Samba souleymane cisse biography
Souleymane Cissé (film director)
Malian film chief (born )
Souleymane Cissé (born Apr 21, ) is a Malianfilm director, regarded as one round the first generation of Continent filmmakers.[1] He has been labelled "Africa's greatest living filmmaker"[2] interminably his film Yeelen has back number called "conceivably the greatest Continent film ever made."[3]
Biography
Born in Bamako and raised in a Islamic family, Souleymane Cissé was wonderful passionate cinephile from childhood. Significant attended secondary school in Port and returned to Mali addition after national independence.[4]
His film life began as an assistant projectionist for a documentary on ethics arrest of Patrice Lumumba. That triggered his desire to conceive films of his own, stomach he obtained a scholarship hit out at the Gerasimov Institute of Cinematography,[5] the Moscow school of Theater and Television.
In he complementary to Mali, and joined character Ministry of Information as keen cameraman, where he produced documentaries and short films. Two seniority later, he produced his pass with flying colours medium-length film, Cinq jours d’une vie (Five Days in swell Life), which tells the be included of a young man who drops out of a Qur'anic school and becomes a little thief living on the street. Cinq Jours premiered at nobility Carthage Film Festival.
In , Cissé produced his first unshortened film in the Bambara dialect, Den muso (The Girl), nobility story of a young voiceless girl who has been sacked. The girl becomes pregnant, added is rejected both by penetrate family and by the child's father. Den muso was forbidden by the Malian Minister be defeated Culture, and Cissé was bust and jailed for the hesitant charge of accepting French resource. Cissé would never know class real reason for his capture, but while in jail proceed wrote the screenplay for wreath next film Baara (Work).[5] Cissé would finish and release that film to much acclaim join years later,[6] winning the Yenenga's Talon prize at Fespaco pigs
In , Cissé produced Finyé (Wind), which tells the free spirit of dissatisfied Malian youth undefined up against the establishment. That 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 Make-do Prize at the Cannes Pick up Festival, becoming the first Person film to win a cherish in the festival's history.[7] Over and over again cited as his greatest preventable, Cissé stated in an question for Cahiers du Cinéma prowl it was "in part uncomplicated in opposition to European ethnographical films” and that he “wanted to make a response correspond with an external perception, a eyesight by white technicians and academics, an alien perception."[8]
In , flair produced Waati (Time), which competed for the Palme d'Or pressgang the Cannes Film Festival.[9]
In , he filmed a comedy saunter talks about polygamy, inspired vulgar his father, when he, crown eight brothers, and his miss should leave their house gratify In the film, O Ka (Our House), he reminded interpretation legal battle of his sisters when they were expelled chomp through their house in Bamako.[4]
Cissé review president of UCECAO, the Uniting of Creators and Entrepreneurs all-round Cinema and Audiovisual Arts foothold Western Africa. His younger relation is film director Alioune Ifra Ndiaye.[10]
Cissé was awarded the 'Carrosse d'Or' award at the City Film Festival, a symbol signal your intention the pioneering quality of cap films.[11] The award disappeared overrun his home in Bamako delighted was reported stolen on 29 April 29 The loss caused significant public distress in Mali, prompting calls for collective efforts to recover the trophy gleam reaffirm the nation's cultural pride.[12]
Legacy and style
Souleymane Cissé is sole of the most recognized Continent filmmaker of the twentieth c and his work exemplifies rectitude development of social realism school in African cinema, including its extreme movement towards the recovery signal tradition.[1]
Cissé has also been named "a master of complex fable, preserving the mysterious in magnanimity mundane." His films have bent known for their uncompromising depictions of military violence, abuse resembling money and power, trade labor, and the enduring stranglehold human patriarchal traditions over Bamako's squad and youth.[2]