Le road movie dans le contexte interculturel africain

À partir des années 1990, on constate, en Afrique francophone, une hausse de la production de films que l’on peut qualifier de road movies. Mais comment s’effectue le transfert de ce genre d’origine américaine, dont les caractéristiques les plus marquantes sont l’expérience de l’espace dans le sens spatial et symbolique et la quête d’identité, dans le contexte africain ? En fait, on note que des tendances thématiques et esthétiques se manifestent à l’intérieur du champ cinématographique maghrébin et ouest-africain francophone, notamment la migration Sud-Nord, synonyme de quête d’un avenir meilleur, et le voyage Nord-Sud, synonyme de quête de racines perdues. Outre ces voyages de migration, des périples effectués au sein d’un seul pays mettent l’accent sur la diversité ethnique et culturelle africaine, ce qui est l’occasion de rencontres interculturelles. Dans ce champ cinématographique s’insèrent aussi les films d’orientation historique, légendaire ou mystique où la quête de l’identité ou même du sens de la vie est centrale. Le road movie se prête en effet particulièrement à l’illustration de l’état des sociétés en mutation ou en voie de développement de l’Afrique francophone, ce qui se manifeste par l’abondance des lieux de transit et des mouvements en suspens dans son cinéma. Mais ce genre fait également écho aux récits traditionnels de cette dernière, de telle sorte que les road movies africains s’inscrivent plutôt dans une tradition propre aux récits de voyage et d’initiation — grâce aux types de narration que suppose le road movie —, où les destins individuels sont au premier plan. L’appropriation du genre road movie par les cinéastes d’Afrique francophone représente donc aussi la possibilité de s’inscrire dans l’histoire cinématographique pour attirer l’attention sur des productions issues des cinémas dits « mineurs », le genre leur conférant une certaine visibilité auprès des critiques et des publics.Since the 1990s there has been an increase in the number of films that could be described as road movies produced in French-speaking Africa. But how is this genre of American origin, whose most striking features are its experience of space in both a spatial and a symbolic sense and its search for identity, transferred into the context of Africa? Certain thematic and aesthetic tendencies are apparent in these films made in French-speaking West and North Africa, in particular migration from the south to the north in search of a better life and journeys in the opposite direction in search of one’s lost roots. Apart from migratory journeys, those carried out within a single country highlight Africa’s ethnic and cultural diversity, providing opportunities for intercultural encounters. We also see historical, mythical and mystical films in which a search for identity or even the meaning of life is central. In fact the road movie lends itself particularly well to descriptions of rapidly-changing or developing societies in French-speaking Africa, as seen in the abundance of transient spaces and suspended movements in its films. But the genre also reflects the region’s traditional narratives in such a way that African road movies, because of the kind of narratives that the genre implies, belong more to a tradition of travel and initiation stories in which individual destinies are at the forefront. Because the genre gives the films a degree of visibility among critics and audiences, the appropriation of the road movie by French-speaking African filmmakers therefore also represents the possibility of becoming a part of film history and calling attention to films made in so-called “minor” film-producing countries

Tey (Aujourd’hui) : l’irruption du temps dans l’espace filmique schizophrène

This paper is a reflection on space in film and the experience of migration in the film Tey by Alain Gomis. Tey shows the temptations to overcome the painful cleavage between the schizophrenic perception of a space filled with feelings and memories on one side, and the structures of power and economic interests on the other one. The focalisation on space becomes evident in the reduction of time down to one single day and the waiting for death of the individual. In the process of negotiation between absence and presence, the film makes evident what neo-liberal politics mean to the individual life

