5 - From the Spectacular to Oral Spectacle
Corresponding Author(s) : Nehemiah Chivandikwa
Afrique et développement,
Vol. 49 No 4 (2024): Afrique et développement
Résumé
Cet article explore l'utilisation et l'adaptation du spectacle oral dans le cinéma zimbabwéen comme une mesure innovante en cinéma, prenant comme exemple le film de Tsitsi Dangarembga, Everyone’s Child (1996). S'appuyant sur la théorie des actes de langage, cet article examine les techniques cinématographiques qui s'inspirent des techniques narratives autochtones africaines pour mobiliser l'imagination du public et représenter les spatialités. Pour analyser le film sélectionné, l'étude utilise une méthodologie de recherche qualitative, une analyse critique du discours et une analyse sémiotique. Les chercheurs explorent l'utilisation d'un riche spectacle oral, inspiré de la tradition africaine, comme alternative puissante et peu coûteuse aux onéreux et spectaculaires effets spéciaux du style hollywoodien occidental. Il s'agit d'une innovation radicale aux implications esthétiques et idéologiques. Les résultats démontrent que les cinéastes zimbabwéens utilisent des épistémologies autochtones qui s'appuient sur des techniques traditionnelles de narration orale pour efficacement remplacer les représentations physiques et les lieux tels que les paysages. En centrant leur travail sur le spectacle oral et en s'appuyant sur les traditions narratives, les cinéastes parviennent à impliquer le public dans une expérience plus authentique, plus accessible et plus immersive des histoires qu'ils racontent.
Mots-clés
Télécharger la référence bibliographique
Endnote/Zotero/Mendeley (RIS)BibTeX
- Bakare, L. E., 2025, Costume And Make-Up in Dramatic Communication : The Superstory Example. December 2024. https://doi.org/10.5281/ZENODO.14552151
- Austin, J.L., 1975, How to do Things with Words, Oxford: Clarendon Press.
- Bartolini, N., MacKian, S., and Pile, S., 2019, ‘Spirit Knows: Materiality, Memory and the Recovery of Spiritualist Places and Practices in Stoke-on-Trent’, Social & Cultural Geography, Vol. 20, Issue 8, pp. 1114–37.
- Bere, W., 1999, Contemporary Visual Practice and Established Conventions in Zimbabwean Theatre: A Documentary and Analysis, Unpublished Masters’ thesis, University of the Witwatersrand, Johannesburg.
- Bere, W., n.d., Oral Spectacle in Zimbabwean Theatre of the Late 20th Century. Available online at: https://mville.digication.com/performance_seminar_ africana_performance/Papers.
- Berger, A.A., 2008, Seeing is Believing, New York: McGraw Hill.
- Bhattacharyya, R., 2015, ‘Understanding the Spatialities of Sexual Assault Against Indian Women in India’, Gender, Place and Culture: A Journal of Feminist Geography, Vol. 22, Issue 9, pp. 1340–56,
- Bordwell, D., and Thompson, K., 2010, Film art: An introduction (10th ed.). McGraw-Hill Education.
- Bryman, A., 2012, Social Research Methods, 4th edition, Oxford: Oxford University Press.
- Chivandikwa, N., and Muwonwa, N., 2011, Vele Abantu Sinjalo: Nationhood and Ethnolinguistic Dissent in Zimbabwean Television Drama’, in D. Kerr, ed., African Theatre: Southern Africa, Martlesham, Suffolk: Boydell & Brewer.
- Dangarembga, T., 1999, ‘The Art of Film: Breaking Taboos’, notes from a talk presented at the Book Cafe, Harare, 5 August 1999.
- Diawara, M., 1992, African cinema: Politics and culture. Indiana University Press.
- Everyone’s Child (1996). DVD directed by T. Dangaremba. Zimbabwe: Media for Development Trust in conjunction with Development for Self-Reliance.
- Finlayson, C.C., 2012, ‘Spaces of Faith: Incorporating Emotion and Spirituality in Geographic Studies’, Environment and Planning A: Economy and Space, Vol. 44, Issue 7, pp. 1763–78.
