The Silent Revolutionaries: Ousmane Sembene's Emitai, Xala, and Ceddo

Abstract

The art of filmmaking in the last two decades has been enriched by the works of various African filmmakers. This relatively modern form of visual representation seems more amenable to understanding at all levels of the social and cultural strata of the African populace than one would expect from even the earliest forms of the visual arts. Although many remarkable works have been produced by African filmmakers, few of these works have focused on the largely illiterate African majority as the target audience: this is not without reason. Filmmaking is arguably the most expensive form of art in any medium. It is difficult not to approach the profession primarily as a potentially viable business venture, or to continue in the pursuit of artistic excellence without healthy financial support. The governments of French speaking African countries, however, readily fund film projects, thereby mitigating the problem of finance for their filmmakers. As a result, for Ousmane Sembene of Senegal, filmmaking has become a very prolific enterprise. Despite the financial assistance received from the government of Senegal, Sembene does not compromise his artistic inclinations for this patronage. He has even had a serious disagreement with the government over the title of one of his films, Ceddo, 1977 (Gabriel, 1982).

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