{"id":34,"date":"2016-11-14T19:20:29","date_gmt":"2016-11-14T18:20:29","guid":{"rendered":"http:\/\/dakarc.eesi.eu\/?p=34"},"modified":"2016-12-08T17:07:11","modified_gmt":"2016-12-08T16:07:11","slug":"les-cinemas-dafrique","status":"publish","type":"post","link":"https:\/\/dakarc.eesi.eu\/?p=34","title":{"rendered":"Les cin\u00e9mas d&rsquo;Afrique"},"content":{"rendered":"<p align=\"CENTER\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><u>Journ\u00e9es avec Jean-Claude Rullier 25\/10\/16 et 07\/11\/16<\/u><\/span><\/span><\/p>\n<p align=\"CENTER\"><span style=\"color: #000000;\"><span style=\"font-family: Baghdad;\"><span style=\"font-size: xx-large;\"><b>LES CIN\u00c9MAS D&rsquo;AFRIQUE<\/b><\/span><\/span><\/span><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><b>Souleymane Ciss\u00e9 (n\u00e9 1940) (Mali)<\/b><\/span><\/span><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">Un des p\u00e8res du cin\u00e9ma d\u2019Afrique ind\u00e9pendant. Il commence \u00e0 tourner en 1965. 6 films \u00e0 son actif. Re\u00e7oit une formation au VGIK en URSS, <b>Andrei Tarkovski <\/b>fut son professeur. Il est tr\u00e8s impact\u00e9 par l\u2019ex\u00e9cution de <b>Patrice Lumumba. (<\/b>Lumumba <span style=\"font-size: large;\">est, l&rsquo;une des principales figures de l&rsquo;ind\u00e9pendance du Congo. Il fut assassin\u00e9 par les colons.)<\/span><\/span><\/span><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">Il cr\u00e9\u00e9 une trilogie\u00a0:<\/span><\/span><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><u>-FINYE<\/u> (le vent) 1982<\/span><\/span><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><u>-YELLEN<\/u> (la lumi\u00e8re) 1987 <\/span><\/span><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><u>-WAATI <\/u>(le temps) 1995<\/span><\/span><\/p>\n<p align=\"LEFT\"><img src=\"https:\/\/motsalaligne.files.wordpress.com\/2008\/09\/waati-01-g.jpg\" \/><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><u>WAATI\u00a0<\/u>: extrait vu en classe. Dialogue dans les miroirs, entre Nandi et la fille et de ses pers\u00e9cuteurs. On ne les voit jamais face \u00e0 face sauf pour la confrontation. Cin\u00e9ma de la parole et du regard. D\u00e9finition (par WAATI) de l\u2019identit\u00e9 africaine.<\/span><\/span><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><span style=\"font-size: large;\"><b>Mahamat-Saleh Haroun (n\u00e9 1961) (Tchad)<\/b><\/span><\/span><\/span><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><span style=\"font-size: large;\"><u>DARRAT, saison s\u00e8che <\/u>2006<\/span><\/span><\/span><\/p>\n<p><iframe loading=\"lazy\" width=\"1040\" height=\"585\" src=\"https:\/\/www.youtube.com\/embed\/ZEjbCKpoF7Y?feature=oembed\" frameborder=\"0\" allowfullscreen><\/iframe><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><span style=\"font-size: large;\">Extrait vu en classe\u00a0: Atim devient apprenti boulanger chez l\u2019homme que son grand-p\u00e8re lui a demand\u00e9 de tuer. <\/span><\/span><\/span><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><span style=\"font-size: large;\">Photos du tournage vues en classe\u00a0: Production en partenariat avec des \u00e9quipes europ\u00e9ennes. L\u2019\u00e9quipe de tournage est m\u00e9tiss\u00e9e<\/span><\/span><\/span><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><b>Abderrahman Sissako (n\u00e9 1961) (Mauritanie)<\/b><\/span><\/span><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><u>Timbuktu<\/u> 2014 (7 c\u00e9sars, dont celui du meilleur film et meilleur r\u00e9alisateur)<\/span><\/span><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><u>La vie sur terre<\/u> 1998; S\u2019inscrit dans un projet port\u00e9 par Arte (2000 VU PAR\u2026.) , qui demande \u00e0 un cin\u00e9aste par continent de faire un film qui donne son point de vue sur le passage \u00e0 l\u2019an 2000. Extrait vu en classe\u00a0: Un homme (jou\u00e9 par Abderrahman Sissako) d\u00e9cide de retourner dans son pays natal. Lecture d\u2019une lettre dans l\u2019extrait\u00a0: \u00ab\u00a0Ce que j\u2019apprends loin de toi vaut-il ce que j\u2019oublie de nous\u00a0?