Barlet Barlet
Biographic Data
| ID | 6402464 |
|---|---|
| NAME | Barlet Barlet |
| GIVEN NAMES | Barlet |
| FAMILY NAME | Barlet |
| SIGNATURE | BARLET B |
| VERIFIED | No |
| TOTAL WORKS | 25 |
| TOTAL CITATIONS | 2 |
| AUTHOR COUNT | 25 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2010 |
| LATEST PUBLICATION YEAR | 2021 |
| H-INDEX | 1 |
The Six Decades of African Film
The Six Decades of African Film Olivier Barlet (bio) We never write just one thing, we write what keeps us awake at night: how to relate history today? Kossi Efoui1 The 1960s: Mandatory Commitment O brothers, if our syntax is not a cog of freedom if our books still weigh on the docker's shoulder if our voice is not a guiding star to railway workers or shepherds if our poems are not the arms of justice in the hands of our people; O let us remain s…
Dossier 1: Key Dates in the History of African Cinema
Dossier 1:Key Dates in the History of African Cinema Olivier Barlet and Claude Forest Click for larger view View full resolution Figure D. Ousmane Sembène (left) and Sarah Maldoror (right) at FESPACO. Image courtesy of FESPACO. [End Page 406] 1896–1954: Cinema in the Colonial Period As soon as the cinematograph was invented, operators were sent to Africa and all over the world to bring back distant and unusual images. In Africa as elsewhere, scre…
Privileging Other Writings: Interview with Alain Gomis at the Carthage Film Festival 2019, Tunis
Privileging Other Writings:Interview with Alain Gomis at the Carthage Film Festival 2019, Tunis Olivier Barlet (bio) Translated by Chloe Farrell Franco-Senegali film director Alain Gomis (b. 1972) is president of the jury at the Carthage Film Festival. The festival took place between October 26 and November 2, 2019 in Tunis, and provided an opportunity to discuss Gomis's projects, as well as North-South relations in Africa. Olivier Barlet: You he…
Fespaco 2019: Moving Toward Resurrection
FESPACO 2019:Moving Toward Resurrection Olivier Barlet (bio) Translated by Chloe Farrell The twenty-sixth edition of the Pan-African Film and Television Festival of Ouagadougou (FESPACO) was intended to be both a celebration of the festival's fiftieth anniversary and an attempt at rejuvenation. In the following, we take a critical look at the twenty films of the feature-length film competition. Other articles are to follow concerning the document…
Fespaco 2019: Moving Toward Resurrection
African Cinema of the 2010s
African Cinema of the 2010s Olivier Barlet (bio) Translated by Chloe Farrell Here we are, and the decade is nearly over. Is another chapter underway?1 Below is an exploration of recent films that have marked this period. (The numbers following the nation names in parentheses with each film title link to the film's page at sudplanete.net, accessible by typing the number into the search bar on the website. Criticism and other articles are linked on…
Cannes 2015: Where Is Africa
Cannes 2015:Where Is Africa? Olivier Barlet Translated by Nzingha Kendall and Julie Le Hégarat We’re reading everywhere that Africa will be almost absent at this year’s edition of Cannes. But which Africa do we mean? With the last-minute addition of Lamb (2015, Ethiopia), by the Ethiopian filmmaker Yared Zeleke in the official selection of Un Certain Regard, African cinemas are present in the most prestigious international competition, the event …
Fespaco 2015: After the Transition, What Next
FESPACO 2015:After the Transition, What Next? Olivier Barlet Translated by Melissa Thackway The twenty-fourth edition of the Panafrican Film and Television Festival of Ouagadougou (FESPACO), held from February 28 to March 7, 2015, was one of transition. It was organized in extremis after the revolution—which led to the ousting of festival director general Michel Ouedraogo, deemed too close to Blaise Compaoré’s party—and amid fears of cancellation…
Cannes 2014: Something New in the Air from Africa
Cannes 2014:Something New in the Air from Africa? Olivier Barlet (bio) Translated by Nzingha Kendall and Julie Le Hégarat From May 14 to 25, 2014, the sixty-seventh edition of the Cannes Film Festival brought together auteur cinema and glitter. The whole world of cinema was there, showcasing contemporary issues of the planet. Africa and its diasporas (which cannot be dissociated) are often almost absent from the Official Selection, but this time …
Ethiopian Cinema Today: An Interview with Ethiopian Filmmakers Yamrot Nigussie, Hiwot Admasu Getaneh, Hermon Hailay, Adanech Admasu, and Debebe Daniel Negatu