O Cinema da Guiné-Bissau

The cinema of Guinea-Bissau is mainly known by two great fgures, namely Flora Gomes and Sana na N\u27Hada. The text makes an introduction to the historical context and traces an evolution of cinema from independence. It summarizes the main thematic and aesthetic lines to approach, in the second part, two recent productions. The frst feature flms by flmmaker Filipe Henriques, O espinho da rosa, and João Viana, A batalha de Tabatô. These flms indicate a transformation in the Guinean cinema that takes the way of a transnational cinema.El cine de Guinea-Bissau es conocido principalmente por dos grandes fguras, Flora Gomes y Sana en la N\u27Hada. El texto hace una introducción al contexto histórico y traza una evolución del cine a partir de la independencia. Resume las grandes líneas temáticas y estéticas para abordar, en la segunda parte, dos producciones recientes: los primeros largometrajes del cineasta Filipe Henriques, O espinho da rosa, y de João Viana, A batalha de Tabatô. Estas películas indican una transformación en el cine guineano que asume el camino de un cine transnacional.O cinema da Guiné-Bissau é, sobretudo, conhecido por duas grandes figuras, nomeadamente Flora Gomes e Sana na N\u27Hada. O texto faz uma introdução ao contexto histórico e traça uma evolução do cinema a partir da independência. Resume as grandes linhas temáticas e estéticas para abordar, na segunda parte, duas produções recentes. Os primeiros longa-metragens do cineasta Filipe Henriques, O espinho da rosa, e de João Viana, A batalha de Tabatô. Estes filmes indicam uma transformação no cinema guineense que assume o caminho de um cinema transnacional

Roots and Routes: Hip-Hop from South Korea

With the growing success of hip-hop in South Korea, the discussions about the authenticity of this genre increase and create cleavages between the mainstream and the underground rappers. The paper intends to analyze three examples of the contemporary music scene that are representative of different positions. Taking Simon Frith’s work on popular music as a means to construct identity, the paper suggests questioning the concept of authenticity (“roots”) and proposes instead conceiving hip-hop in South Korea as a movement at the crossroads (“routes”) of various influences and practices

L’esthétisation de l’immigration algérienne dans le film Vivre au paradis

Cet article analyse la spécificité du visuel et la relation étroite entre images et mémoire à partir du film Vivre au paradis de Bourlem Guerdjou, exemple d’une expression de l’immigration. Le mouvement dans l’espace et les regards traduisent l’essentiel de cette expérience de migration, d’aliénation et d’isolation. Ceci est assuré par les moyens esthétiques du média visuel, tels la construction des espaces par mouvements et par regards. La combinaison du pouvoir des images et l’inscription de celles-ci dans le temps favorise une construction mémorielle.In this article, the film Vivre au paradis de Bourlem Guerdjou serves as an example for the expression of immigration which will be analysed with a special focus on the specific expressiveness of the visual media and the relation between images and memory. The experience of migration, alienation and isolation are transmitted by glances and by migration which is supported by the aesthetic means of this media as the construction of space by movement and glances. The combination of the power of pictures and their inscription in time support the construction of memory

O “Black Ocean” azul

Na região do Oceano Índico é comum a imagem de uma paisagem paradisíaca com um mar azul. Mas no contexto das narrativas, o motivo do “kalapani”, o mar preto em hindi, está muito presente. Este artigo propõe-se reflectir sobre a utilização do oceano como metáfora a partir de uma estética da literatura, baseada em motivos oceânicos, nomeadamente a partir de trabalhos sobre a “poetização do mar” e “a poética do barco”. Nas ilhas do Oceano Índico de língua francesa, os escritores propõem conceitos novos para reflectir sobre a diversidade de ideias e de conceitos presentes nessas ilhas, como é o caso de Khal Torabully com o conceito “coolitude” e a ideia da identidade de “coral”. Este ensaio convida a algumas reflexões sobre esses conceitos, figurados nos romances de Nathacha Appanah, Ananda Devi (Ilhas Maurícias) e Carlos de Souza (Ilha da Reunião), que desenvolvem de maneira exemplar uma estética oceânica

Quando os filmes convidam a viajar... cinema e/é viagem

This article suggests thinking about films in lusophone African countries that invite to travel, not necessarily in space, but in imagination which is at the same time an intrinsical characteristic of films as moving images. Alain Badiou’s idea that linking two ideas that might usually not be thought together is the starting point for philosophical reflection what we also find in film, as well as the idea of the “lines of flight” that we might link with the “vanishing line” of photography allow us to shed a different light on two examples, namely Flora Gomes’ The republic of the children (Guinea-Bissau, 2013) and Licínio Azevedo’s Island of the spirits (Mozambique, 2009).Este artigo sugere pensar sobre filmes nos países africanos lusófonos que convidam a viajar, não necessariamente no espaço, mas na imaginação, que é ao mesmo tempo uma característica intrínseca de filmes como imagens em movimento. A ideia de Alain Badiou que liga duas ideias que não podem normalmente ser pensadas em conjunto é o ponto de partida para a reflexão filosófica que encontramos também no cinema, assim como a ideia das “linhas de fuga” que podemos relacionar com a “linha de fuga” da fotografia e nos permite lançar uma luz diferente sobre dois exemplos, ou seja, Flora Gomes de Republica di mininus (Guiné-Bissau, 2013) e Licínio Azevedo de Ilha dos espíritos (Moçambique, 2009)

