Arte, memoria y recuerdo en la película historiográfica Emitaï (1971) de Ousmane Sembene
DOI:
https://doi.org/10.51349/veg.2026.1.05Keywords:
África, postcolonialismo, cine, Historia Contemporánea, Arte, Estudios de memoriaAbstract
Este artículo examina la intersección entre la memoria colonial y el recuerdo en la influyente película historiográfica Emitaï (1971) de Ousmane Sembene. A través de una lectura detallada de la película y de materiales de archivo poco explorados, el artículo analiza cómo Sembene reconfigura el arte, las tradiciones orales, los rituales y la expresión cultural como herramientas narrativas para criticar la memoria colonial en el período poscolonial. El artículo sostiene que Emitaï escenifica un encuentro crítico entre la memoria (mémoire), el recuerdo (rappel) (Ricoeur) y el «cine historiográfico» (Burgoyne), poniendo de relieve cómo la memoria colectiva se transmite a través de la narrativa, la imaginación y la representación. Basándose en el análisis cinematográfico poscolonial, el artículo revisita Emitaï con cuatro objetivos clave. En primer lugar, teoriza sobre la función del arte africano y la memoria colectiva dentro de la historiografía cinematográfica. En segundo lugar, evalúa el enfoque ideológico y artístico de Sembene sobre el recuerdo y su representación estética de la memoria colonial de Joola. En tercer lugar, examina su crítica al simulacro colonial y a la propaganda. Por último, analiza el marco marxista de Sembene sobre la fe, el poder y la solidaridad en tiempos de lucha colectiva.
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