Ethiopian Cinema Today:An Interview with Ethiopian Filmmakers Yamrot Nigussie, Hiwot Admasu Getaneh, Hermon Hailay, Adanech Admasu, and Debebe Daniel Negatu Olivier Barlet Editor’s note: this interview with Ethiopian filmmakers connected with the project “Addis to Cannes” took place at the sixty-seventh Cannes Film Festival in June 2014. The first part of the interview was done with the filmmakers as a group before the individual artists were int…
We need to think again from the beginning!”: Interview with Erez Pery about Sderot, Last Exit , and the School of Sound and Screen Arts at Sappir College, Israel
“We need to think again from the beginning!”Interview with Erez Pery about Sderot, Last Exit, and the School of Sound and Screen Arts at Sappir College, Israel Olivier Barlet (bio) and Erez Pery Olivier Barlet (OB): What is your feeling about Osvalde Lewat’s film? Erez Pery (EP): Well, you ask the million-dollar question! I was surprised to see me and the school and my position within the structure from Osvalde’s point of view. It is what’s beaut…
Homosexuality Is Not Un–African; What Is Un–African Is Homophobia”: An Interview with Wanuri Kahiu on Jambula Tree
“Homosexuality Is Not Un–African; What Is Un–African Is Homophobia”: An Interview with Wanuri Kahiu on Jambula Tree Olivier Barlet (bio) Olivier Barlet (OB): What is it like for you to be part of the Fabrique des Cinémas du Monde here at the Cannes Film Festival?1 Wanuri Kahiu (WK): It’s such an honor being part of the Cinémas du Monde Pavilion a second time. It’s a privilege because I didn’t think that I would be invited back. This time, the pro…
Haile Gerima, Teza
Reviewed by: Teza by Haile Gerima Olivier Barlet (bio) Translated by Melissa Thackway Haile Gerima . Teza. Washington, DC: Negod Gwad Productions; Frankfurt, Germany: Pandora Film Produktion; Paris, France: Unlimited/UniFrance, 2008. It has been a long time since an African film has to this extent drawn us into the epic. With Teza (2008), Haile Gerima renews the project of his magnificent Harvest: 3000 Years / Mirt Sost Shi Amit, which in 1976 au…
Africultures Dossier: Report from Fespaco 2013: Renewal or Demise(?)
Africultures DossierReport from FESPACO 2013: Renewal or Demise(?) Olivier Barlet (bio) Translated by Melissa Thackway Originally published March 13, 2013 “Saved by the bell!” The awards ceremony came in extremis to save this bland thirteenth meeting of FESPACO. An awards list that consecrated true cinema made up for the overall weakness of the selections, the fact that only seven of the old fifteen movie theaters now remain open and are frequent…
Mahamat-Saleh Haroun, A Screaming Man
Representing the Itsembabwoko
The Ambivalence of French Funding
African cinema, if we discount colonial cinema, began in the independence era. The 1934 Laval Decree forbade filming in the French African colonies without prior authorization.1 Even when made by Europeans, anticolonial films were banned, notably Rene Vautier’s Afrique 50 / Africa 50 (France, 1950) for its denunciation of colonial atrocities, and the admirable play of black and white lighting that is Les Statues meurent aussi / Statues Also Die b…
This Is the Last Fespaco I'll Be Coming To””: An Interview with Mahamat-Saleh Haroun
Fespaco 2011: A Festival Under Threat
The essay and two interviews by Olivier Barlet that make up this installment of the Africultures Dossier focus on the 2011 Festival Panafricain du Cinema du Ouagadougou (FESPACO) which was held February 26–March 5, 2011, in Ouagadougou, Burkina Faso. In the essay, Barlet critiques some of the films shown at the festival and offers his opinion on the current state of African cinema and FESPACO. The interviews, with filmmaker Mahamat-Saleh Haroun a…
The Way to Help Us Is to Give Us Our Funding on Time!””: An Interview with Michel Ouedraogo, Delegate General of Fespaco
“The Way to Help Us Is to Give Us Our Funding on Time!” An Interview with Michel Ouedraogo, Delegate General of FESPACO Olivier Barlet (bio) Translated by Melissa Thackway OB: FESPACO 2011 is now over.1 Would you say the outcome was positive? Has the Vision 21 dynamic come into effect? MO: It’s not for us, but for our guests and the festival-goers to say whether the outcome was positive. The feedback we have suggests that things went well, but we…
African Film's Meaningful Body