Distribution of prostate nodes: a PET/CT-derived anatomic atlas of prostate cancer patients before and after surgical treatment

Background: In order to define adequate radiation portals in nodal positive prostate cancer a detailed knowledge of the anatomic lymph-node distribution is mandatory. We therefore systematically analyzed the localization of Choline PET/CT positive lymph nodes and compared it to the RTOG recommendation of pelvic CTV, as well as to previous work, the SPECT sentinel lymph node atlas. Methods: Thirty-two patients being mostly high risk patients with a PSA of 12.5 ng/ml (median) received PET/CT before any treatment. Eighty-seven patients received PET/CT for staging due to biochemical failure with a median PSA of 3.12 ng/ml. Each single PET-positive lymph node was manually contoured in a "virtual" patient dataset to achieve a 3-D visualization, resulting in an atlas of the cumulative PET positive lymph node distribution. Further the PET-positive lymph node location in each patient was assessed with regard to the existence of a potential geographic miss (i.e. PET-positive lymph nodes that would not have been treated adequately by the RTOG consensus on CTV definition of pelvic lymph nodes). Results: Seventy-eight and 209 PET positive lymph nodes were detected in patients with no prior treatment and in postoperative patients, respectively. The most common sites of PET positive lymph nodes in patients with no prior treatment were external iliac (32.1 %), followed by common iliac (23.1 %) and para-aortic (19.2 %). In postoperative patients the most common sites of PET positive lymph nodes were common iliac (24.9 %), followed by external iliac (23.0 %) and para-aortic (20.1 %). In patients with no prior treatment there were 34 (43.6 %) and in postoperative patients there were 77 (36.8 %) of all detected lymph nodes that would not have been treated adequately using the RTOG CTV. We compared the distribution of lymph nodes gained by Choline PET/CT to the preexisting SPECT sentinel lymph node atlas and saw an overall good congruence. Conclusions: Choline PET/CT and SPECT sentinel lymph node atlas are comparable to each other. More than one-third of the PET positive lymph nodes in patients with no prior treatment and in postoperative patients would not have been treated adequately using the RTOG CTV. To reduce geographical miss, image based definition of an individual target volume is necessary

PSMA-positive nodal recurrence in prostate cancer

Purpose This analysis compares salvage lymph node dissection (SLND) to salvage lymph node radiotherapy (SLNRT) of 68Ga-PSMA PET-positive nodal recurrences after radical prostatectomy (RPE). Methods A total of 67 SLNRT and 33 SLND consecutive patients with pelvic and/or para-aortic nodal recurrences after RPE were retrospectively analyzed. Biochemical recurrence-free survival rates (bRFS; PSA <0.2 ng/mL) were calculated according to Kaplan–Meier and survival curves were compared using the log rank test. For multivariable analysis, binary logistic regression analysis was performed (p < 0.05). Results Median follow-up was 17 months (range, 6–53 months) in SLND patients and 31 months (range, 3–56 months) in SLNRT patients (p = 0.027). SLNRT patients had significantly more tumours of pT3 and pT4 category (82% vs. 67%; p = 0.006), pathologically involved lymph nodes (45% vs. 27%; p = 0.001) and positive surgical margins (54% vs. 12%; p = 0.001) at time of RPE than SLND patients. PSA persistence after RPE was significantly more frequently observed in the SLNRT cohort (73% vs. 27%; p = 0.001). There was no significant difference in the distribution of PET-positive lymph nodes. Median PSA before SLND was higher than before SLNRT (3.07 ng/ml vs. 1.3 ng/ml; p = 0.393). The 2‑year bRFS was significantly higher in the SLNRT vs. the SLND cohort (92% vs. 30%; p = 0.001) with lower rates of distant metastases (21% vs. 52%; p = 0.002) and secondary treatments (5% vs. 39%; p = 0.011) irrespective of ongoing androgen deprivation therapy at last contact. In multivariable analysis, SLNRT was significantly associated with prolonged bRFS (regression coefficient 1.436, hazard ratio 4.204, 95% CI 1.789–9.878; p = 0.001). Conclusion Based on this retrospective study SLNRT might be the preferred treatment option for patients with nodal recurrence after previous RPE