\u00a0\u00bb<\/span><\/span><\/p>\n<p><iframe loading=\"lazy\" width=\"1040\" height=\"780\" src=\"https:\/\/www.youtube.com\/embed\/Dw9wnztETMo?feature=oembed\" frameborder=\"0\" allowfullscreen><\/iframe><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><b>Idrissa Ouedraogo (n\u00e9 1954) (Burkina Faso),<\/b><\/span><\/span><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><u>YAABA<\/u> 1989; Extrait vu en classe\u00a0: deux enfants jouent dans l\u2019eau. On note le soucis cadre. Jeu avec le hors-champ. Making off du film r\u00e9alis\u00e9 par Djibril Diop Mambety<\/span><\/span><\/p>\n<p><iframe loading=\"lazy\" width=\"1040\" height=\"585\" src=\"https:\/\/www.youtube.com\/embed\/1LiZbM1G_W8?feature=oembed\" frameborder=\"0\" allowfullscreen><\/iframe><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><b>Djibril Diop Mambety (1945-1998) (S\u00e9nagal),<\/b><\/span><\/span><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><u>Touki-Bouki<\/u>, 1972<\/span><\/span><\/p>\n<p><iframe loading=\"lazy\" width=\"1040\" height=\"780\" src=\"https:\/\/www.youtube.com\/embed\/IrG545eAyJM?feature=oembed\" frameborder=\"0\" allowfullscreen><\/iframe><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">S\u00e9rie de 3 courts m\u00e9trages, il ne pourra en faire que 2\u00a0: <\/span><\/span><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><u>Le Franc 1998<\/u><\/span><\/span><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><u>La petite vendeuse de soleil 1999<\/u><\/span><\/span><\/p>\n<p style=\"text-align: left;\" align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><b>Thomas Sankara (1949-1987) (Burkina Faso), <u>chef de l\u2019\u00e9tat de 1983-1987<\/u><\/b><\/span><\/span><\/p>\n<p style=\"text-align: left;\" align=\"LEFT\"><img src=\"https:\/\/researchandadvocacyunit.files.wordpress.com\/2012\/06\/thomas-sankara8.jpg\" \/><\/p>\n<p style=\"text-align: left;\" align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">Il est un personnage majeure dans l\u2019ind\u00e9pendance du Burkina Faso. Il est \u00e0 l\u2019initiative du nouveau nom du \u00ab\u00a0Burkina Faso\u00a0\u00bb (le pays des hommes int\u00e8gres). Il est \u00e0 l\u2019initiative (parmis d\u2019autres) du festival des cin\u00e9mas d\u2019Afrique FESPACO \u00e0 Ouagadougou et encourage la cr\u00e9ation d\u2019Ecoles de cin\u00e9ma \u00e0 Ougadougou. Il est assassin\u00e9 en 1987, on pr\u00e9sume par des partisans de Blaise Compaor\u00e9, qui prendra sa suite en tant que pr\u00e9sident de la R\u00e9publique . <\/span><\/span><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><b>Ousmane Semb\u00e8ne (1923-2007), (S\u00e9n\u00e9gal) cin\u00e9aste et \u00e9crivain<\/b><\/span><\/span><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">Figure embl\u00e9matique du cin\u00e9ma africain. Premier film africain ind\u00e9pendant, style de film tr\u00e8s brut. La finalit\u00e9 de ses film est le message. Il fait ses \u00e9tudes aussi au VGIK \u00e0 Moscou<\/span><\/span><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><u>Borom Saret<\/u> 1963; A cette \u00e9poque, faire du cin\u00e9ma c\u2019est retrouver son identit\u00e9. Les films montrent maintenant un lieu d\u2019interactions humaines.<\/span><\/span><\/p>\n<p><iframe loading=\"lazy\" width=\"1040\" height=\"780\" src=\"https:\/\/www.youtube.com\/embed\/2QBfCG0Q7E0?feature=oembed\" frameborder=\"0\" allowfullscreen><\/iframe><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><u>Xala (<\/u>l\u2019impuissance temporaire), 1975; extrait vu en classe\u00a0: les africains prennent le pouvoir, puis sont soudoy\u00e9s par les fran\u00e7ais.