The essay that comprises this installment of the Africultures Dossier was authored by prominent French film critic Olivier Barlet, director of publications for Africultures. It examines the representation and signification of the black body in a broad range of African films
Lessons of Fespaco 2009: “Fespaco's Future Depends on its Institutional Autonomy”—An Interview with Michel Ouedraogo
With 12,750 passes distributed, 362 films shown, and hundreds of thousands of spectators, FESPACO is not an easy event to run. The twenty-first edition was marred by disastrous organizational problems. In this context, it is important for the Director General to express his point of view, evaluating the lessons to be learned and highlighting the festival's future perspectives. The interview was conducted via telephone on March18, 2009
Bollywood/Africa: A Divorce
From the 1960s to the 1980s, mainstream audiences in Africa, especially female audiences, loved Indian films. Even though they didn't understand the words, they would end up knowing the songs by heart from seeing the films over and over again, and they loved the dances and the intrigues of the sentimental melodramas that were easily deciphered from the images alone. But times are changing. Bollywood films are no longer as popular in Africa. It is…
African Filmmakers' New Strategies From Métis to Nomadic: In Defense of African Film Cinema: An Audience without a Market Five Decades of African Film
Fespaco 2009: Concern
A popular festive event, a convivial get-together, and the opportunity to discover and promote the latest African productions, FESPACO, the biennial rendezvous of African film, is well loved. In 2009, as ever, FESPACO remained the site of meetings and debates, a festival forum. But the sharp increase in organizational problems so hampered the 2009 edition that they cannot afford to be overlooked. And if FESPACO 2009 raised concerns, it wasn’t onl…
African Cinema of the 2010s
African Cinema of the 2010s Olivier Barlet (bio) Translated by Chloe Farrell Here we are, and the decade is nearly over. Is another chapter underway?1 Below is an exploration of recent films that have marked this period. (The numbers following the nation names in parentheses with each film title link to the film's page at sudplanete.net, accessible by typing the number into the search bar on the website. Criticism and other articles are linked on…
African Film's Meaningful Body
The essay that comprises this installment of the Africultures Dossier was authored by prominent French film critic Olivier Barlet, director of publications for Africultures. It examines the representation and signification of the black body in a broad range of African films
Lessons of Fespaco 2009: “Fespaco's Future Depends on its Institutional Autonomy”—An Interview with Michel Ouedraogo
With 12,750 passes distributed, 362 films shown, and hundreds of thousands of spectators, FESPACO is not an easy event to run. The twenty-first edition was marred by disastrous organizational problems. In this context, it is important for the Director General to express his point of view, evaluating the lessons to be learned and highlighting the festival's future perspectives. The interview was conducted via telephone on March18, 2009
Bollywood/Africa: A Divorce
From the 1960s to the 1980s, mainstream audiences in Africa, especially female audiences, loved Indian films. Even though they didn't understand the words, they would end up knowing the songs by heart from seeing the films over and over again, and they loved the dances and the intrigues of the sentimental melodramas that were easily deciphered from the images alone. But times are changing. Bollywood films are no longer as popular in Africa. It is…
African Filmmakers' New Strategies From Métis to Nomadic: In Defense of African Film Cinema: An Audience without a Market Five Decades of African Film
Fespaco 2009: Concern
A popular festive event, a convivial get-together, and the opportunity to discover and promote the latest African productions, FESPACO, the biennial rendezvous of African film, is well loved. In 2009, as ever, FESPACO remained the site of meetings and debates, a festival forum. But the sharp increase in organizational problems so hampered the 2009 edition that they cannot afford to be overlooked. And if FESPACO 2009 raised concerns, it wasn’t onl…
This Is the Last Fespaco I'll Be Coming To””: An Interview with Mahamat-Saleh Haroun
Fespaco 2011: A Festival Under Threat
