Mata a Sinima na Afirka

Mata suna shiga harkar fina-finan Afirka ta fannoni daban-daban, duk da cewa ba a ba su ba a matsayin masu kirkire-kirkire.

 Fage 
A lokacin mulkin mallaka, Yan fim na yammacin duniya ke wakilta Afirka ta musamman, wanda hakan ya sa aka kwatanta Afirka da mutanen Afirka a matsayin "masu kazafi", "ma'aikata masu biyayya" ko kuma "masu cin zarafi ko cin nama". Hayward, Susan. "Third World Cinemas: African Continent" in Cinema Studies: The Key Concepts (Third Edition). Routledge, 2006. p. 426-442 Kungiyoyin 'yancin kai na Afirka da suka tashi daga shekara ta 1950 zuwa shekara ta 1960 sun haifar da fina-finai da ke da nufin yin amfani da kyamara a matsayin kayan aiki don magance wadannan hotunan mulkin mallaka. Mata sun kasance masu kwazo a masana'antar fina-finai ta Afirka kafin da kuma a wannan lokacin, duk da rawar da suke takawa ya iyakance ga matsayi na tallafi kamar wasan kwaikwayo. Fitowar mata a wasu matsayi a harkar fim a wannan lokaci ya zo dai-dai da taron kwararrun masana fina-finai da ke son tallata fina-finan Afirka.  Wadannan Kwararrun masana harkar fina-finai, wadanda da dama daga cikinsu mata ne, sun fara kafa ƙungiyoyi da bukukuwan da suka shafi noma da kuma karrama fina-finan Afirka irin su Pan African Film and Television Festival of Ouagadougou (FESPACO) da kungiyar Pan African Federation of Filmmakers (FEPACI) . An halicce su a shekara ta 1969.  Bikin Bakar fata na Duniya, bikin al'adu da fasaha na tsawon wata guda, shi ma ya fito a wannan lokacin kuma ya nuna wallafe-wallafe, zane-zane masu kyau, kida, sinima, wasan kwaikwayo, salon, gine-gine, kira, da raye-raye daga masu kirkira daga Kasashen Afirka. musamman daga masu shirya fina-finai a Amurka.  

A cikin shekarun 1970 an yi kira ga duniya da a yi aiki a sassa daban-daban na rayuwar mata tare da juyin halitta na gwagwarmayar kare Hakkin mata na duniya, ci gaban mata na biyu, bullar kungiyar binciken mata masu harsuna biyu da ke Senegal da kungiyar Tarayyar Afirka. Mata don Bincike da Ci gaba (AAWORD), da ayyana shekarun shekarun mata na Majalisar Dinkin Duniya daga shekara ta 1976 zuwa shekara ta 1985, dukkansu sun yi matukar tasiri ga ci gaba da nazarin karatun mata, ka'idar fina-finai ta mata, da bayyanar mata, a duniya. . Masana sun yi la'akari da wadannan kungiyoyin a matsayin wadanda suka haifar da fahimtar Yan uwantaka na duniya, wanda daga nan ne aka sami dimbin tarurruka da kafofin watsa labarai wadanda ke nuna irin gogewar da mata ke da su a duniya. 

 Daraktoci mata 
'Yan Afirka sun iyakance ne a irin rawar da za su iya takawa a fim har zuwa shekarun 1950 zuwa shekara ta 60, lokacin da 'yan asalin Afirka suka fara 'yantar da kansu daga mulkin mallaka, amma 'yan mata kadan ne aka ba su damar yin amfani da tsarin kere kere fiye da yin wasan kwaikwayo. Darakta Safi Faye dai ana yabawa a matsayin mace ta farko a Afirka da ta shirya wani fim tare da fitar da fim dinta mai suna Kaddu Beykat a shekarar 1975, wanda masanin fina-finan N. Frank Ukadike ya bayyana cewa yana nuni da irin fafutukar da bakar fata 'yan fim ke yi a kasashen Afirka.  Mai shirya fina-finai kuma marubuciya Tsitsi Dangarembga ta bayyana rashin son zuciya a masana'antar fim da al'ummar Afirka a matsayin dalilai, dalilin da ya sa musamman matan Afirka ke gwagwarmaya a matsayin masu shirya fina-finai.  Malama Nancy Schmidt ta kara da cewa har zuwa 1997, kwanan nan ne aka sami dandamali na kan layi, wallafe-wallafe, fina-finai ko rubuce-rubucen rubuce-rubuce wadanda suka yarda da duk abubuwan da suka shafi fina-finai, daftarin aiki, guntun wando da ayyuka a cikin bidiyo, talabijin, da kafofin watsa labarai na dijital wadanda matan Afirka suka ba da umarni a kan tsarin. shekaru da dama da suka wuce. 

