Many African writers see themselves as "literate griots," modern-day equivalents of the traditional djeli, or griot, whose role in African society was to entertain but also to instruct and to preserve a culture's history. As African filmakers become more active and productive, we see many filmakers consciously taking on the role of "screen griots" for whom one of the most important tasks is the recovery of African's history. This paper discusses three different strategies for accomplishing this task by three different directors in two recent African films: Keita and Afrique, je te plumerai.
|Presenter:||Joel Neden (Undergraduate Student)|
|Time:||9 am (Session I)|