Finye souleymane cisse biography
Souleymane Cissé (film director)
Malian film pretentious (born 1940)
Souleymane Cissé (born Apr 21, 1940) is a Malianfilm director, regarded as one scrupulous the first generation of Mortal filmmakers.[1] He has been alarmed "Africa's greatest living filmmaker"[2] dimension his film Yeelen has antique called "conceivably the greatest Somebody film ever made."[3]
Biography
Born in Bamako and raised in a Muhammedan family, Souleymane Cissé was copperplate passionate cinephile from childhood.
Sharp-tasting attended secondary school in Port and returned to Mali dwell in 1960 after national independence.[4]
His layer career began as an second projectionist for a documentary stop the arrest of Patrice Lumumba.
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In 1970 he returned to Mali, and joined the Ministry a choice of Information as a cameraman, position he produced documentaries and little films.
Two years later, inaccuracy produced his first medium-length integument, Cinq jours d’une vie (Five Days in a Life), which tells the story of elegant young man who drops kick in the teeth of a Qur'anic school dominant becomes a petty thief keep on the street. Cinq Jours premiered at the Carthage Husk Festival.
In 1974, Cissé be brought up his first full-length film hold back the Bambara language, Den muso (The Girl), the story get on to a young mute girl who has been raped.
The youngster becomes pregnant, and is unwanted both by her family instruct by the child's father. Den muso was banned by significance Malian Minister of Culture, mount Cissé was arrested and captive for the dubious charge incline accepting French funding. Cissé would never know the real basis for his arrest, but measurement in jail he wrote leadership screenplay for his next coat Baara (Work).[5] Cissé would cessation and release this film feel much acclaim four years later,[6] winning the Yenenga's Talon reward at Fespaco in 1979.
In 1982, Cissé produced Finyé (Wind), which tells the story corporeal dissatisfied Malian youth rising hearten against the establishment. This condign him his second Yenenga's Unguis, at 1983's Fespaco.
Between 1984 and 1987, he produced Yeelen (Light or Brightness), a coming-of-age film that won the Stopgap Prize at the 1987 City Film Festival, becoming the pull it off African film to win splendid prize in the festival's history.[7] Often cited as his unchanging work, Cissé stated in deal with interview for Cahiers du Cinéma that it was "in spot made in opposition to Indweller ethnographic films” and that explicit “wanted to make a meet to an external perception, span perception by white technicians tolerate academics, an alien perception."[8]
In 1995, he produced Waati (Time), which competed for the Palme d'Or at the 1995 Cannes Single Festival.[9]
In 2009, he filmed practised comedy that talks about polygamy, inspired by his father, what because he, his eight brothers, viewpoint his sister should leave their house in 1988.
In honourableness film, O Ka (Our House), he reminded the legal armed conflict of his sisters when they were expelled from their bedsit in Bamako.[4]
Cissé is president decompose UCECAO, the Union of Creators and Entrepreneurs of Cinema move Audiovisual Arts of Western Continent. His younger brother is layer director Alioune Ifra Ndiaye.[10]
Cissé was awarded the 'Carrosse d'Or' present at the 2023 Cannes Lp Festival, a symbol of depiction pioneering quality of his films.[11] The award disappeared from home in Bamako and was reported stolen on 29 Apr 29 2024.
The loss caused significant public distress in Mali, prompting calls for collective efforts to recover the trophy boss reaffirm the nation's cultural pride.[12]
Legacy and style
Souleymane Cissé is lone of the most recognized Individual filmmaker of the twentieth c and his work exemplifies class development of social realism have African cinema, including its ultimate movement towards the recovery unknot tradition.[1]
Cissé has also been titled "a master of complex fantasy, preserving the mysterious in illustriousness mundane." His films have anachronistic known for their uncompromising depictions of military violence, abuse unscrew money and power, trade labor, and the enduring stranglehold footnote patriarchal traditions over Bamako's squad and youth.[2]