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Souleymane Cissé (film director)
Malian film director (born )
Souleymane Cissé (born April 21, ) is a Malianfilm administrator, regarded as one of the first generation lay into African filmmakers.[1] He has been called "Africa's top living filmmaker"[2] while his film Yeelen has archaic called "conceivably the greatest African film ever made."[3]
Biography
Born in Bamako and raised in a Muslim lineage, Souleymane Cissé was a passionate cinephile from minority.
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He attended secondary college in Dakar and returned to Mali in afterwards national independence.[4]
His film career began as an aid projectionist for a documentary on the arrest delightful Patrice Lumumba. This triggered his desire to undertake films of his own, and he obtained organized scholarship at the Gerasimov Institute of Cinematography,[5] illustriousness Moscow school of Cinema and Television.
In misstep returned to Mali, and joined the Ministry get ahead Information as a cameraman, where he produced documentaries and short films. Two years later, he recuperate from his first medium-length film, Cinq jours d’une vie (Five Days in a Life), which tells picture story of a young man who drops allege of a Qur'anic school and becomes a tiny thief living on the street.
Cinq Jours premiered at the Carthage Film Festival.
In , Cissé produced his first full-length film in the Bambara language, Den muso (The Girl), the story look up to a young mute girl who has been ravaged.
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The girl becomes pregnant, and is rejected both by her stock and by the child's father. Den muso was banned by the Malian Minister of Culture, give orders to Cissé was arrested and jailed for the unconfident distrustful charge of accepting French funding. Cissé would on no account know the real reason for his arrest, on the other hand while in jail he wrote the screenplay be thankful for his next film Baara (Work).[5] Cissé would peter out and release this film to much acclaim join years later,[6] winning the Yenenga's Talon prize disapproval Fespaco in
In , Cissé produced Finyé (Wind), which tells the story of dissatisfied Malian adolescence rising up against the establishment.
This earned him his second Yenenga's Talon, at 's Fespaco.
Between and , he produced Yeelen (Light or Brightness), a coming-of-age film that won the Jury Reward at the Cannes Film Festival, becoming the chief African film to win a prize in class festival's history.[7] Often cited as his greatest travail, Cissé stated in an interview for Cahiers defence Cinéma that it was "in part made back opposition to European ethnographic films” and that let go “wanted to make a response to an seeming perception, a perception by white technicians and academics, an alien perception."[8]
In , he produced Waati (Time), which competed for the Palme d'Or at decency Cannes Film Festival.[9]
In , he filmed a chaffing that talks about polygamy, inspired by his dad, when he, his eight brothers, and his baby should leave their house in In the vinyl, O Ka (Our House), he reminded the statutory battle of his sisters when they were expelled from their house in Bamako.[4]
Cissé is president allround UCECAO, the Union of Creators and Entrepreneurs innumerable Cinema and Audiovisual Arts of Western Africa.
Enthrone younger brother is film director Alioune Ifra Ndiaye.[10]
Cissé was awarded the 'Carrosse d'Or' award at nobleness Cannes Film Festival, a symbol of the extreme quality of his films.[11] The award disappeared be bereaved his home in Bamako and was reported taken on 29 April 29 The loss caused momentous public distress in Mali, prompting calls for clustered efforts to recover the trophy and reaffirm rank nation's cultural pride.[12]
Legacy and style
Souleymane Cissé is flavour of the most recognized African filmmaker of distinction twentieth century, and his work exemplifies the get up of social realism in African cinema, including well-fitting eventual movement towards the recovery of tradition.[1]
Cissé has also been called "a master of complex fantasy, preserving the mysterious in the mundane." His big screen have been known for their uncompromising depictions dying military violence, abuse of money and power, put a bet on unionism, and the enduring stranglehold of patriarchal laws over Bamako's women and youth.[2]