{"id":39695,"date":"2024-10-14T05:50:10","date_gmt":"2024-10-14T05:50:10","guid":{"rendered":"https:\/\/appsaf.apieproject.com\/news\/?p=39695"},"modified":"2024-10-14T05:50:12","modified_gmt":"2024-10-14T05:50:12","slug":"la-noire-de","status":"publish","type":"post","link":"https:\/\/appsaf.apieproject.com\/news\/fr\/2024\/10\/14\/la-noire-de\/","title":{"rendered":"La Noire de…"},"content":{"rendered":"\n

Diouana, une jeune nourrice s\u00e9n\u00e9galaise, embarque pour Antibes avec ses patrons fran\u00e7ais. Elle pense avoir l’opportunit\u00e9 de d\u00e9couvrir la France, mais son destin est celui d’une bonne \u00e0 tout faire. Choisira-t-elle de subir son sort\u00a0? Le premier long-m\u00e9trage du cin\u00e9aste s\u00e9n\u00e9galais Ousmane Semb\u00e8ne, consid\u00e9r\u00e9 comme l’un des p\u00e8res du cin\u00e9ma africain, ressort dans les salles fran\u00e7aises dans une version restaur\u00e9e le mercredi\u00a09\u00a0octobre. Avec Thierno Ibrahima Dia, auteur de deux ouvrages sur le r\u00e9alisateur dont\u00a0Semb\u00e8ne Ousmane<\/em>\u00a0(1923-2007) paru aux \u00e9ditions L’Harmattan et co-dirig\u00e9 avec Olivier Barlet, c’est l’occasion d’en savoir plus sur cette \u0153uvre majeure des cin\u00e9mas d’Afrique.<\/p>\n\n\n\n

Semb\u00e8ne rompt avec les codes et inverse les pr\u00e9jug\u00e9s coloniaux<\/h2>\n\n\n\n

D’un point de vue formel d’abord. \u00ab\u00a0Le noir et blanc l’aide \u00e0 avoir cette sorte d’intemporalit\u00e9. C’est un film tr\u00e8s cadr\u00e9, tr\u00e8s pos\u00e9, tr\u00e8s carr\u00e9. Semb\u00e8ne n’a jamais cherch\u00e9 la virtuosit\u00e9 par la cam\u00e9ra\u00a0\u00bb<\/em>, souligne Thierno Ibrahima Dia, historien et sociologue du cin\u00e9ma qui est l’auteur de deux livres sur le cin\u00e9aste. \u00ab\u00a0Il y a \u00e0 la fois un travail de mise en sc\u00e8ne (comment je d\u00e9place les personnages et les objets dans l’espace) et un travail de r\u00e9alisation (comment je pose la cam\u00e9ra). \u00c0 l’\u00e9poque, c’\u00e9taient des m\u00e9tiers diff\u00e9rents. Il y avait des assistants mise en sc\u00e8ne et des assistants r\u00e9alisateurs. Aujourd’hui, les deux se confondent. Jusque dans les ann\u00e9es 1970, ces deux m\u00e9tiers \u00e9taient tr\u00e8s cloisonn\u00e9s<\/em>.\u00a0\u00bb \u00c0 l’\u00e9poque, Ousmane Semb\u00e8ne arbore les deux casquettes.<\/p>\n\n\n\n

Par ailleurs, \u00ab\u00a0il torpille toutes les bases du cin\u00e9ma colonial qui vient poser l’Afrique comme terre de rel\u00e9gation, terre de douleur. Or, pour Diouana, mais aussi Madame, la patronne fran\u00e7aise, le continent est la terre de la jouissance, du bonheur. A contrario, l’Europe devient une terre scl\u00e9ros\u00e9e\u00a0\u00bb.<\/em>\u00a0Il y a une inversion des pr\u00e9jug\u00e9s.\u00a0\u00ab\u00a0Mais c’est tr\u00e8s discret\u00a0\u00bb<\/em>, note Thierno Ibrahima Dia. De m\u00eame,\u00a0\u00ab\u00a0les espaces ne sont pas affirm\u00e9s de la m\u00eame mani\u00e8re. Quand on est au S\u00e9n\u00e9gal, les espaces sont ouverts alors qu’en France, ils sont clos, ferm\u00e9s et contraints. Le regard vient toujours buter sur un obstacle. Il prend \u00e0 contrepied toute l’imagerie fabriqu\u00e9e par les cin\u00e9mas coloniaux, y compris hollywoodien\u00a0\u00bb<\/em>.<\/p>\n\n\n\n

Sur le fond,\u00a0La Noire de<\/em>… est une s\u00e9rie d’inversions.\u00a0\u00ab\u00a0Il offre une alter-repr\u00e9sentation, dans le m\u00eame sens qu’alter-mondialiste, c’est-\u00e0-dire une autre repr\u00e9sentation qui change l’axe de notre regard par rapport \u00e0 une repr\u00e9sentation n\u00e9gative parce que partielle ou partiale<\/em>.\u00a0\u00bb<\/p>\n\n\n\n