The essay and two interviews by Olivier Barlet that make up this installment of the Africultures Dossier focus on the 2011 Festival Panafricain du Cinema du Ouagadougou (FESPACO) which was held February 26–March 5, 2011, in Ouagadougou, Burkina Faso. In the essay, Barlet critiques some of the films shown at the festival and offers his opinion on the current state of African cinema and FESPACO. The interviews, with filmmaker Mahamat-Saleh Haroun a…
The Way to Help Us Is to Give Us Our Funding on Time!””: An Interview with Michel Ouedraogo, Delegate General of Fespaco
“The Way to Help Us Is to Give Us Our Funding on Time!” An Interview with Michel Ouedraogo, Delegate General of FESPACO Olivier Barlet (bio) Translated by Melissa Thackway OB: FESPACO 2011 is now over.1 Would you say the outcome was positive? Has the Vision 21 dynamic come into effect? MO: It’s not for us, but for our guests and the festival-goers to say whether the outcome was positive. The feedback we have suggests that things went well, but we…
African Film's Meaningful Body
The essay that comprises this installment of the Africultures Dossier was authored by prominent French film critic Olivier Barlet, director of publications for Africultures. It examines the representation and signification of the black body in a broad range of African films
Representing the Itsembabwoko
The Ambivalence of French Funding
African cinema, if we discount colonial cinema, began in the independence era. The 1934 Laval Decree forbade filming in the French African colonies without prior authorization.1 Even when made by Europeans, anticolonial films were banned, notably Rene Vautier’s Afrique 50 / Africa 50 (France, 1950) for its denunciation of colonial atrocities, and the admirable play of black and white lighting that is Les Statues meurent aussi / Statues Also Die b…
Haile Gerima, Teza
Reviewed by: Teza by Haile Gerima Olivier Barlet (bio) Translated by Melissa Thackway Haile Gerima . Teza. Washington, DC: Negod Gwad Productions; Frankfurt, Germany: Pandora Film Produktion; Paris, France: Unlimited/UniFrance, 2008. It has been a long time since an African film has to this extent drawn us into the epic. With Teza (2008), Haile Gerima renews the project of his magnificent Harvest: 3000 Years / Mirt Sost Shi Amit, which in 1976 au…
Africultures Dossier: Report from Fespaco 2013: Renewal or Demise(?)
Africultures DossierReport from FESPACO 2013: Renewal or Demise(?) Olivier Barlet (bio) Translated by Melissa Thackway Originally published March 13, 2013 “Saved by the bell!” The awards ceremony came in extremis to save this bland thirteenth meeting of FESPACO. An awards list that consecrated true cinema made up for the overall weakness of the selections, the fact that only seven of the old fifteen movie theaters now remain open and are frequent…
Mahamat-Saleh Haroun, A Screaming Man
We need to think again from the beginning!”: Interview with Erez Pery about Sderot, Last Exit , and the School of Sound and Screen Arts at Sappir College, Israel
“We need to think again from the beginning!”Interview with Erez Pery about Sderot, Last Exit, and the School of Sound and Screen Arts at Sappir College, Israel Olivier Barlet (bio) and Erez Pery Olivier Barlet (OB): What is your feeling about Osvalde Lewat’s film? Erez Pery (EP): Well, you ask the million-dollar question! I was surprised to see me and the school and my position within the structure from Osvalde’s point of view. It is what’s beaut…
Homosexuality Is Not Un–African; What Is Un–African Is Homophobia”: An Interview with Wanuri Kahiu on Jambula Tree
“Homosexuality Is Not Un–African; What Is Un–African Is Homophobia”: An Interview with Wanuri Kahiu on Jambula Tree Olivier Barlet (bio) Olivier Barlet (OB): What is it like for you to be part of the Fabrique des Cinémas du Monde here at the Cannes Film Festival?1 Wanuri Kahiu (WK): It’s such an honor being part of the Cinémas du Monde Pavilion a second time. It’s a privilege because I didn’t think that I would be invited back. This time, the pro…
Fespaco 2015: After the Transition, What Next
FESPACO 2015:After the Transition, What Next? Olivier Barlet Translated by Melissa Thackway The twenty-fourth edition of the Panafrican Film and Television Festival of Ouagadougou (FESPACO), held from February 28 to March 7, 2015, was one of transition. It was organized in extremis after the revolution—which led to the ousting of festival director general Michel Ouedraogo, deemed too close to Blaise Compaoré’s party—and amid fears of cancellation…