An kafa kungiyoyi masu zaman kansu don taimakawa wajen magance wadannan matsalolin da kuma tallata matan Afirka a fina-finai da talabijin, irin su gidauniyar Ladima Foundation, (Dada Trust) da bukukuwan fina-finai na mata irin su bikin fina-finai na Hotuna na Duniya na Mata da (Udada International). An kaddamar da bikin fina-finan mata).  Misalan albarkatun kan layi akan matan Afirka a cikin fina-finai sun hada da Cibiyar Nazarin da Binciken Matan Afirka a Cinema Beti Ellerson, wacce aka kaddamar a cikin shekara ta 2008 kuma tana kula da blog din Matan Afirka a Cinema.  

Wasu daraktoci irin su Sarah Maldoror sun sha wahala wajen samun karramawa a matsayin daraktar fina-finan Afirka, lamarin da ya sa aka kebe su daga jerin masu shirya fina-finan na Afirka, yayin da ake tattaunawa kan fina-finansu a binciken da aka yi kan fina-finan Afirka.  Paulin Soumanou Vieyra ya bayyana zama dan kasa a matsayin babban bangaren tantancewa a matsayin daraktan fina-finan Afirka, inda ya bayyana cewa fina-finan da wadanda ba 'yan kasa ba ne suka ba da umarni game da Afirka "na Afirka ne na zaburarwa/fim d'inspiration africaine", wanda wani masani Alexie Tcheuyap ke cewa "zai hana kai tsaye. darektoci kamar Sarah Maldoror ko Raoul Peck, wadanda suka yi yawa sau da yawa, kusan a hankali, suna daukar 'yan Afirka.'"  Wasu masana, irin su masanin tarihi Beatriz Leal Riesco sun lura cewa Maldoror "yar Afirka ce dangane da kwazo da jigonta" 

 Tarihin mata a fim din Afirka 

 1960s da 1970s 
A lokacin mulkin mallaka, al'adu da dokoki irin su Dokar Laval na shekara ta 1934, wanda ke mulkin mulkin mallaka na Faransa, ya haramta wa 'yan Afirka yin fina-finai na kansu, wanda aka lasafta shi a matsayin abin da ya hana ci gaban fim a matsayin hanyar magana, siyasa, al'adu, da Afirka. na fasaha.   Diawara, Manthia (1992). African Cinema: Politics and Culture. Bloomington, Indiana: Indiana University Press, pp. 22–23. Yayin da Afirka ta zama yanki na duniya bayan mulkin mallaka, 'yan Afirka sun fara Kirkirar fina-finai na kansu kuma mata sun dauki manyan ayyuka, yayin da har yanzu suna iyakance ga yin aiki kawai. Duk da irin shan kaye na mulkin mallaka, duk da haka, wasu ra'ayoyi masu ra'ayin mazan jiya na wayewar Turai sun dade, suna samun amsa a wani nau'i na al'adar Kauye da mulkin kama-karya, tare da Kenneth W. Harrow ya bayyana cewa "Duk da cewa zanga-zangar 1950s da 1960 ta kasance tana adawa da Turai. ’yan mulkin mallaka a matsayinsu na waje, ko kuma a kan Turai kanta a matsayin wani karfi na waje, a yanzu an tura su cikin gida ne kan masu rike da madafun iko na Afirka, - azzalumai, masu rike da madafun iko, ciki har da wadanda suka tsere daga al’umma da tattalin arziki da kuma wadanda ke mulkin kauyuka ko iyalai. Ya bayar da hujjar cewa ko da an cire mai mulkin mallaka, don haka ana maimaita irin wannan tsarin na cin nasara a jikin macen Afirka a cikin fim din shekara ta 1960 da 1970. 

