UJKZ_filmBF2022 - De 2000 à 2020, Deux Décennies de Films de Fiction Burkinabè: Acteurs/Actrices, Orientations Thématiques et Profils Esthétiques

Many scientific articles exist on the continent's films. But generally speaking, these scientific productions are fragmented and not systematic. Apart from the colossal work carried out by Victor BACHY in the eighties, which led to the publication of summary monographs on national cinemas (Ivory Coast, Gabon, Upper Volta, Mali...), most of the critical works deal with African cinema in general and deal with specific issues. Efforts of theorization and capitalization are minor, just as monographs on current film productions are almost non-existent. On the Burkinabe cinema, we can nevertheless note some analyses on specific aspects:
- Justin T. OUORO, "Contexte d'émergence et orientations thématiques du cinéma burkinabè de 1960 à 2000" (Context of emergence and thematic orientations of Burkinabè cinema from 1960 to 2000). "2015, in Annales de l'Université de Ouagadougou, Nouvelle Série A, Lettres, Sciences Humaines et Sociales, volume 020, ISBN 979-10-90524-09-5, Presses Universitaires de Ouagadougou, pp.571-596.
- Justin T. OUORO, " Tendances thématiques et esthétiques du cinéma burkinabè de 2000 à nos jours ", June 2015, in Encres, Revue scientifique de l'École Normale Supérieure, Université Abdou Moumouni, Niamey
- Niger, N° 001, ISSN 1859-5116, Niamey, pp. 59-70.
- Justin OUORO, " Ouagawood et foliewood : acteurs et public d'une dynamique culturelle du cinéma burkinabè ", 2018, Ute FENDLER, Christoph VATTER [eds], Dynamiques culturelles dans les cinémas africains du XXIe siècle. Actors, formats, networks, Universaar Presses Universitaires de la Saare, From Valentine PALM/SANOU's publications we can retain :
- "La métaphore du feu chez Idrissa Ouédraogo", 2020, in Justin Ouoro and Valentine PALM/SANOU (dir.) Proceedings of the international colloquium in homage to the Burkinabè filmmaker Idrissa Ouédraogo: l'homme et ses œuvres, Burkina Faso, Céprodif editions.
- "La modélisation de la violence au cinéma", 2019, Lettres d'Ivoire, Revue Scientifique de Littératures, Langues et Sciences Humaines, pp. 109-118. The same is true of the monographs of authors that exist, such as the work of Marie Magdeleine CHIROL, 2011, Gaston Kaboré. Conteur et visionnaire du cinéma africain, Presses Universitaires de Lyon, or that of Justin T. OUORO and Valentine PALM/SANOU (dir.) 2020, Actes du colloque international en hommage au cinéaste burkinabè Idrissa Ouédraogo : l'homme et ses œuvres, Burkina Faso, éditions Céprodif. On the gender issue, we can note the doctoral thesis of Lettres Modernes by Sheila PETTY entitled "La femme dans le cinéma d'Afrique noire" (Women in Black African cinema) defended since 1987 in Paris 4. This study focuses on the place of women in Black African cinema in front of and behind the camera. However, these data, in addition to being scattered, are nowadays outdated. Furthermore, HARROW's article, K. W. (2016), 'Women in "African cinema" and "Nollywood films": A shift in cinematic regimes', published in the Journal of African Cinemas, discusses the evolution of the representation of women in African cinema from Fespaco and Nollywood films. In the same vein, Sophie DULUCQ's article, 'Visages de femmes au miroir du cinéma d'Afrique noire (des années 1960 aux années 1990)', published in the review Histoire' femmes et sociétés, takes stock of the themes related to women in African cinematographic works, without taking into account all the dimensions of the female presence in cinema. The present project aims to fill this gap by making available to the public, researchers, and students scientific data on Burkinabe fiction cinema of the extreme contemporary (Barbara H., Pascal M., Pascal R. 2010) and in particular on the specific profile of women's filmmaking practice. The notion of the contemporary extreme is to be understood in a double meaning. It refers to the present, to current productions, those of our lived experience. It also and especially refers to our relationship to contemporaneity, that is to say to the necessary dialectic between our lived experience and the artistic expression of this lived experience. Studying Burkina Faso's extreme contemporary film production, particularly from 2000 to 2020, taking into account the gender dimension and intending to establish a repertoire accompanied by content analysis, means giving ourselves the means to identify one of the most flourishing sectors of artistic activity. It is also to nourish the ambition to grasp the issues, both reflexive and prospective, that inform the state and future of the society that generates these works of the imagination. A better knowledge of the actors and actresses of the seventh art in Burkina Faso, the thematic orientations, the major aesthetics, and the specificity of the female gaze should also facilitate the anchoring of this mode of expression in schools and universities.