The findings on which this chapter is based draw on fieldwork I carried out in Douala in and , using primary participant observation and discursive interviews. When he is unable to pay back the loan, he reacts violently to this humiliation. He thought that it was normal money, to pay back with other money, but it was not. She is a social and cultural anthropologist who has conducted research on urban video practices in Cameroon, Douala, and Lagos, Nigeria. Henrietta, Sanders, Todd eds. The most famous case is the Nige- rian cinema industry called Nollywood for example, Haynes ; on other African video productions, for example Garritano ; Meyer ; Pype I have many women, friends around me… […] Let me live my life on my own! In addition to the highly competitive formal and informal job markets, the failure of development programs by the postcolonial state has encouraged a strong self-help ethic, according to which success is a personal enterprise.
As a local saying bluntly puts it: Looking at Poignard dans le dos from this perspective, it emerges that the tragic ending of Anatole introduces a sense of immobility into the drama, undermining the optimism towards possible reform in the society implied by the didactic purpose. Final words appearing just before the credits further clarify the moral lesson that underlies the story: When he is unable to pay back the loan, he reacts violently to this humiliation. Poignard dans le dos, dir.: Culture and safety in Africa. In their effort to give shape to a better city, they screen selfish characters that fall from grace, teaching the public that personal success must benefit the entire community.
While I argue that the film practitioners — like the public art promoters — are committed to the construction of a better city, I also contend that the hardships of their everyday life penetrate in their works, undermining their efforts to visualize better prospects.
The widespread every-man-for-himself behavior, however, does not imply exacerbated individ- ualism.
Thanks to the power of God, he does not die neither that day nor some other day. When he is unable to pay back the loan, he reacts violently to this humiliation. So he brings his epsiode to a church and they start praying.
Her main research interests include popular culture, visual culture, aesthetics and communication strategies, and migration. Poignard dans le dos, dir.: Giovanna Santanera 6 Ephemeral Monuments. Kim Gurney 9 Urban public sculpture in Cameroon: Click here to sign up.
He thought that it was normal money, to pay back with other money, but it was not. After blaming his family for treating him as a perpetual child, he attacks his sister-in-law but is finally killed by Fred who intervenes to defend his wife.
To view a copy of this license, visit http: Let us make good use of money; be aware of all the evil that episoee carries: Other aspects of the film support this interpretation, episoe the hesitations of the film practitioners towards imagining a better future for Douala.
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With re- gard to the Pentecostal television dramas made in Kinshasa, Katrien Pype Without a formal education in the arts, they have been able to learn on the ground, developing a self-financed cultural production, which is widely appreciated.
Log In Sign Up. Pype argues that most of the local plot lines show conjunctive endings, as the evildoer generally, a witch accomplishes a positive moral transformation: The most famous case is the Nige- rian cinema industry called Nollywood for example, Haynes ; on other African video productions, for example Garritano ; Meyer ; Pype As a result, social desegregation comes together with the persistent centrality of kinship, ethnicity, and a neighborhood sense of belonging.
Ebenezer Kepombia, Chambeny Entertainment, Cameroon, Thus, they feature selfish and greedy characters that betray, exploit, and sometimes even murder their kin, friends and acquaintances to pursue their personal economic 700.
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Culture and safety in Africa. As he tries to escape his demeaning condition of dependence, he plans risky yet potentially profitable businesses, according to the motto: Enter the email address you signed up with and we’ll email you a reset link. Life is mine, and I am economically self-sufficient as 13 Simon, personal communication, Douala, August 17, In Public Art in Africa.
Final words appearing just before the credits further clarify the moral lesson that underlies the story: The sarcastic drunken infused words with which he addresses his sister are particu- larly enlightening in this regard: The didactic purpose of Cameroonian digital films and TV series is not peculiar, but is typical of African popular art in general for example, Barber ; Newell ; Pype The Making of the Pentecostal Melodrama: Their final outputs — may they be monumental installations large sculptures located in congested areaspassageway artworks murals or small sculp- turesor proximity artworks architectural installations with a specific function 4 — usually find official recognition at the Salon Urbain de Douala SUDa triennial art festival which attracts a crowd of critics, scholars, journalists, intellectuals and art lovers from all around the world Babina and Douala Bell ; Malaquais ; Pensa ; Pensa and Fornari ; Pucciarelli For example, I watched a Nigerian film […] [in which] there was a poor boy who borrowed some money from a friend.
They do not, however, project this prob- lem in social terms but rather as a moral issue. She then relates this general principle to her particular situation and concludes: I have money, have I not?
The lack of happy endings, however, infuses a sense of immobilism into the stories, contrast- ing the optimism towards the possibility to reform society, implied in the didactic purpose. His friend explains him that polyamique does not want money foher return, but he wants him to enter a sect.
Comedie Camerounaise Mitoumba
Through our comedies, we must transmit solid messages that prevent the viewers from running into certain situations, troubles, as they usually do, without real- izing it. Urban life polygsmique threatened by frictions and fractures, as material interests govern social relationships, following the witchcraft logic of the person- al aggrandizement through the exploitation of such close ties.
This audience highly values the didactic orientation of the local audiovisual production and appreciates the plots that center on their daily experience, suggesting prop- er ways of behavior.
Looking for a better city: It opens the possibility to reflect upon fyoer existence and explore dif- ferent ways of being in the 770, elaborating on various representations of the city and its potentialities. It is not uncommon to hear viewers complaining that Cameroonian TV series and films are less instructive than other African audiovisual productions.
Within this framework, I will first show that the videos denounce the local social desegregation, through didactic stories that screen the ruin of selfish characters, driven by economic interests; then I will take into consideration the lack of happy endings to claim that the videos fall short 3 Other important Douala cultural institutions and groups are: These are the stage names of the actors playing in locally produced films and TV series, currently the most fashionable form of Cameroonian popular art Barber The findings on which this chapter is based draw on fieldwork I carried out in Douala in andusing primary participant observation and discursive interviews.
From this respect the comments of Sidonie, a Bamileke petty-trader living in the Bepanda district, are telling.
Beyond this highly credited public art production, however, Douala eepisode also the stage for a myriad more popular art initiatives Barberwhich originate out- side the official circuits of cultural production, participating in the critical re-thinking of urban life from a different standpoint.
They are common peo- ple who have started using low-cost, user-friendly digital technology after the liberalization of the audiovisual sector in Skip to main content.
Remember me on this computer. I have many women, friends around me… […] Let me live my life polygamiqhe my own! However, the moral transformation to which the film practitioners aspire does not always occur.