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Cultural crisis and post-colonial religious figures in African cinema

Articles

<10.4000/edl.2507>
KeywordsTriple Keywords
Volition
Conation
Will
Films
Feature films--History and criticism
Motion pictures
Moving-pictures
Cinema
Movies
Caricature
Imperialism
Neocolonialism
Colonialism
Expansion (United States politics)
Empires
Global politics
International politics
Political history
World politics
Religion
Religion, Primitive
Comparative religion
Religions
Denominations, Religious
World religions
Religion, Comparative
Religious denominations
Religions, Comparative
Literature
World literature
Western literature (Western countries)
Belles-lettres
Negroes
Blacks
Eclecticism (Religion)
Unionism (Religion)
Syncretism (Religion)
Religious syncretism
Numinous, The
Holy, The
Sacred, The

Abstract

This article will show the instability of the religious figure in post-colonial Africa. The film On behalf of the Christ of the Ivorian director Roger Gnoan M’Bala is the place for the proclamation of a false black prophet, a caricature of a secretive society that is said to be abandoned from his ancestral gods. Winner of the Yennenga State, FESPACO Grand Prix in 1993, on behalf of Christ, tells about the abuses of colonialism in the perverted exploitation of Christianity and the implosion of traditional African beliefs. From there, the post-colonial religion is characterised by strange heterogeneity, which is the source of laudable interpretations that create reinterpretation and surge of imported colonial religions. Both cinema and literature address cultural syncretism in dominated countries as a form of resistance to the total invasion of colonial. The syncretic transformations of culture can be seen as a profanation of African sacred, all of them as the robustness of the anthropological structures of conquered civilisations, many years ago.

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