마티 디옵의 작가주의에 나타난 탈구된 정체성과 ‘난민-되기’-<아틀란티크>(2009), <천개의 태양>(2013), <애틀란틱스>(2019)를 중심으로
Dislocated Identity and ‘Becoming-Refugee’ in Mati Diop’s Auteurism: Focusing on Atlantiques (2009), A Thousand Suns (2013), and Atlantics (2019)
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Mati Diop is regarded as the first black female director to win the Grand Prix by entering the competition section of the Cannes Film Festival with her first feature Atlantics in 2019. Although she grew up in France since she was born to a Senegalese father and a French mother, her intimacy with Senegal’s culture and history take up a major part of the roots of her identity. Indeed the bi-cultural inheritance has been deeply embedded in her filmography. This is not irrelevant to the fact that his uncle is Djibril Diop Mambéty, the Senegalese director who set a milestone in the country’s as well as Sub-Saharan African film history. Diop’s mid-lenghth film A Thousand Suns (Mille Soleils, 2013) was at once a homage and a documentary dedicated to Mambéty’s masterpiece Touki Bouki. Diop’ films convey the contemporary ontology of the refugee crisis or ‘becoming-refegee’, the spontaneous phenomenon of being a refugee. Refugees who choose or dream of a transatlantic journey from Africa to Europe at their own peril dwells in her films. Their life and death feature heavily in the way her films’ narrative and style revolve around the realism as much as the fantasy of the deceased. This article discusses the dislocated identity and the problematics of becoming-refugees represented in Atlantiques (2009), A Thousand Suns, and Atlantics. The three films share in common an intimate exploration of the refugee experiences resulting from the dislocated status that is split between the identity one is born into and the ideals of the destination that one desires. By taking up an African view on what it means to become comtemporary refugees, Diop’s resolutely auteuristic filmmaking presents a new prospect of possibility where an ethical sense of responsibility and an ability to stare at the refugees’ trauma coexists with the memories of those who passed away as well as those who live on.
Abstract
Mati Diop is regarded as the first black female director to win the Grand Prix by entering the competition section of the Cannes Film Festival with her first feature Atlantics in 2019. Although she grew up in France since she was born to a Senegalese father and a French mother, her intimacy with Senegal’s culture and history take up a major part of the roots of her identity. Indeed the bi-cultural inheritance has been deeply embedded in her filmography. This is not irrelevant to the fact that his uncle is Djibril Diop Mambéty, the Senegalese director who set a milestone in the country’s as well as Sub-Saharan African film history. Diop’s mid-lenghth film A Thousand Suns (Mille Soleils, 2013) was at once a homage and a documentary dedicated to Mambéty’s masterpiece Touki Bouki. Diop’ films convey the contemporary ontology of the refugee crisis or ‘becoming-refegee’, the spontaneous phenomenon of being a refugee. Refugees who choose or dream of a transatlantic journey from Africa to Europe at their own peril dwells in her films. Their life and death feature heavily in the way her films’ narrative and style revolve around the realism as much as the fantasy of the deceased. This article discusses the dislocated identity and the problematics of becoming-refugees represented in Atlantiques (2009), A Thousand Suns, and Atlantics. The three films share in common an intimate exploration of the refugee experiences resulting from the dislocated status that is split between the identity one is born into and the ideals of the destination that one desires. By taking up an African view on what it means to become comtemporary refugees, Diop’s resolutely auteuristic filmmaking presents a new prospect of possibility where an ethical sense of responsibility and an ability to stare at the refugees’ trauma coexists with the memories of those who passed away as well as those who live on.
참고문헌 (23)
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