<\/span><\/span><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">Il \u00e9crit\u00a0: <u>Les petits bous de doigts de Dieu\u00a0<\/u><\/span><\/span><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><b>Cheick Oumar Sissoko (n\u00e9 1945) (Mali),<\/b><\/span><\/span><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><u>Guimba, un tyran, une \u00e9poque \u00a0<\/u>:1995; Reconstitution Moyen Age, avec costume d\u2019\u00e9poque. Les personnages principaux sont pouss\u00e9s au ridicule. M\u00e9taphore du tyran qui \u00e9voque surement le pr\u00e9sident de l\u2019\u00e9poque au Mali, Moussa Traor\u00e9.<\/span><\/span><\/p>\n<p><iframe loading=\"lazy\" width=\"1040\" height=\"780\" src=\"https:\/\/www.youtube.com\/embed\/Gy9w7Mscc2M?feature=oembed\" frameborder=\"0\" allowfullscreen><\/iframe><\/p>\n<p align=\"CENTER\"><strong><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><span style=\"font-size: large;\">Cin\u00e9ma d\u2019Afrique du Nord<\/span><\/span><\/span><\/strong> <span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><span style=\"font-size: large;\">(Maroc&gt;&gt;&gt;Egypte) <\/span><\/span><\/span><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">Le cin\u00e9ma du Maroc et d\u2019Alg\u00e9rie est en g\u00e9n\u00e9ral tr\u00e8s militants.<\/span><\/span><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><b>Nabil Ayouch (n\u00e9 1969) (Maroc-France), cin\u00e9aste ; <\/b>Cin\u00e9aste tr\u00e8s engag\u00e9 politiquement<\/span><\/span><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><u>-Much Loved<\/u>, 2015; Extrait vu en classe. Traite de la condition de la femme au Maroc.<\/span><\/span><\/p>\n<p><iframe loading=\"lazy\" width=\"1040\" height=\"585\" src=\"https:\/\/www.youtube.com\/embed\/TqXwRPJ2R5A?feature=oembed\" frameborder=\"0\" allowfullscreen><\/iframe><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><u>-Ali Zaoua, prince de la rue,<\/u> 2000; Traite des enfants grandissant dans la rue au Maroc. <\/span><\/span><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><b>Youssef Chahine, (1926-2008) (Egypte)<\/b><\/span><\/span><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\">\u00a0<\/span><\/p>\n<p style=\"text-align: center;\" align=\"LEFT\"><strong><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><span style=\"font-size: large;\">Cin\u00e9ma d\u2019Afrique du Sud<\/span><\/span><\/span><\/strong><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><span style=\"font-size: large;\">Le cin\u00e9ma d\u2019Afrique du Sud utilise les codes du cin\u00e9ma hollywoodiens. Les films sont peu diffus\u00e9s sur le continent. <\/span><\/span><\/span><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><span style=\"font-size: large;\"><b>Souleiman Ramadan (n\u00e9 1955), Afrique du Sud<\/b><\/span><\/span><\/span><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><span style=\"font-size: large;\"><u>ZULU Love Letter<\/u> 2004. Extrait vu en classe. Esth\u00e9tique de Thriller. <\/span><\/span><\/span><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><span style=\"font-size: large;\"><b>Nollywood\u00a0:<\/b> genre cin\u00e9ma du Nig\u00e9ria et Gana, style s\u00e9ries B am\u00e9ricaines. <\/span><\/span><\/span><\/p>\n<p style=\"text-align: center;\" align=\"LEFT\"><strong><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><span style=\"font-size: large;\">Cin\u00e9ma Lusophone<\/span><\/span><\/span><\/strong><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><span style=\"font-size: large;\"><b>Z\u00e9z\u00e9 Gamboa, (n\u00e9 1955) Angola<\/b><\/span><\/span><\/span><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><span style=\"font-size: large;\"><u>Un h\u00e9ros\u00a0<\/u><\/span><span style=\"font-size: large;\">; 2004. Extrait vu en classe histoire d\u2019un soldat qui revient d\u2019une guerre civile. Il tente de se r\u00e9approprier son environnement. <\/span><\/span><\/span><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><span style=\"font-size: