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Fiche Personne Cinéma/TV Histoire/société Média Gaston Kaboré Réalisateur/trice, Producteur/trice, Scénariste, Directeur/trice Général Burkina Faso Français Réalisateur, scénariste, producteur et formateur burkinabè. Né en 1951 à Bobo-Dioulasso (Burkina Faso), Gaston Jean-Marie Kaboré obtient une maîtrise d’histoire à La Sorbonne avant d’étudier à l’Ecole Supérieure ...
African filmmaker Gaston Kabore portrays the effects of urbanization on traditional village life through the story of a single farmer in his 1988 film Zan Boko. Tinga Yerbanga, a principled, dedicated farmer, resides in a small village inside Burkina Faso with his wife Nopoko and several children.
Kaboré, Gaston (1951– ), film director, producer, and screenwriter in Burkina Faso, was born Jean-Marie Gaston Kaboré in Bobo-Dioulasso on 23 April 1951. His father was Georges Kaboré, a civil servant, and his mother was Léonie Tapsoba. Following primary school in Ouagadougou, he attended middle school at the Collège de Toussiana and ...
Michael T. Martin / Gaston Kaboré Interview 213 affirm we exist and that we have deep cultural roots. We must not forget that the Pan-Africanism of Patrice Lumumba, Kwame Nkrumah, Sékou Touré and the others was a movement and cinema contributed to this transnational affir - mation of, and effort to, recover our own memories, values, and ...
23 de jul. de 2022 · Buud Yam is a 1997 Burkinabé historical drama film written and directed by Gaston Kaboré. It is the sequel to the film Wend Kuuni. As of 2001, it was the mos...
27 de mar. de 1983 · Wend Kuuni: Directed by Gaston Kaboré. With Serge Yanogo, Rosine Yanogo, Joseph Nikiema, Colette Kaboré. In pre-colonial times a peddler crossing the savanna discovers a child lying unconscious in the bush. When the boy comes to, he is mute and cannot explain who he is. The peddler leaves him with a family in the nearest village.
Kaboré’s films are most often noted for his reclamation of the poetry and clarity of traditional African storytelling and for his singularly lyrical cinematic language. Yet the director has long insisted that his films—like those of other leading African directors—represent a “cinema of urgency,” engaged by the attempt to “profoundly explain today’s reality.”
