Myth and Africa Ousmene Sembene's Essay

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) the author's claim that the women are not heroes because they act in their own self-interests ignores the fact that cinematic narration is predicated around a central hero who invariably acts toward the fulfillments of their goals. When someone watches a Hollywood film, the protagonist is not deprived of hero status when they realize their dreams, so the women in Moolade should not be examined differently. Moreover, the author contradicts herself by first stating that the women act in their individual best interests and then that they work collectively to improve the plight of future generations. To be sure, the women do transition from conflict to cooperation (Colle and Amasatou clash most strongly); however, their initial dissention does not represent legitimate grounds for denigration. It is also confusing that she reads the radios as an embodiment of male power ("a symbol of technology the men have") when the film portrays technology as a threat to male authority.

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Corey's claim also disregards the great emphasis that Sembene places on the landscape as a metaphorical character; it is, after all, this motif surrounding the landscape that most firmly assimilates the film within the indigenous myth of Amma and the Earth. One has to account for the great emphasis that Sembene places on the landscape, including his expressive, lingering cinematography of the clay mosque (representing the clay hurled by Amma at the Earth) and the termite hill signifying the sexually violated Earth. Thus, while Corey correctly identifies the presence of a 'collective hero,' she unfairly denigrates the women on an individual basis and ignores the central importance of the Earth as a collective….....

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