Fina-finan da aka yi a wannan zamanin da aka nuna ko kuma aka kirkira daga shugabannin mata na Afirka sun kunshi jigogi na sha'awar jima'i da suka hada da auren mace fiye da daya, rikici tsakanin soyayyar zamani da al'adun auren da aka tsara, ware zawarawa da mata marasa aure saniyar ware, da kuma kaciya . Masana irin su Sheila Petty sun yi ikirarin cewa ba wai kawai a karanta su ba ne kawai a matsayin suna nuna babban magatakarda ba za a iya girgiza ba, amma a matsayin maganganu na asarar ainihi, tare da misalan misalan siyasar jima'i da ke aiki a matsayin "tsari wanda za a iya canza matsayin al'adu ta hanyar tasiri. hadin gwiwa tsakanin maza da mata." 

A shekara ta 1975 Safi Faye ya fito da Kaddu Beykat, wanda ake ganin shi ne fim na farko da aka fito da shi a kasuwa wanda wata ‘yar Afirka ta shirya.  A baya ta fito da dan gajeren fim, "La Passante", kimanin shekaru uku kafin a shekara ta 1972.  Ana kuma yaba ta a matsayin mace ta farko a matsayin darektan fina-finai na Afirka da ta samu karbuwa a duniya, yayin da Kaddu Beykat ta lashe kyaututtuka da dama daga cikinsu akwai lambar yabo ta FIPRESCI .  Beti Ellerson, "African through a Woman's Eyes: Safi Faye's Cinema" in Focus on African Cinema(ed) Francoise Pfaff, (Bloomington: Indiana University, 2004), 185 Sauran fina-finan da aka fitar a wannan lokaci sun hada da fim din Maldoror na shekara ta 1972 Sambizanga .

 Mata a cikin 1980s da 1990s Cinema 
Per Harrow, masu shirya fina-finai na mata na Afirka sun zama masu habaka a cikin 1980s da 1990s, "a karshe suna ba mu wani abu mai mahimmanci fiye da hotunan Sembene na mata ko 'ya'ya mata da aka dade da zalunta" da kuma cewa "Watakila hanya mafi kyau don fahimtar cinema bayan shiga aiki shine kamar na fim din da ya fara karkata ga mata a matsayin abin da zai kawo illa ga makomar Afirka."  Fina-finan tsakiyar mata a al'adance ba su da mahimmanci kuma ba su da ma'ana sau biyu daga al'adun ubangida na Afirka da sojojin turawan yamma.

 Jigogi 
Jigogi wani abu ne da ya zama ruwan dare gama gari a cikin fina-finai kuma fina-finan Afirka sukan shafi mulkin mallaka da kuma abubuwan da suka biyo bayansa, a tsakanin sauran batutuwa da abubuwan da suka shafi rayuwa a Afirka.  Fina-finan da suka fito ko kuma matan Afirka ke jagoranta na iya kunshi jigogi irin su batsa, son mata na Afirka, rashin yarda, ko shirya aure da auren mata fiye da daya. The Women’s Companion to International Film by Annette Kuhn and Susannah Radstone. University of California Press, 1990, pp. 85  Sauran jigogi na iya hadawa da juriya da 'yancin kai na mata, kamar yadda ya faru a cikin 'yar fim din Kamaru Rosine Mbakam Chez Jolie Coiffur e.  Wasu jigogi, kamar ilimi, kiwon lafiya, kuruciya, ko yaki don daidaito, ana ganin su a matsayin na al'ada ta Beatriz Leal Riesco, amma ana sanya su ga "kallon ikon mulki na shekara-shekara, babban halayensa shine kaddamar da tsari na alama na hermetic. daidaita tazara tsakanin mahalicci da gaskiyar da ake wakilta”. 