large;\"><b>Flora Gom\u00e8s (n\u00e9 1949) Guin\u00e9e Bissau<\/b><\/span><\/span><\/span><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><span style=\"font-size: large;\"><u>Nha Fala<\/u><\/span> <span style=\"font-size: large;\">2002 ; com\u00e9die musicale. <\/span><\/span><\/span><\/p>\n<p style=\"text-align: center;\" align=\"LEFT\"><strong><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><span style=\"font-size: large;\">Cin\u00e9ma de la diaspora<\/span><\/span><\/span><\/strong><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><span style=\"font-size: large;\"><b>Hail\u00e9 Gerima (n\u00e9 1946), Ethiopie<\/b><\/span><\/span><\/span><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><span style=\"font-size: large;\"><u>TEZA (la ros\u00e9e)<\/u> 2008<\/span><\/span><\/span><\/p>\n<hr \/>\n<p align=\"CENTER\"><strong><span style=\"color: #000000;\"><span style=\"font-family: Baghdad;\"><span style=\"font-size: xx-large;\">CHRONOLOGIE<\/span><\/span><\/span><\/strong><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">Les fran\u00e7ais qui d\u00e9non\u00e7aient le colonialisme\u00a0: <\/span><\/span><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><u>-Afrique ann\u00e9es 50<\/u> Ren\u00e9 Vautier <\/span><\/span><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><u>-Les statues meurent aussi <\/u>Chris Marker et Alain Resnais <\/span><\/span><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><u>-Les ma\u00eetres fous<\/u> Jean Rouch (ethnologue)<\/span><\/span><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">Ousmane Sem\u00e8ne dira \u00e0 Jean Rouch\u00a0: \u00ab\u00a0 Je te repproche de nous regarder comme des insectes\u00a0\u00bb<\/span><\/span><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">Premiers films africain ind\u00e9pendants\u00a0: <\/span><\/span><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">1963\u00a0: <u>Borom Saret<\/u>, <b>Ousmane Semb\u00e8ne <\/b><\/span><\/span><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">60\u2019s\u00a0: cin\u00e9ma pour retrouver son identit\u00e9<\/span><\/span><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">70\u2019s\u00a0: films militants <\/span><\/span><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">1975: <u>XALA<\/u>, <b>Ousmane Semb\u00e8ne <\/b><\/span><\/span><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">80\u2019s\u00a0: Cin\u00e9ma africains vit sous perfusions de l\u2019\u00e9tat fran\u00e7ais. Pour raisons \u00e9conomiques<\/span><\/span><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">Souleiman Ciss\u00e9\u00a0: Pour devenir moderne, il faut se souvenir de ses racines<\/span><\/span><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">90\u2019s\u00a0: continue \u00e0 faire du cin\u00e9ma engag\u00e9 mais dispertion des cin\u00e9astes sous pression de la mondialisation.<\/span><\/span><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">1999\u00a0: <u>Le Franc<\/u>, puis <u>La petite vendeuse de soleil<\/u>\u00a0 <b>Djibril Diop Mambety<\/b><\/span><\/span><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">2000\u00a0: Cin\u00e9astes africains s\u2019occupent moins de leurs origines. Ils revendiquent l\u2019errance. Le plus gros de la cr\u00e9ation est dans le documentaire. <\/span><\/span><\/p>\n<p align=\"CENTER\"><span style=\"color: #000000;\"><span style=\"font-family: Baghdad;\"><span style=\"font-size: x-large;\"><b>Les cin\u00e9mas d&rsquo;Afrique d&rsquo;aujourd&rsquo;hui<\/b><\/span> <\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">Cin\u00e9ma des ann\u00e9es 2000\u00a0: Les cin\u00e9astes sont \u00e0 la fois en Afrique, \u00e0 la fois en Europe.