- Foucault, M., 1972, The Archaeology of Knowledge and the Discourse on Language, translated from the French by A.M. Sheridan Smith. New York: Pantheon Books. Hall, Stuart, 1981, The Rediscovery of ‘Ideology’: Return of the Repressed in Media Studies. In Culture, Media, Language: Working Papers in Cultural Studies, 1972-79, edited by Stuart Hall, Dorothy Hobson, Andrew Lowe, and Paul Willis, 56-67. London: Hutchinson.
- Haynes, J., 2011, ‘African Cinema and Nollywood: Contradictions’, Situations, Vol. 4, No. 1: pp. 67–90.
- Harrow, K.W., 2007, African Cinemas: Decolonizing the Gaze. Africa World Press. Hungwe, K.N., 2000, Narrative and Ideology: 50 Years of Film-making in Zimbabwe, Houghton, MI: Michigan Technological University.
- Kabira, W.M., 1983, The Oral Artist, Nairobi: East African Educational Publishers.
- Keane, W., 2008, ‘The Evidence of the Senses and the Materiality of Religion’, Journal of the Royal Anthropological Institute, pp. S110-27.
- Kerestetzi, K., 2018, ‘The Spirit of Place: Materiality, Spatiality, and Feeling in Afro-American Religions’, Journal de la Société des américanistes, Vol. 104, No. 1. Available online at: https://journals.openedition.org/jsa/15529.
- Killingsworth, M.J., 1993, ‘Product and Process, Literacy and Orality: An Essay on Composition and Culture’, College Composition and Communication, Vol. 44, No. 1, pp. 26–39.
- Mbewe, M., 2013, ‘Why Does the Zimbabwean Film Industry Suck?’, Creative Loop, Available online at: https://www.creativeloop.co.zw.
- Mboti, N., 2016, The Zimbabwean Film Industry. African Communication Research, 7(3), 145-172. https://doi.org/10.17605/OSF.IO/5RUPD
- Ncube, L., and Tomaselli, K., 2019, ‘“Watch my Back and I Watch Yours”: Beyond Habermas’ Public Sphere Concept in Democratic and Participatory Dimensions of Pre-Colonial Shona Society Public Spaces’, Journal of African Media Studies, Vol. 11, Issue 1, pp. 35–50.
- Okome, O., 1996, ‘The Context of Film Production in Nigeria: The Colonial Heritage’, Ufahamu: A Journal of African Studies, Vol. 24, Nos. 2–3.
- Palanimurugan, P., Sivaprakasam, V., Pooja, M., & Sherlin, S., 2024, The Impact of Technology on Cinematic Storytelling. IRE Journal, 7(8), 138–146. https:// doi.org/10.36648/1550-7521.21.66.404
- Pratt, A.C., and Gornostaeva, G., 2009, ‘The Governance of Innovation in the Film and Television Industry: A Case Study of London, UK, in A.C. Pratt and P. Jeffcutt, eds., Creativity, Innovation and the Cultural Economy, London, Routledge, pp. 119–36.
- Rwafa, U., 2008, ‘Lyrical Film: The Case of Tanyaradzwa’, Muziki: Journal of Music Research in Africa, Vol. 5, No. 2, pp. 188–95.
- Rwafa, U., 2011, ‘Song and the Zimbabwean Film: Flame (1996)’, Muziki: Journal of Music Research in Africa, Vol. 8, No. 1, pp. 47–58.
- Rwafa, U., 2015, ‘Re-inventing African Oral Traditions and National heritage[s] Through Film Images: The case of ‘Keita! The Heritage of Griot’ [1995] and ‘Kare KareZvako: Mother’s Day’ [2004]’, Communicatio, Vol. 41, No. 4, pp. 459–70.
- Stoler, A.L., 1995, Race and the Education of Desire: Foucault’s History of Sexuality and the Colonial Order of Things, Durham, NC: Duke University Press.
