Ousmane Sembene's cinema

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''''''As an author greatly concerned with social change, one of Ousmane Sembene's goals was to reach the widest possible audience. He realized that his books would only be read by small intellectual elite in his native territory. Therefore he developed a filmmaking style that was populist, informative and sometimes political, at once up to date in its techniques and available, at least in theory, to everyone.


In films such as Ceddo and Xala he pointed an irate, often ironic finger at the failures and extremes of contemporary African governments. (Scott, 2007)
''''''Sembene believed that most of the African post-colonial states had failed to meet the expectations that their populace initially related with autonomy from colonial rule. For many African people the official end of colonial rule did not generate an end to social injustice and radical economic imbalance. Sembene's work was dominated by a desire to spell out what he thought was going wrong with his society. He made a critical examination of post-colonial African society neither beautifying nor discrediting them, but simply depicting a reality in which the intercession of the critic comes as an effort to objectively consider problems that are of critical import to contemporary African nations. In a dialogue with Francoise Pfaff (1984), Sembene said that "I have never tried to please my audience through the embellishment of reality. I am a participant and an observer of my society"
''''''Cinema has been divided into three groups commonly known as first, second and third cinema. This terminology was established at the Bandung Conference of 1955(the first conference of the Non-Aligned Movement). ...
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