Cannes 2014: Something New in the Air from Africa
Cannes 2014:Something New in the Air from Africa? Olivier Barlet (bio) Translated by Nzingha Kendall and Julie Le Hégarat From May 14 to 25, 2014, the sixty-seventh edition of the Cannes Film Festival brought together auteur cinema and glitter. The whole world of cinema was there, showcasing contemporary issues of the planet. Africa and its diasporas (which cannot be dissociated) are often almost absent from the Official Selection, but this time …
Ethiopian Cinema Today: An Interview with Ethiopian Filmmakers Yamrot Nigussie, Hiwot Admasu Getaneh, Hermon Hailay, Adanech Admasu, and Debebe Daniel Negatu
Ethiopian Cinema Today:An Interview with Ethiopian Filmmakers Yamrot Nigussie, Hiwot Admasu Getaneh, Hermon Hailay, Adanech Admasu, and Debebe Daniel Negatu Olivier Barlet Editor’s note: this interview with Ethiopian filmmakers connected with the project “Addis to Cannes” took place at the sixty-seventh Cannes Film Festival in June 2014. The first part of the interview was done with the filmmakers as a group before the individual artists were int…
Cannes 2015: Where Is Africa
Cannes 2015:Where Is Africa? Olivier Barlet Translated by Nzingha Kendall and Julie Le Hégarat We’re reading everywhere that Africa will be almost absent at this year’s edition of Cannes. But which Africa do we mean? With the last-minute addition of Lamb (2015, Ethiopia), by the Ethiopian filmmaker Yared Zeleke in the official selection of Un Certain Regard, African cinemas are present in the most prestigious international competition, the event …
Fespaco 2019: Moving Toward Resurrection
African Cinema of the 2010s
African Cinema of the 2010s Olivier Barlet (bio) Translated by Chloe Farrell Here we are, and the decade is nearly over. Is another chapter underway?1 Below is an exploration of recent films that have marked this period. (The numbers following the nation names in parentheses with each film title link to the film's page at sudplanete.net, accessible by typing the number into the search bar on the website. Criticism and other articles are linked on…
Privileging Other Writings: Interview with Alain Gomis at the Carthage Film Festival 2019, Tunis
Privileging Other Writings:Interview with Alain Gomis at the Carthage Film Festival 2019, Tunis Olivier Barlet (bio) Translated by Chloe Farrell Franco-Senegali film director Alain Gomis (b. 1972) is president of the jury at the Carthage Film Festival. The festival took place between October 26 and November 2, 2019 in Tunis, and provided an opportunity to discuss Gomis's projects, as well as North-South relations in Africa. Olivier Barlet: You he…
Fespaco 2019: Moving Toward Resurrection
FESPACO 2019:Moving Toward Resurrection Olivier Barlet (bio) Translated by Chloe Farrell The twenty-sixth edition of the Pan-African Film and Television Festival of Ouagadougou (FESPACO) was intended to be both a celebration of the festival's fiftieth anniversary and an attempt at rejuvenation. In the following, we take a critical look at the twenty films of the feature-length film competition. Other articles are to follow concerning the document…
The Six Decades of African Film
The Six Decades of African Film Olivier Barlet (bio) We never write just one thing, we write what keeps us awake at night: how to relate history today? Kossi Efoui1 The 1960s: Mandatory Commitment O brothers, if our syntax is not a cog of freedom if our books still weigh on the docker's shoulder if our voice is not a guiding star to railway workers or shepherds if our poems are not the arms of justice in the hands of our people; O let us remain s…
Dossier 1: Key Dates in the History of African Cinema
Dossier 1:Key Dates in the History of African Cinema Olivier Barlet and Claude Forest Click for larger view View full resolution Figure D. Ousmane Sembène (left) and Sarah Maldoror (right) at FESPACO. Image courtesy of FESPACO. [End Page 406] 1896–1954: Cinema in the Colonial Period As soon as the cinematograph was invented, operators were sent to Africa and all over the world to bring back distant and unusual images. In Africa as elsewhere, scre…
Art (21 works) · African history and culture studies (15 works) · Art history (11 works) · Political science (11 works) · Sociology (11 works) · Media studies (9 works) · Movie theater (9 works) · History (8 works) · History (8 works) · Law (8 works)