Splitting the scene, distributing the cinema: about Bamako, by Abderrahmane Sissako

Authors

  • Roberta Oliveira Veiga Professora adjunta da Universidade Federal de Minas Gerais (UFMG) e doutora pela mesma instiuição. Editora da Revista Devires: Cinema e Humanidades (UFMG).

DOI:

https://doi.org/10.22475/rebeca.v5n2.394

Keywords:

African cinema, Device, Dissensus, Distribution of the sensible

Abstract

The film Bamako (2006), by the Mauritanian director Abderrahmane Sissako, places the African people, dispossessed of their ways of life, and the world's major financial corporations, side by side in an imaginary court that enables the film to rewrite history against the grain. In a cinematographic fiction that is crossed by the real and impregnated by dust from the ground and the black people who lives in a divided and unjust world, where only the capital owners have a voice, rewriting history is to give to the other the time of image and of the word. This, thus, amounts to reinventing politics altogether.

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Author Biography

Roberta Oliveira Veiga, Professora adjunta da Universidade Federal de Minas Gerais (UFMG) e doutora pela mesma instiuição. Editora da Revista Devires: Cinema e Humanidades (UFMG).

É doutora em Comunicação Social pela UFMG desde 2008, quando defendeu a tese A estética do confinamento: o dispositivo no cinema contemporâneo. Foi pesquisadora e professora visitante na Universidade do Texas em Austin, onde lecionou a disciplina Brazilian Cinema and Marginality: a comparison of documentary and fiction films, junto ao Departamento de Radio-Televisão-Cinema, Escola de Comunicação. Atualmente é professora adjunta do Departamento de Comunicação Social na FAFICH-UFMG e professora colaboradora no Programa de Pós-Gradução em Comunicação na mesma instituição. Integra a equipe de editores da revista Devires – Cinema e Humanidades e o comitê de organização do forumdoc.bh (Festival de Cinema Documentário e Etnográfico de Belo Horizonte). É pesquisadora do grupo Poéticas da Experiência (UFMG), junto ao qual desenvolve a pesquisa “A escrita de si pela imagem: cinema, história e espetáculo”. Acaba de traduzir o livro Nothing Happens: Chantal Akerman’s Hyperrealist Everyday, de Ivone Margulies, para o português.

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Published

2017-03-31

Issue

Vol. 5 No. 2 (2016): REBECA 10

Section

Dossier

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