ABSTRACT

Túndé Kèlání's films have mostly been analysed in relation to their social and cultural context of origin; they have hardly been made the object of larger comparisons with the work of non-African filmmakers. However, Kèlání's conscious and articulate intermixing of both local and international cultural and stylistic influences, the wide international circulation of his work, and its explicit autonomy in relation to commercial filmmaking (Nollywood in particular) suggest the possibility of comparing his work with that of filmmakers from other regions of the world who position themselves in relation to comparable socio-political contexts and confront similar artistic and political challenges. This is why, following Jean-François Bayart's call to ‘de-dramatize’ African case studies in order to bring to light their global relevance, this essay will compare Kèlání's work with that of the Southern Italian filmmaker Vittorio de Seta, whose life and work present some unexpected and thought-provoking parallels with those of Kèlání. This analysis ultimately shows that both filmmakers are intimately concerned with the creation of a convivial society, in which past and present can cohabit thanks to the affirmation of a philosophy of radical humanism.

摘要

人们对通多·凯兰妮的电影进行了分析，并比较了它们的社会文化背景。与非非洲电影制片人的作品相比，它们几乎没有成为更大的比较对象。但是，凯拉尼对本地和国际文化和文体影响的有意识和清晰的交融，他的作品在国际上的广泛流通以及其与商业电影制作（尤其是好莱坞）有关的明确的自主权，暗示了将他的作品与电影制作者进行比较的可能性。来自世界其他地区的人，他们将自己定位在可比的社会政治背景下，并面临类似的艺术和政治挑战。这就是为什么在让·弗朗索瓦·贝亚特（Jean-FrançoisBayart）呼吁对非洲案例研究进行“非戏剧化”以阐明其全球相关性之后，本文将把凯拉尼的作品与意大利南部电影制片人维托里奥·德·塞塔（Vittorio de Seta）的作品进行比较，后者的生活和工作与凯拉尼的作品具有一些意想不到的，发人深省的相似之处。这项分析最终表明，两个电影摄制者都密切关注一个欢乐的社会的建立，在这个社会中，过去和现在可以同归为一，这要归功于激进的人本主义哲学的肯定。