- Thrift, N., 2004, ‘Intensities of Feeling: Towards a Spatial Politics of Affect’, Geografiska Annaler Series B: Human Geography, Vol. 86, No. 1, pp. 57–78.
- Tomaselli, K., and Eke, M., 1995, ‘Perspectives on Orality in African Cinema’, Oral Tradition, Vol. 10, No. 1, pp. 111–28.
- Ureke, O., 2016, Cinematic Fact and the Film Services Industry: Production Contexts and Contexts of Production in Zimbabwe (1980–2016). Unpublished Doctoral dissertation, University of KwaZulu-Natal, Durban.
- Ureke, O., 2020, ‘Locating Sembène’s Mégotage in Zimbabwe’s Kiya Kiya Video-film Production, Journal of African Cultural Studies, Vol. 32, Issue 2, pp. 146–60.
Les références
Bakare, L. E., 2025, Costume And Make-Up in Dramatic Communication : The Superstory Example. December 2024. https://doi.org/10.5281/ZENODO.14552151
Austin, J.L., 1975, How to do Things with Words, Oxford: Clarendon Press.
Bartolini, N., MacKian, S., and Pile, S., 2019, ‘Spirit Knows: Materiality, Memory and the Recovery of Spiritualist Places and Practices in Stoke-on-Trent’, Social & Cultural Geography, Vol. 20, Issue 8, pp. 1114–37.
Bere, W., 1999, Contemporary Visual Practice and Established Conventions in Zimbabwean Theatre: A Documentary and Analysis, Unpublished Masters’ thesis, University of the Witwatersrand, Johannesburg.
Bere, W., n.d., Oral Spectacle in Zimbabwean Theatre of the Late 20th Century. Available online at: https://mville.digication.com/performance_seminar_ africana_performance/Papers.
Berger, A.A., 2008, Seeing is Believing, New York: McGraw Hill.
Bhattacharyya, R., 2015, ‘Understanding the Spatialities of Sexual Assault Against Indian Women in India’, Gender, Place and Culture: A Journal of Feminist Geography, Vol. 22, Issue 9, pp. 1340–56,
Bordwell, D., and Thompson, K., 2010, Film art: An introduction (10th ed.). McGraw-Hill Education.
Bryman, A., 2012, Social Research Methods, 4th edition, Oxford: Oxford University Press.
Chivandikwa, N., and Muwonwa, N., 2011, Vele Abantu Sinjalo: Nationhood and Ethnolinguistic Dissent in Zimbabwean Television Drama’, in D. Kerr, ed., African Theatre: Southern Africa, Martlesham, Suffolk: Boydell & Brewer.
Dangarembga, T., 1999, ‘The Art of Film: Breaking Taboos’, notes from a talk presented at the Book Cafe, Harare, 5 August 1999.
Diawara, M., 1992, African cinema: Politics and culture. Indiana University Press.
Everyone’s Child (1996). DVD directed by T. Dangaremba. Zimbabwe: Media for Development Trust in conjunction with Development for Self-Reliance.
Finlayson, C.C., 2012, ‘Spaces of Faith: Incorporating Emotion and Spirituality in Geographic Studies’, Environment and Planning A: Economy and Space, Vol. 44, Issue 7, pp. 1763–78.
Foucault, M., 1972, The Archaeology of Knowledge and the Discourse on Language, translated from the French by A.M. Sheridan Smith. New York: Pantheon Books. Hall, Stuart, 1981, The Rediscovery of ‘Ideology’: Return of the Repressed in Media Studies. In Culture, Media, Language: Working Papers in Cultural Studies, 1972-79, edited by Stuart Hall, Dorothy Hobson, Andrew Lowe, and Paul Willis, 56-67. London: Hutchinson.
Haynes, J., 2011, ‘African Cinema and Nollywood: Contradictions’, Situations, Vol. 4, No. 1: pp. 67–90.