Diouana Gomis, une obsession artistique<\/h2>\n\n\n\n

<\/em>La Noire de… <\/em>est inspir\u00e9e d’une histoire vraie. La fiction est la troisi\u00e8me \u0153uvre consacr\u00e9e \u00e0 l’histoire tragique de son h\u00e9ro\u00efne, Diouana Gomis. \u00ab\u00a0C’est une Casaman\u00e7aise, Semb\u00e8ne est \u00e9galement n\u00e9 en Casamance<\/em>. Le cin\u00e9aste a vu cet article dans<\/em> Nice Matin, je crois<\/em>.\u00a0\u00bb De cette histoire, il fait d’abord un po\u00e8me, puis une nouvelle dans Volta\u00efque <\/em>avant de passer \u00e0 la fiction. \u00ab\u00a0Il a tr\u00e8s t\u00f4t nourri l’id\u00e9e de faire ce film pour que cela ne soit pas seulement ‘<\/em>une n\u00e9gresse qui s’est suicid\u00e9e dans la baignoire de ses patrons blancs‘. Il lui donne une identit\u00e9 et une voix, m\u00eame si elle est int\u00e9rieure. C’est la m\u00e9taphore de l’Afrique qui sort \u00e0 peine du joug colonial. C’est une fa\u00e7on de retrouver la voix. M\u00eame si elle est int\u00e9rieure, \u00e9touff\u00e9e, cela reste une voix.\u00a0\u00bb<\/em><\/p>\n\n\n\n

Un film qui installe Ousmane Semb\u00e8ne sur la sc\u00e8ne panafricaine et internationale<\/h2>\n\n\n\n

Le film, pr\u00e9sent\u00e9 \u00e0 la Semaine de la critique en 1966, \u00ab\u00a0lui vaudra d’\u00eatre membre du jury au Festival de Cannes l’ann\u00e9e suivante\u00a0\u00bb,<\/em> rappelle Thierno Ibrahima Dia. \u00ab\u00a0Ce film a \u00e9galement eu un impact sur les cin\u00e9mas africains. Tahar Cheriaa, le Tunisien qui \u00e9tait en train de lancer les Journ\u00e9es cin\u00e9matographiques de Carthage (JCC) et qui d\u00e9couvre son film \u00e0 Cannes, lui a demand\u00e9 d’\u00eatre son bin\u00f4me dans cette aventure. Ce qui a donn\u00e9 cette dimension panafricaine aux JCC que Tahar Cheriaa recherchait\u00a0\u00bb<\/em>, raconte Thierno Ibrahima Dia.<\/p>\n\n\n\n

Mbissine Th\u00e9r\u00e8se Diop, une muse pour Semb\u00e8ne<\/h2>\n\n\n\n

La com\u00e9dienne s\u00e9n\u00e9galaise, \u00e0 qui la r\u00e9alisatrice franco-s\u00e9n\u00e9galaise Ma\u00efmouna Doucour\u00e9 a confi\u00e9 un r\u00f4le dans\u00a0Mignonnes<\/em>, fait partie de la premi\u00e8re g\u00e9n\u00e9ration d’actrices en Afrique subsaharienne. Elle \u00e9tait couturi\u00e8re, avant d’\u00eatre rep\u00e9r\u00e9e par Ousmane Semb\u00e8ne pour son film. C’est leur premier long-m\u00e9trage \u00e0 tous les deux.\u00a0\u00ab\u00a0Elle repr\u00e9sente une muse pour Ousmane Semb\u00e8ne. Elle est indissociable du cin\u00e9ma de Semb\u00e8ne m\u00eame si elle n’est pas sur tous ses films\u00a0\u00bb,<\/em>\u00a0fait remarquer Thierno Ibrahima Dia.<\/p>\n\n\n\n

\u00ab\u00a0La Noire de…\u00a0\u00bb a exist\u00e9 avec une partie en couleur<\/h2>\n\n\n\n

R\u00e9compens\u00e9 \u00e0 plusieurs reprises, notamment du prix Jean Vigo en 1966, et le Tanit d’or aux JCC, le film dispose d’une version longue, avec une partie en couleur. \u00ab\u00a0Il a d\u00fb couper la couleur parce qu’il n’avait pas toutes les certifications n\u00e9cessaires \u00e0 l’\u00e9poque : il n’avait pas une carte professionnelle de r\u00e9alisateur en France\u00a0\u00bb<\/em>, explique Thierno Ibrahim Dia. Le montage du film couramment exploit\u00e9 a \u00e9t\u00e9 raccourci \u00e0 soixante minutes.<\/p>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

Diouana, une jeune nourrice s\u00e9n\u00e9galaise, embarque pour Antibes avec ses patrons fran\u00e7ais. Elle pense avoir l’opportunit\u00e9 de d\u00e9couvrir la France, mais son destin est celui d’une bonne \u00e0 tout faire. Choisira-t-elle de subir son sort\u00a0? Le premier long-m\u00e9trage du cin\u00e9aste s\u00e9n\u00e9galais Ousmane Semb\u00e8ne, consid\u00e9r\u00e9 comme l’un des p\u00e8res du cin\u00e9ma africain, ressort dans les salles […]<\/p>\n","protected":false},"author":1,"featured_media":39696,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[53,55,59],"tags":[78,87,88],"class_list":{"0":"post-39695","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-culture-fr","8":"category-divertissement","9":"category-speciaux","10":"tag-apie-project-2","11":"tag-culture-2","12":"tag-divertissement"},"yoast_head":"\nLa Noire de... - APIE NEWS<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/appsaf.apieproject.com\/news\/fr\/2024\/10\/14\/la-noire-de\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"La Noire de... - APIE NEWS\" \/>\n<meta property=\"og:description\" content=\"Diouana, une jeune nourrice s\u00e9n\u00e9galaise, embarque pour Antibes avec ses patrons fran\u00e7ais. Elle pense avoir l’opportunit\u00e9 de d\u00e9couvrir la France, mais son destin est celui d’une bonne \u00e0 tout faire. Choisira-t-elle de subir son sort\u00a0? 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