Critical evaluations of African cinema have tended in the past to confi ne the analysis of this corpus to its content. In books and articles published earlier, the colonial and postcolonial history of the continent abound, social dramas are explained at length, thefts at all levels, cultural mystifi cation, corruption as well as violence are amply described. The insights of such an approach notwithstanding, the aesthetic sources of African cinema are not limited to the rural and the traditional. Through a comparison of Vittorio De Sica Bicycle Thief and Sembène’s Borom Sarret, this paper argues that african cinema inserted itself in the fold of World cinema from as early as 1963.
"Du néoréalisme en Afrique: une relecture de Borom Sarret,"
Présence Francophone: Revue internationale de langue et de littérature: Vol. 71
, Article 8.
Available at: https://crossworks.holycross.edu/pf/vol71/iss1/8