Dongo Yenendi, French, 1966 Ce jour-l, French, 2003 The Valley of the Dordogne, France, French, 1918 jamais, French, 2009 La poubelle, French, 1975 Sous le soleil - La prison dore, Season 13, Episode 16, French, 1996 Noblesses.Yeenandi or rain dance, a film about the traditional Songhay / Zarma dance in Niger for the celebration of rain. Dongo Yenendi (1966) Release Info. It looks like we don't have any release dates for this title yet. Be the first to contribute! Just click the 'Edit page' button at the bottom of the page or. May, 1. 91. 7, Paris, Franced. February, 2. 00. 4, Birni N. The experience was, as Rouch later said, a revelation, . While he saw himself as a difficult fit in both fields. Finding himself uncomfortable in a discipline that postulated that the European was able to enter into and understand the culture of the . The generosity of this solution offered a ground for the transformation of anthropology, toward a reciprocity between those who study and those who are studied, and in the process Rouch. But while charges of pursuing a dispassionately objective, and thus depoliticised, view of a colonised people rang true when directed at Western scientific approximations to Africa in general, and especially those of an ethnographic discipline deeply implicated in the colonial project, upon viewing Rouch. After the journey a biologist shipmate introduced his sister to M. Rouch, resulting in a marriage and the Paris birth of Jean on May 3. The family moved often when he was young, living for a time in Casablanca and for another in Rochefort, across from Pierre Loti, world traveler and writer of novels set in such places as Morocco, Japan and Senegal. In 1. 93. 0 the family moved to Paris, and Rouch fondly compares its avant- garde- inflected ambience in the pre- War decade to the late- 6. American counterculture, specifically as seen in D. But where the latter gradually faded into subservience to corporate monoculture, Rouch. In October 1. 94. Niger, where he was put in charge of ten thousand forced laborers on road construction, and employed as his assistant a new friend, his future filmmaking collaborator and sometime star Damour. In August of 1. 94. Rouch wondered what a culturally appropriate response might be, Damour. On their request she arranged a possession ceremony, a spectacle that prompted Rouch to consider filmmaking: . Like Fred Astaire, there is no other way to show a possession dance. After the war he returned to Africa to explore the Niger River headwaters with two colleagues, Pierre Ponty and Jean Sauvy. Together they submitted travel articles under the nom de plume Jean Pierjean and made two films, a now- lost fiction short called La Chevelure magique (1. Au pays des mages noirs (1. After another return to Paris, Rouch. The latter two were shown that same year by Jean Cocteau at the Festival du Film Maudit and made Rouch a pioneer in the use of the hand- held sixteen- millimeter camera. Rouch. During this trip he also filmed the definitive version of the hippo- hunt film, Bataille sur le grand fleuve (1. The feedback at that screening resulted in another important development: Damour. Jaguar, along with Les Ma. He used a sixteen- millimeter Bell & Howell camera that had to be rewound after each twenty- second- maximum shot, an apparent limitation that Rouch considered a great advantage, since it gave him a few seconds to reflect on the next shot, change angle or distance, and thus obtain more complete and cinematically rich coverage. He uses the frame to hide and reveal details to cause surprise, straying often from the classical anthropologist. At times he poetically intones the long, complex formal titles of characters or spirits, at others he straddles the line between European . In La Chasse au lion . At other moments the voice yields to the images. In Mammy Water (1. By the early- 1. 95. Rouch held the research position at the Centre National de la Recherche Scientifique (CNRS) that would permit him the time and resources to continue to make films for the rest of his life, which he began to do in ways that would profoundly impact on how both anthropology and fiction filmmaking were practiced. A first event was Les Ma. The participants are Nigerien immigrants seen at various labours as the film opens. During the ceremony however, they take on different identities, most importantly those of the British colonial authorities, a mimicry that Rouch interprets in the voiceover as a subversive carnivalisation of the colonial hierarchy. According to Rouch the film was universally rejected when first shown, by African intellectuals for perpetuating racist exoticism and by his mentor Marcel Griaule and many other Europeans because colonial subjects are shown mimicking their masters. But in the ensuing years the film has been recognised as an anthropological classic and is now widely considered to be one of the most profound explorations of an African view of the colonial world. As the filming progressed, with each return Rouch showed it to the hunters and considered their suggestions. The result is a rich narrative, framed by Rouch. The action takes place in a dry zone sparsely populated by Peul herders who normally coexist peacefully with lions. But according to Rouch. Shown are the various