<\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><b>Abderrahman Sissako\u00a0<\/b>: \u00ab\u00a0Je suis cin\u00e9aste, je n&rsquo;ai jamais quitt\u00e9 mon continent parce que je le porte en moi\u00a0\u00bb<\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">Cin\u00e9ma tr\u00e8s attentif \u00e0 l&rsquo;\u00e9nonciation cin\u00e9matographique. <\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><b>Haroun Saleh\u00a0(Tchad)<\/b>: (vu extrait en classe\u00a0: <i>Daratt<\/i>) Il pense ses r\u00e9cits en terme d&rsquo;images. <b>Semb\u00e8ne <\/b>n&rsquo;avait pas le soucis de l&rsquo;image, c&rsquo;\u00e9tait le propos en premier. <\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><b>Haroun Saleh\u00a0<\/b>: \u00ab\u00a0On ne peut plus produire pour \u00e9veiller les conscience, ce n&rsquo;est plus suffisant. Il faut cette humilit\u00e9 de porter le cin\u00e9ma&#8230;\u00a0\u00bb <\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">C&rsquo;est une fa\u00e7on de faire du cin\u00e9ma, qui fera pass\u00e9 une esth\u00e9tique, une plastique plus africaines. <\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">Un nouveau souffle avec l&rsquo;arriv\u00e9e du num\u00e9rique. <\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><b>Boubacar Diallo\u00a0<\/b>; (Burkina Faso) <u>Sofia\u00a0<\/u>: Gros buzz en Afrique <\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><b>Diallo<\/b> va \u00eatre diffus\u00e9 au FESPACO apr\u00e8s de longues n\u00e9gociations, car son cin\u00e9ma est diff\u00e9rent, plus proche d&rsquo;une esth\u00e9tique t\u00e9l\u00e9visuelle. Ils ne correspondait pas aux \u00ab\u00a0crit\u00e8res\u00a0\u00bb de cin\u00e9ma d&rsquo;auteur.<\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><b>S\u00e9kou Traor\u00e9\u00a0: <\/b><u>L&rsquo;oeil du cyclone<\/u><\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">extrait vu en classe\u00a0: Une avocate va rencontrer un chef rebelle que personne ne veut d\u00e9fendre. <\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">Esth\u00e9tique proche de l&rsquo;esth\u00e9tique t\u00e9l\u00e9visuelle.<\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">Il y a une diversification des cin\u00e9mas. Comme en Europe, on trouve du cin\u00e9ma d&rsquo;art et essai et des plus grosses productions. <\/span><\/span><\/p>\n<hr \/>\n<p align=\"CENTER\"><span style=\"color: #000000;\"><span style=\"font-family: Baghdad;\"><span style=\"font-size: xx-large;\"><b>LE DOCUMENTAIRE<\/b><\/span><\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">D\u00e9veloppement du documentaire de cr\u00e9ation, fronti\u00e8re entre documentaire et fiction souvent mince.<\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">(1984) <b>Idrissa Ouedraogo<\/b>\u00a0: <u>Issa le tisserand.<\/u> D\u00e9nonce les conditions de tisserand, le tissage qui ne marche plus. Le tisserand est oblig\u00e9 de vendre de la friperie. Fiction-documentaire<\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">(80&rsquo;s) <b>Gaston Kabor\u00e9<\/b>\u00a0: <u>Rabi<\/u> Fiction-documentaire<\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">Histoire autour d&rsquo;un jeune gar\u00e7on, Rabi, et de sa tortue.<\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">On trouve \u00e9galement des cr\u00e9ations de films \u00e0 but \u00e9ducatifs. (Pour ne pas transmettre les IST, pour l&rsquo;hygi\u00e8ne..) <\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">C&rsquo;est important de r\u00e9cup\u00e9rer son propre regard sur les r\u00e9alit\u00e9s africaines. Ne plus avoir que le regard des europ\u00e9ens. <\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">Une grande partie de ce cin\u00e9ma est reconnaissable par son parti-pris au r\u00e9cit. L&rsquo;auteur est dans le r\u00e9cit et dit \u00ab\u00a0Je\u00a0\u00bb<\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">Par exemple\u00a0:<\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><b>Jean-Marie T\u00e9no<\/b> (il vit entre la France et l&rsquo;Afrique) il s&rsquo;inscrit dans une lign\u00e9 du cin\u00e9ma des 60&rsquo;s (cin\u00e9ma de conscientisation) <\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">1992\u00a0:<u>Afrique je te plumerai\u00a0;<\/u> comment les \u00e9lites reproduisent ce qu&rsquo;ils ont subit<\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">1994\u00a0:<u>La t\u00eate dans les nuages\u00a0; <\/u>comment les personnes suivant des \u00e9tudes ou une instruction ont du mal \u00e0 survivre<\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">1999\u00a0<u>:Vacances au pays\u00a0;<\/u>Sur la modernit\u00e9 inadapt\u00e9&#8230; <\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">1999\u00a0:<u> Chef\u00a0!