 Wakilin mata a fina-finan Afirka 
Ana kallon wakilcin mata a fina-finan Afirka a matsayin jigon gama gari tsakanin mata masu gudanarwa, kamar Safi Faye da Sarah Maldoror. Masana tarihi sun lura cewa mata sun sanya mafi yawan binciken jigon. Wasu fina-finai, irin su Karmen Gei da U-Carmen eKhaylitsha sun fito da jarumai mata, amma ana sukar su da cewa "[wakilta] ficewa daga halin da matan zamani ke ciki a Afirka" yayin da fina-finan ke nuna mata masu kida da murya. Riesco ya lura cewa yayin da wadannan fina-finai ke nuna kyakkyawan yanayin mace, suna kuma ba da wani zabi mai kyau ga yanayin silima na baya, wanda aka fi sani da daukaka na kauye, na al'adu da farfadowar su, da kuma takamaiman nau'in ruwaya., a hankali da aunawa, bisa ga al'adun baka, wanda shiru da magana sun kasance daidai da damuwa." 

 Batsa da jima'i 
N. Frank Ukadike ya lura cewa matan Afirka sau da yawa suna "mafi kyau, abubuwan jima'i da aka lullube cikin al'adar sha'awar maza ; kuma, a cikin kalmomin Ousmane Sembene, "har yanzu an ƙi 'yancin magana."  Wasu fina-finai, irin su Ceddo da Sarraounia an yi la’akari da su a matsayin kawar da tunanin cewa matan Afirka “wadansu abubuwa ne kawai na jima’i ko clichés”, wanda Ukadike ya dauka a wani bangare na tunanin mulkin mallaka da na gargajiya.  

A kan batun batsa da jima'i, darekta François Pfaff ya yi nuni da cewa fina-finan Afirka ba su da amfani sosai, saboda suna tsammanin 'yan kallo su kasance masu addini, yayin da Isabelle Boni-Claverie a cikin Pour la Nuit ta dauki jima'i a matsayin alamar 'yanci da zabi. Antje Schuhmann ne suka buga fim din Puk Nini a matsayin fim din da ke yin nuni akan ayyuka da yawa da ake tsammanin mata za su yi a cikin sana'a da cikin gida. A cewar marubutan, wannan ya sa tattaunawa da yawa da suka shafi yadda dangantakar jinsi ke gudana ko kuma yadda "al'ada" ke iya zama wani abu mai ma'ana a cikin dangantakar. Sun bayyana cewa a cikin wannan fim wata mata ta nemi taimakon uwargidan mijinta domin ta koyi hanyoyin lalata da mabanbanta da kuma yin nuni da ayyuka biyu na masu gida da kwararrun ma’aikata da ake sa ran wasu matan za su dauka, yayin da maza ba sa son yin lalata da su. gabadaya suna daukar wannan tsammanin zamantakewa iri daya. 

 Kaunar mata 
Jigogin mata suna kasancewa a cikin fina-finai kamar Fuskokin Mata, wanda Ukadike ya bayyana "[tambayoyi] al'adun gargajiya na Afirka da kuma dabarun ba da mata na uba ga mata".  Fina-finan mata sun shahara a fina-finan Kenya a shekarun 1990 kuma sun ci gaba da shahara har zuwa shekarar 2017, lamarin da ya haifar da maimaita jigogi na mata kamar halayyar mace ta guje wa auren wuri ta hanyar gudu a fina-finai irin su Farashin ''' ya mace da Saikati , haka nan. kamar yadda Saikati ta ci gaba.  Kenneth W. Harrow ya rubuta cewa mata na Afirka sun haɗa da wasu bambance-bambance daga salon mata na yammacin Turai, a cikin cewa "Daya zai rushe kulob din; dayan kuma zai shiga shi" kamar yadda mata na Afirka "ya fi damuwa da daidaito tsakanin jinsi da zamantakewa ko tattalin arziki" yayin da Turai ko Turai. Kauyen mata na yammacin duniya yana mai da hankali kan batutuwa kamar "matsayin batun, ainihin jinsi, harshe na jinsi, jam'iyya da kuma sama da duk wani adawa da rinjaye".  Ya kuma yi tambaya kan ko tsarin mata na Turai zai yi hannun riga da masu shirya fina-finan mata na Afirka kuma yana kallonsu a matsayin "ba da gangan suke ci gaba da bin tsarin mulkin uba, ta haka ne ke murza manufofinsu".  