stages of preparation for the hunt. When the hunt begins, the artifice of a rather classical story arc creates suspense and a stirring climax in which a wounded lioness attacks one of the herders before she is killed by a hunter. Rouch stopped the camera at this moment, which he instead narrates by voiceover and the direct sound track recorded by Damour. Rouch himself considers this to be his only fully accomplished cin. In the middle of his attempt to capture a possession ritual in one shot, the musicians suddenly stop playing, seemingly giving up hope that the g. But when Rouch keeps the camera rolling it causes, according to him, the musicians to suppose that he could see the g. The successful long- take, and especially the hitch in the middle, are used by Rouch to exemplify the idea of provocation and its ideal circular instance in the cin. Since Jaguar was an on- the- road film about migration it dealt not only with traditional cultures, but with the multi- directional exoticism of colonial encounters, and marked Rouch. The three principal actors in Jaguar. Once in Accra, Damour. In a famous sequence, he takes a . Lam heads for the marketplace at Kumasi, setting up a trinket shop where he too finds some success, while Illo, by contrast, ends up a poorly paid and overworked stevedore at Accra. The trio eventually returns triumphantly to Niger, but they do not let their new status shake up the social structure, instead distributing the prized goods they brought back and returning to their previous occupations. The harsh economic realities of the colonial world are documented, the gold mining industry is shown in an expository documentary mode, as Damour. Jaguar is the first of several ethno- fictions made by Rouch, who considered it an ethnographically superior mode for exploring the human dimension of migration, a model way to access the dreams and fantasies of individual migrants. Moi, un Noir, like Jaguar, is an improvised film with an improvised voiceover commentary by its protagonists, non- professional actors portraying characters with similar cultural backgrounds. It is set entirely in Abidjan, Ivory Coast, mostly in the poor immigrant quarter of Treichville, and the story is compressed into several days, contrasting the workdays. In the voiceover the characters assign themselves fantasy identities. Unlike Jaguar, whose actors were playing at being immigrants, here the principal actor and performer of the voiceover, Oumarou Ganda, is a real- life immigrant labourer. This allows for an exploration of the frustration Ganda feels that even his most modest desires are unattainable, condemned as he is to second- class citizenship even in his relations with the local women, who are attracted to the more wealthy European visitors while the African men suffer, mostly in silence. As part of its strategy of exploring the psychological implications of the immigrant experience, the film features three memorable subjective sequences, one in which the protagonist fantasises about becoming a boxing champion, another in which he seduces the unattainable woman, and another in which he fondly recalls his youth back in Niger. Both Jaguar and Moi, un Noir are playful films, but where the former is joyful, the latter is bitter, a sobering portrait of the immigrant experience. In La pyramide humaine the experimental dimension of the film is of prime interest, but rather than avant- garde, it is an experiment in provoked observation. The resulting freedom from a script causes the plot and themes to tend more toward dispersion than coherence, but this is no mere proto- reality television, as evident in its serious approach to its weighty themes and its respect for its actor- characters, a racially diverse group of young men and women. Instead of humiliating them as spectacle, Rouch sets about producing productive conflicts around colonial race relations, as he describes in the meeting with the cast that makes up the film. But these tensions are soon displaced onto Nadine, the young French woman who indiscriminately flirts with her male colleagues, both African and European, thus shifting the conflicts among her suitors away from race and earning rebukes from her more reserved female African counterparts. The openly self- reflexive nature of the film, framed by discussions between Rouch and the cast, foregrounds the presence of the observer and the process of provocation. In Chronique d. Not invested in objectivity, cin. The conversations tend toward the political: Algeria, Auschwitz and Africa are frequent themes, and the subjects were members of a politically militant group centered around Morin. Like La pyramide humaine, Chronique d. At the group screening shown near the end of the film the cast. This reflexive frame calls into question the notion of documentary objectivity, but it does not at all undermine the film. These ignite some of the most cinematically powerful moments of the film when they clash and contradict each other, demonstrating the nascent fissures between sectors of the European left. Rouch and the Nouvelle Vague. Rouch. Rouch, in turn, began to experiment with fiction film on the streets of Paris, filming the medium- length La Punition in 1. Gare du Nord in 1.
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