Neoliberal violence and aesthetic resistance in Abderrahmane Sissako's Bamako (2006).
Abderrahmane Sissako's celebrated Bamako (2006) stages a public trial of the debt policies of the International Monetary Fund and World Bank in Africa in a shared courtyard in Bamako. By putting both western and African film aesthetics and modes of spectatorship also on trial through formal strategi...
| Published in: | Studies in French Cinema Vol. 19; no. 4; pp. 294 - 314 |
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| Format: | Film/TV Criticism and Review |
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Taylor & Francis Ltd
Nov2019
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| Online Access: | View this record in EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=138868175&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 138868175 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 14715880 L2I jtl: Studies in French Cinema issn: 14715880 maglogo: N pubinfo: dt: Nov2019 vid: 19 iid: 4 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 138868175 10.1080/14715880.2017.1356136 ppf: 294 ppct: 20 formats: fmt: – @attributes: type: T – @attributes: type: P size: 2.1MB tig: atl: Neoliberal violence and aesthetic resistance in Abderrahmane Sissako's Bamako (2006). aug: au: Williams, James S. affil: School of Modern Languages, Literatures and Cultures, Royal Holloway, University of London, Egham, UK su: Bamako (Film) Sissako, Abderrahmane, 1961- African films Motion pictures Violence in motion pictures Neoliberalism sug: subj: Bamako (Film) Sissako, Abderrahmane, 1961- African films Motion pictures Violence in motion pictures Neoliberalism keyword: Abderrahmane Sissako aesthetic violence neoliberalism resistance West Africa ab: Abderrahmane Sissako's celebrated Bamako (2006) stages a public trial of the debt policies of the International Monetary Fund and World Bank in Africa in a shared courtyard in Bamako. By putting both western and African film aesthetics and modes of spectatorship also on trial through formal strategies of address and mise en scène, it appears a stylised return to the politically engaged social realism of Ousmane Sembène. Yet, by allowing an astonishing array of matter (human and non-human, real and fictional) to drift graphically into its frame and intrude into the very law of the economic and geopolitical, Bamako also insists on material process and aesthetic friction, opening up new hybrid spaces of spectatorial speculation and interpretation in postcolonial art cinema not bound by the demands of allegory and ideological thinking. Focusing in close detail on the intricate, self-reflexive rifts and fractures of montage in two discrete episodes (an extended scene of migration testimony, a suicide followed by funeral procession), the author shows how Sissako's poetic investment in form not only exposes but also directly resists the hegemonic violence the film implacably relates. Such formations of violent beauty demand we reconceive the very nature of political aesthetics and the function of screen violence. pubtype: Academic Journal doctype: Film/TV Criticism and Review src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Studies in French Cinema is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Studies in French Cinema holder: Taylor & Francis Ltd dt: @attributes: year: 2019 holdings: @attributes: islocal: N |
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