 Amfani da 'yanci 
A cikin shekarun 1960, Yan matan Afirka sun fito daga kungiyar Cinema ta Uku, wadanda ke daukar fim a matsayin hanyar fafutuka na zamantakewa da siyasa. Fina-finan na Sembene, Safi Faye, Sarah Maldoror da sauransu sun yi amfani da labarun layika don bayyana yadda ake cin zarafin wasu gungun mata. Yin amfani da fina-finai don ci gaba da 'yantar da su, wadannan fina-finai sun kasance wani ɓangare na kokarin da masu shirya fina-finai na wannan lokaci suka yi don tabbatar da 'yancin kai da kuma kwato sunayen kasa daga mulkin mallaka. Wannan cudanya da gwagwarmayar neman ‘yancin kai na nufin an mayar da sha’anin mata saniyar ware da kuma kalubalen da suka shafi gwagwarmayarsu.

 Lafiyar mata 
Lafiyar mata ya kasance jigo a fina-finai irin su Ousmane Sembene 's Moolaade, wanda ya mayar da hankali kan batun kaciyar mata, wanda kuma aka bayyana shi a matsayin al'adar tsufa a wasu sassan Afirka. Masu fafutuka da na mata sun tafka muhawara kan yadda ake ganin wannan al’ada, inda masu ra’ayin mata suka bayyana cewa, wannan wani nau’in tashin hankali ne na zaluncin mata, yayin da masu fafutuka ke kallon hakan a matsayin hasashe na al’ada na tsarkakewa, kuma masu sukar sun yi ta cece-kuce ko a’a Sembene ta kawo koma baya ko kuma ta amince da halin da ake ciki. . Kalmar "batsa", wanda ke bayyana, yadda aka sanya tatsuniyoyi da ke kewaye da hoton mata bakar fata a jikinsu ta hanyoyin wakilci na gani, kamar fina-finai, waɗanda ke goyan bayan " Sauran " na mace baƙar fata, a cikin tattaunawar. ya Moolade.'' 

 Kalubale 
Common challenges faced by African women in film include sexual harassment and sexism, as well as the balance of work and life. Lucy Gebre-Egziabher has described African women filmmakers as "warrior; they face a lot of obstacles. [...] I remember seeing a picture of a Kenyan filmmaker [...], she had her baby behind her on her back as she was directing. That was a most powerful image, it has stayed with me. To me, that is an African woman filmmaker." Others, such as Kenyan director Wanjiru Kinyanjui, have cited issues with cooperation, once remarking in an interview that her basic problem in studying film at the Deutsche Film und Fernsehakademie in Berlin was to "get the Europeans to co-operate with 'an ignorant black woman.'"

Sauran matsalolin da shugabannin matan Afirka ke fuskanta a yanayin shirya fina-finai na duniya sun hada da rarrabuwar kawuna tsakanin gida da duniya tsammanin rayuwar Afirka da dabi'u.Mai shirya fina-finai na Benin  Zinsou ta bayyana cewa, akwai matsaloli na wayar da kan al'amuran da suka shafi matan Afirka, saboda "Maganar mata ba ta bi yadda ya kamata ba" kuma akwai shiru da ke tattare da al'amurran da suka shafi kuma hakan shi ne. ba'a iyakance ga cin zarafin jima'i kawai ba. 

 Cin zarafi da cin zarafi 
Daraktoci mata da dama sun ba da rahoton fuskantar cin zarafi da cin zarafi. A cewar wani rahoto na Deutsche Welle, kungiyar ‘Yan’uwa mata dake aiki a Fina-Finai da Talabijin a Afirka ta Kudu “sun gano cewa a kasa da kashi biyu bisa uku na matan Afirka ta Kudu da suka yi nazari a kansu an tilasta musu ba tare da yarda ba ko kuma an taba su a wurin aiki. 

 Nassoshi 

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