<\/u> visite dans son village, inauguration d&rsquo;un monument<\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">Cin\u00e9ma d&rsquo;intervention parce qu&rsquo;il dit \u00ab\u00a0Je\u00a0\u00bb, il parle en voix off. <\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">vu extrait en classe\u00a0: Jeune gar\u00e7on qui se fait battre apr\u00e8s avoir vol\u00e9 des poulets\u00a0.<\/span><\/span><\/p>\n<p><iframe loading=\"lazy\" width=\"1040\" height=\"585\" src=\"https:\/\/www.youtube.com\/embed\/cgHN-4X6PO8?feature=oembed\" frameborder=\"0\" allowfullscreen><\/iframe><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">Le\u00a0documentariste met en sc\u00e8ne le r\u00e9el\u00a0: <\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">2002\u00a0:<u> Le mariage d&rsquo;Alex<\/u> (film sur la polygamie, condition des femmes dans les soci\u00e9t\u00e9s traditionnelles<\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">2004\u00a0:<u> Le malentendu coloniale <\/u>(Namibie au 19eme ) <\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">Lieux Saints\u00a0: (Vid\u00e9o Club \u00e0 Ouagadougou, comme<\/span><\/span><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><b>Moussa Tour\u00e9\u00a0<\/b>: il a particip\u00e9 a des tournages de Semb\u00e8ne, de Mambeti et de Truffaut pour le film <u>Ad\u00e8le H\u00a0<\/u> il va devenir ami de Bernard Giraudeau.<\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">Il a d&rsquo;abord fait des com\u00e9dies. Puis apr\u00e8s avoir d\u00e9couvert le num\u00e9rique, qui lui permit de se d\u00e9tacher des producteurs fran\u00e7ais. Il se lance alors dans le documentaire. <\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">2003\u00a0 <u>Nous sommes nombreuses\u00a0<\/u>;sur les femmes viol\u00e9es<\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">2004 <u>5 x 5\u00a0; <\/u>sur un homme qui a 5 femmes <\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">2009 <u>Les techniciens sont nos cousins<\/u>. Sur le probl\u00e8me des moustiques, provocant des maladies mortelles.<\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">2012 <u>La pirogue\u00a0<\/u>; sur des clandestins<\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">Il fonde sa propre soci\u00e9t\u00e9 de production\u00a0: \u00ab\u00a0Les films du crocodile\u00a0\u00bb et son propre festival \u00ab\u00a0Moussa invite\u00a0\u00bb<\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">2002 <u>Poussi\u00e8res de ville\u00a0:<\/u> vu extrait en classe\u00a0: enfants qui dorment dans la rue. Moussa Tour\u00e9 passera des nuits avec eux.<\/span><\/span><\/p>\n<p><img src=\"http:\/\/www.sudplanete.net\/tables\/films\/images\/poussieres_de_ville.jpg\" \/><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><b>Alassane Diago\u00a0<\/b>: <\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><u>Les larmes de l&rsquo;\u00e9migration<\/u> (2010). Il est all\u00e9 dans son village natale, filmer sa m\u00e8re. Son p\u00e8re est parti et n&rsquo;ai jamais revenu, le marie de sa s\u0153ur aussi. <\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">Extrait vu en classe\u00a0: Interview frontal de la maman qui explique la faim qu&rsquo;ils ont subit pendant toute l&rsquo;enfance du r\u00e9alisateur.