Post by Capo on Jul 23, 2007 1:08:17 GMT
Borom Sarret
Ousmane Sembene 1966 Senegal
A day in the life of a poor wagoner, who takes people from here to there for little cost.
Discard any kind of accusations of crude technicalities, and this is gripping for two primary reasons: firstly, it is a rare look into African culture of the mid-sixties, and secondly, it is so new, so fresh, so different - and consciously so - to conventional Western filmmaking. Camera angles have a kind of conscious ideology to them - such as the low/high angles to denote class division; the dialogue is overdubbed, naively, into French, so as to draw us into empathy by means of remote distancing; and there is a persistent rhythm throughout, invoked by a recurring musical motif, of minimalist and effective percussion.
Ousmane Sembene 1966 Senegal
A day in the life of a poor wagoner, who takes people from here to there for little cost.
Discard any kind of accusations of crude technicalities, and this is gripping for two primary reasons: firstly, it is a rare look into African culture of the mid-sixties, and secondly, it is so new, so fresh, so different - and consciously so - to conventional Western filmmaking. Camera angles have a kind of conscious ideology to them - such as the low/high angles to denote class division; the dialogue is overdubbed, naively, into French, so as to draw us into empathy by means of remote distancing; and there is a persistent rhythm throughout, invoked by a recurring musical motif, of minimalist and effective percussion.