« Spirit of the dead, rise up! […] and claim your story ». Représentation de l’esclavage et esthétique de la résistance dans Sankofa (Haile Gerima, 1993)

Haile Gerima, an independent Ethiopian filmmaker who belonged to the LA Rebellion film movement, directed films which dealt with various aspects of the African American and black diasporic experience. Sankofa (1993) was his first important critical and commercial success. The film used Akan mytholog...

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Main Author: Claire Dutriaux
Format: Article
Language:English
Published: Association Française d'Etudes Américaines 2019-09-01
Series:Transatlantica
Subjects:
Online Access:http://journals.openedition.org/transatlantica/12638
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author Claire Dutriaux
author_facet Claire Dutriaux
author_sort Claire Dutriaux
collection DOAJ
description Haile Gerima, an independent Ethiopian filmmaker who belonged to the LA Rebellion film movement, directed films which dealt with various aspects of the African American and black diasporic experience. Sankofa (1993) was his first important critical and commercial success. The film used Akan mythology—in particular the sankofa bird symbolizing the need for every person to turn to the past in order to face their future—to broach the issue of resistance to oppression. In Sankofa, Gerima developed a politics and aesthetic of resistance. While the film’s political, ideological, and historical dimensions have been extensively analyzed, this essay focuses on its aesthetic dimension, which is the cornerstone of its ideological discourse on resistance to slavery.
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spelling doaj.art-7095952f2cfb48ae9ecb9a8a460377a72022-12-22T02:48:06ZengAssociation Française d'Etudes AméricainesTransatlantica1765-27662019-09-01110.4000/transatlantica.12638« Spirit of the dead, rise up! […] and claim your story ». Représentation de l’esclavage et esthétique de la résistance dans Sankofa (Haile Gerima, 1993)Claire DutriauxHaile Gerima, an independent Ethiopian filmmaker who belonged to the LA Rebellion film movement, directed films which dealt with various aspects of the African American and black diasporic experience. Sankofa (1993) was his first important critical and commercial success. The film used Akan mythology—in particular the sankofa bird symbolizing the need for every person to turn to the past in order to face their future—to broach the issue of resistance to oppression. In Sankofa, Gerima developed a politics and aesthetic of resistance. While the film’s political, ideological, and historical dimensions have been extensively analyzed, this essay focuses on its aesthetic dimension, which is the cornerstone of its ideological discourse on resistance to slavery.http://journals.openedition.org/transatlantica/12638SankofaHaile GerimaslaveryresistanceLA Rebellion
spellingShingle Claire Dutriaux
« Spirit of the dead, rise up! […] and claim your story ». Représentation de l’esclavage et esthétique de la résistance dans Sankofa (Haile Gerima, 1993)
Transatlantica
Sankofa
Haile Gerima
slavery
resistance
LA Rebellion
title « Spirit of the dead, rise up! […] and claim your story ». Représentation de l’esclavage et esthétique de la résistance dans Sankofa (Haile Gerima, 1993)
title_full « Spirit of the dead, rise up! […] and claim your story ». Représentation de l’esclavage et esthétique de la résistance dans Sankofa (Haile Gerima, 1993)
title_fullStr « Spirit of the dead, rise up! […] and claim your story ». Représentation de l’esclavage et esthétique de la résistance dans Sankofa (Haile Gerima, 1993)
title_full_unstemmed « Spirit of the dead, rise up! […] and claim your story ». Représentation de l’esclavage et esthétique de la résistance dans Sankofa (Haile Gerima, 1993)
title_short « Spirit of the dead, rise up! […] and claim your story ». Représentation de l’esclavage et esthétique de la résistance dans Sankofa (Haile Gerima, 1993)
title_sort spirit of the dead rise up and claim your story representation de l esclavage et esthetique de la resistance dans sankofa haile gerima 1993
topic Sankofa
Haile Gerima
slavery
resistance
LA Rebellion
url http://journals.openedition.org/transatlantica/12638
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