<\/span><\/span><\/p>\n<p><iframe loading=\"lazy\" width=\"1040\" height=\"585\" src=\"https:\/\/www.youtube.com\/embed\/kv0sFTOjGJY?feature=oembed\" frameborder=\"0\" allowfullscreen><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><b>Felix Samba Ndiaye<\/b><\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><u>Question \u00e0 la Terre Natale <\/u>(2007), pose beaucoup de questions politiques. <\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">AFRICADOC, lanc\u00e9 par Ard\u00e8che image. Le projet est d&rsquo;aider \u00e0 la cr\u00e9ation d&rsquo;une fili\u00e8re professionnel en Afrique et d&rsquo;ouvrir des moyens de distribution, des entreprises de production et post-production directement en Afrique. Elle permet \u00e9galement la cr\u00e9ation d&rsquo;un Master-documentaire \u00e0 Universit\u00e9 Gaston Berger \u00e0 Saint-Louis au S\u00e9n\u00e9gal. <\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">Dilemme qui se joue\u00a0: Teno critique en disant que Africadoc se calque sur le cin\u00e9ma europ\u00e9en, car le projet est aussi financ\u00e9 par l&rsquo;Europe. <\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">Jeunes r\u00e9alisateurs documentaire\u00a0: <\/span><\/span><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><b>Zolani N&rsquo;Devu<\/b> (Afrique du sud) <\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">Il vient d&rsquo;une \u00e9cole de cin\u00e9ma \u00e0 Kepton en Afrique du Sud. L&rsquo;\u00e9cole s&rsquo;appelle \u00ab\u00a0Big Fish\u00a0\u00bb <\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><u>To the one I love\u00a0<\/u>(2012): court m\u00e9trage documentaire\u00a0; rencontre avec son p\u00e8re pour la premi\u00e8re fois, qui l&rsquo;a abandonn\u00e9 \u00e0 l&rsquo;\u00e2ge de 1mois.<\/span><\/span><\/p>\n<p><img src=\"http:\/\/old.film-documentaire.fr\/photos\/articles\/TotheoneILove_zn.jpg\" \/><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><b>Majori Sani <\/b><\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">Il a fait ses \u00e9tudes \u00e0 Gaston Berger \u00e0 saint-Louis au S\u00e9n\u00e9gal, fait parti d&rsquo;Africadoc. <\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><u>Pour le meilleur et pour l&rsquo;oignon\u00a0<\/u>! 2009. Il fictionnalise le r\u00e9el. Comme Flaherty, il demande aux personnes de jouer le propre r\u00f4le.<\/span><\/span><\/p>\n<p><iframe loading=\"lazy\" width=\"1040\" height=\"780\" src=\"https:\/\/www.youtube.com\/embed\/M4xkeYXq3QE?feature=oembed\" frameborder=\"0\" allowfullscreen><\/iframe><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">Pour plus d&rsquo;informations\u00a0: A LIRE\u00a0:<\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">Les cin\u00e9mas d&rsquo;Afrique Noir. Olivier Barlet<\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">Les cin\u00e9mas d&rsquo;Afrique Noir des ann\u00e9es 2000. Olivier Barlet<\/span><\/span><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<hr \/>\n<p align=\"CENTER\"><span style=\"color: #000000;\"><span style=\"font-family: Baghdad;\"><span style=\"font-size: xx-large;\"><b>CIN\u00c9MA DE L&rsquo;ORALIT\u00c9<\/b><\/span><\/span><\/span><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">Forme d&rsquo;\u00e9criture africaine\u00a0: la parole<\/span><\/span><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">Pour L\u00e9opold S\u00e9dar Senghor l&rsquo;image et le rythme sont essentielles en Afrique. Le mot y est plus qu&rsquo;image. <i>Libert\u00e9 V, le dialogue des cultures. L\u00e9opold S\u00e9dar Senghor<\/i><\/span><\/span><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><u>Guimba\u00a0<\/u>(<b>Idrissa Ouedraogo<\/b>): le conteur pr\u00e9sente le film que l&rsquo;on va voir. <\/span><\/span><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">Le Grillo finit le r\u00e9cit \u00e0 la fin aussi. <\/span><\/span><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><u>Waati <\/u>(le temps )<b>Souleymane Ciss\u00e9<\/b> <\/span><\/span><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">D\u00e9but