de Cine y Audiovisual; Vol. 5 Núm. 2 (2016): REBECA 10 Rebeca - Revista Brasileira de Estudos de Cinema e Audiovisual; v. 5 n. 2 (2016): REBECA 10 2316-9230 reponame:Rebeca (São Paulo) instname:Sociedade Brasileira de Estudos de Cinema e Audiovisual (SOCINE) instacron:SOCINE |
instname_str |
Sociedade Brasileira de Estudos de Cinema e Audiovisual (SOCINE) |
instacron_str |
SOCINE |
institution |
SOCINE |
reponame_str |
Rebeca (São Paulo) |
collection |
Rebeca (São Paulo) |
repository.name.fl_str_mv |
Rebeca (São Paulo) - Sociedade Brasileira de Estudos de Cinema e Audiovisual (SOCINE) |
repository.mail.fl_str_mv |
rebeca@socine.org.br |
_version_ |
1809730936995053568 |