Tradition and the African poet
The African film-maker should approach his continent and his fellows with humility. Certain film-makers are so full of techniques and prejudices that they have seen nothing of what they have filmed. On the other hand, producers of documentaries do see what they are filming but, even if their camera...
Tallennettuna:
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| Aineistotyyppi: | Article ou chapitre numérique |
| Kieli: | Français |
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1967
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| Linkit: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
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cairn-PRESA_063_0202 |
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cairn |
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cairn-PRESA_063_0202PRESAPrésence Africaine https://shs.cairn.info/revue-presence-africaine-1967-3-page-202?lang=en https://doi.org/10.3917/presa.063.0202 Tradition and the African poet Dathorne, O. R.1967 fre Présence Africaine | 63 | 3 | 1967-09-01 | p. 202-206 | 0032-7638 PRESA_06384 The African film-maker should approach his continent and his fellows with humility. Certain film-makers are so full of techniques and prejudices that they have seen nothing of what they have filmed. On the other hand, producers of documentaries do see what they are filming but, even if their camera is sincere, it often depicts the coarser side of life or, at times, deformations of what is really true. The African film-maker must look at his continent as if nobody had ever seen it before. Better still — as if he himself had never looked at it. Perhaps he must know how to use a camera; he must always remember his own language and childhood and always be on the alert because truth is fugitive. Money is contraindicating.Cairn restricted access |
| language |
Français |
| format |
Article ou chapitre numérique |
| building |
0/Bibliothèque numérique/ 1/Bibliothèque numérique/Cairn/ |
| description |
The African film-maker should approach his continent and his fellows with humility. Certain film-makers are so full of techniques and prejudices that they have seen nothing of what they have filmed. On the other hand, producers of documentaries do see what they are filming but, even if their camera is sincere, it often depicts the coarser side of life or, at times, deformations of what is really true. The African film-maker must look at his continent as if nobody had ever seen it before. Better still — as if he himself had never looked at it. Perhaps he must know how to use a camera; he must always remember his own language and childhood and always be on the alert because truth is fugitive. Money is contraindicating. |
| author |
Dathorne, O. R. |
| spellingShingle |
Dathorne, O. R. Tradition and the African poet |
| author_facet |
Dathorne, O. R. |
| author_sort |
Dathorne, O. R. |
| title |
Tradition and the African poet |
| title_short |
Tradition and the African poet |
| title_full |
Tradition and the African poet |
| title_fullStr |
Tradition and the African poet |
| title_full_unstemmed |
Tradition and the African poet |
| title_sort |
tradition and the african poet |
| publishDate |
1967 |
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| container_issue |
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| url |
https://ezproxy.univ-orleans.fr/login?url=https://shs.cairn.info/revue-presence-africaine-1967-3-page-202?lang=en https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.3917/presa.063.0202 |
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1877246376144797697 |