du film\u00a0: Grand-M\u00e8re qui raconte les d\u00e9buts de la vie sur Terre, raconte le monde des origines. <\/span><\/span><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><b>Gaston Kabor\u00e9 <\/b>(1982) <u>Wend Kuuni\u00a0; le don de dieu<\/u><\/span><\/span><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">un jeune gar\u00e7on est retrouv\u00e9 orphelin et muet, il est adopt\u00e9 puis retrouvera la parole apr\u00e8s avoir eu un choc. L\u00e0 il pourra raconter son histoire. <\/span><\/span><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><b>Serge daney<\/b> \u00ab\u00a0<i>La Rampe<\/i>\u00a0\u00bb critique cin\u00e9matographique. Il suivait de pr\u00e8s les cin\u00e9mas d&rsquo;Afrique. En 1977\u00a0il critique un film de Semb\u00e8ne\u00a0: <u>Ceddo <\/u><\/span><\/span><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><b>Semb\u00e8ne Oussman<\/b>: <u>Ceddo<\/u><\/span><\/span><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">Joute oratoire, Jaraf \u00e0 un r\u00f4le de passeur de parole. Le film d\u00e9nonce les conversions forc\u00e9s \u00e0 l&rsquo;Islam. Le film est toujours interdit au S\u00e9n\u00e9gal. <\/span><\/span><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><b>Djibril Diop Mamb\u00e9ty <\/b><\/span><\/span><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">Le voyage de la Hy\u00e8ne \u00ab\u00a0Touki-Bouki\u00a0\u00bb 1973<\/span><\/span><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\">Histoire d&rsquo;un berger, \u00ab\u00a0Mori\u00a0\u00bb qui d\u00e9cide de partir en France. Sc\u00e8ne de fin, course de Mori qui ne monte par sur le bateau. Il bouleverse les codes du montage. Remarquable travail sonore. <\/span><\/span><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><b>Alain Gomis <\/b>, histoire d&rsquo;un gar\u00e7on qui comprend qu&rsquo;il doit mourir le soir m\u00eame. <\/span><\/span><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\"><span style=\"font-family: Arial,sans-serif;\"><b>Balufu bakupa Kanyinda\u00a0<\/b>; <u>Le damier\u00a0<\/u>: Jeu de dame entre le pr\u00e9sident et un homme du peuple. <\/span><\/span><\/p>\n<p align=\"LEFT\"><span style=\"color: #000000;\">\u00a0<\/span><\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Journ\u00e9es avec Jean-Claude Rullier 25\/10\/16 et 07\/11\/16 LES CIN\u00c9MAS D&rsquo;AFRIQUE Souleymane Ciss\u00e9 (n\u00e9 1940) (Mali) Un des p\u00e8res du cin\u00e9ma d\u2019Afrique ind\u00e9pendant. Il commence \u00e0 tourner en 1965. 6 films \u00e0 son actif. Re\u00e7oit une[&#8230;]<\/p>\n","protected":false},"author":5,"featured_media":47,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[1],"tags":[],"_links":{"self":[{"href":"https:\/\/dakarc.eesi.eu\/index.php?rest_route=\/wp\/v2\/posts\/34"}],"collection":[{"href":"https:\/\/dakarc.eesi.eu\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/dakarc.eesi.eu\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/dakarc.eesi.eu\/index.php?rest_route=\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/dakarc.eesi.eu\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=34"}],"version-history":[{"count":18,"href":"https:\/\/dakarc.eesi.eu\/index.php?rest_route=\/wp\/v2\/posts\/34\/revisions"}],"predecessor-version":[{"id":58,"href":"https:\/\/dakarc.eesi.eu\/index.php?rest_route=\/wp\/v2\/posts\/34\/revisions\/58"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/dakarc.eesi.eu\/index.php?rest_route=\/wp\/v2\/media\/47"}],"wp:attachment":[{"href":"https:\/\/dakarc.eesi.eu\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=34"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/dakarc.eesi.eu\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=34"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/dakarc.eesi.eu\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=34"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}