Harrow, K.W., 2007, African Cinemas: Decolonizing the Gaze. Africa World Press. Hungwe, K.N., 2000, Narrative and Ideology: 50 Years of Film-making in Zimbabwe, Houghton, MI: Michigan Technological University.
Kabira, W.M., 1983, The Oral Artist, Nairobi: East African Educational Publishers.
Keane, W., 2008, ‘The Evidence of the Senses and the Materiality of Religion’, Journal of the Royal Anthropological Institute, pp. S110-27.
Kerestetzi, K., 2018, ‘The Spirit of Place: Materiality, Spatiality, and Feeling in Afro-American Religions’, Journal de la Société des américanistes, Vol. 104, No. 1. Available online at: https://journals.openedition.org/jsa/15529.
Killingsworth, M.J., 1993, ‘Product and Process, Literacy and Orality: An Essay on Composition and Culture’, College Composition and Communication, Vol. 44, No. 1, pp. 26–39.
Mbewe, M., 2013, ‘Why Does the Zimbabwean Film Industry Suck?’, Creative Loop, Available online at: https://www.creativeloop.co.zw.
Mboti, N., 2016, The Zimbabwean Film Industry. African Communication Research, 7(3), 145-172. https://doi.org/10.17605/OSF.IO/5RUPD
Ncube, L., and Tomaselli, K., 2019, ‘“Watch my Back and I Watch Yours”: Beyond Habermas’ Public Sphere Concept in Democratic and Participatory Dimensions of Pre-Colonial Shona Society Public Spaces’, Journal of African Media Studies, Vol. 11, Issue 1, pp. 35–50.
Okome, O., 1996, ‘The Context of Film Production in Nigeria: The Colonial Heritage’, Ufahamu: A Journal of African Studies, Vol. 24, Nos. 2–3.
Palanimurugan, P., Sivaprakasam, V., Pooja, M., & Sherlin, S., 2024, The Impact of Technology on Cinematic Storytelling. IRE Journal, 7(8), 138–146. https:// doi.org/10.36648/1550-7521.21.66.404
Pratt, A.C., and Gornostaeva, G., 2009, ‘The Governance of Innovation in the Film and Television Industry: A Case Study of London, UK, in A.C. Pratt and P. Jeffcutt, eds., Creativity, Innovation and the Cultural Economy, London, Routledge, pp. 119–36.
Rwafa, U., 2008, ‘Lyrical Film: The Case of Tanyaradzwa’, Muziki: Journal of Music Research in Africa, Vol. 5, No. 2, pp. 188–95.
Rwafa, U., 2011, ‘Song and the Zimbabwean Film: Flame (1996)’, Muziki: Journal of Music Research in Africa, Vol. 8, No. 1, pp. 47–58.
Rwafa, U., 2015, ‘Re-inventing African Oral Traditions and National heritage[s] Through Film Images: The case of ‘Keita! The Heritage of Griot’ [1995] and ‘Kare KareZvako: Mother’s Day’ [2004]’, Communicatio, Vol. 41, No. 4, pp. 459–70.
Stoler, A.L., 1995, Race and the Education of Desire: Foucault’s History of Sexuality and the Colonial Order of Things, Durham, NC: Duke University Press.
Thrift, N., 2004, ‘Intensities of Feeling: Towards a Spatial Politics of Affect’, Geografiska Annaler Series B: Human Geography, Vol. 86, No. 1, pp. 57–78.
Tomaselli, K., and Eke, M., 1995, ‘Perspectives on Orality in African Cinema’, Oral Tradition, Vol. 10, No. 1, pp. 111–28.
Ureke, O., 2016, Cinematic Fact and the Film Services Industry: Production Contexts and Contexts of Production in Zimbabwe (1980–2016). Unpublished Doctoral dissertation, University of KwaZulu-Natal, Durban.
Ureke, O., 2020, ‘Locating Sembène’s Mégotage in Zimbabwe’s Kiya Kiya Video-film Production, Journal of African Cultural Studies, Vol. 32, Issue 2, pp. 146–60.