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LEADER 00000ngm  2200409 i 4500 
001    kan1139653 
003    CaSfKAN 
005    20140402113757.0 
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028 52 1139653|bKanopy 
035    (OCoLC)908378039 
040    CaSfKAN|beng|erda|cCaSfKAN 
043    e-fr--- 
245 04 The Father. 
264  1 [San Francisco, California, USA] :|bKanopy Streaming,
       |c2015. 
300    1 online resource (1 video file, approximately 29 min.) :
       |bdigital, .flv file, sound 
336    two-dimensional moving image|btdi|2rdacontent 
337    computer|bc|2rdamedia 
338    online resource|bcr|2rdacarrier 
344    digital 
347    video file|bMPEG-4|bFlash 
500    Title from title frames. 
518    Originally produced by California Newsreel in 2000. 
520    Three dramatic shorts from Tanzania, Nigeria and Ethiopia 
       take a critical look at the relationship between fathers 
       and their children in contemporary Africa. Each film from 
       Tanzania, Nigeria and Ethiopia offers a critical look at 
       the relationship between fathers and their children in 
       contemporary Africa. Surrender shows the traditional face 
       of paternal tyranny, a father controlling his son's life. 
       In contrast, A Barber's Wisdom satirizes a modern father 
       who compromises his children in his relentless pursuit of 
       money. In The Father, the patriarch in question is 
       ultimately the military dictatorship which terrorized 
       Ethiopia in the '70s and '80s. The critique of fathers in 
       these three films is reminiscent of the blistering 
       indictment of patriarchy in post-independence Africa at 
       the center of Ousmane Sembene's newest film, Faat Kine. 
       Surrender Amri, the son of a merchant, and Moshua, a poor 
       fisherman, are inseparable friends. Although they are 
       clearly in their 20s, they spend their days at play on the
       white sand beaches of Zanzibar. Amri's father is 
       distressed that his son is so reluctant to assume his 
       adult responsibilities as a father and businessman. He 
       arranges a marriage to a friend's daughter, Zaitun, and is
       outraged when Amri announces that he finds her boring and 
       unattractive. He bars Amri from their house and warns 
       Moshua not to speak to him. Isolated, Amri surrenders to 
       the demands of paternal authority, marries and produces 
       the grandson his father wants. But in the last shot, we 
       see him walking with Moshua beside the turquoise water. In
       the West, Amri and Moshua's close relationship would be 
       immediately interpreted as homosexual. Although Amri's 
       father clearly regards his son's relationship with Moshua 
       as unhealthy, in this context there is no suggestion that 
       it is anything but an excessive prolongation of childhood.
       Sex and marriage are not expected to result from romantic 
       desire or psychological urges but from participation as an
       adult in the larger community. The film's tone and rhythm 
       are determined by the formalities which dictate every 
       aspect of daily life, including Amri's relationship with 
       his father. The film is punctuated by the daily ritual of 
       prayers, a central structuring feature of Islamic life. 
       Only his friendship with Moshua seems to exist 
       spontaneously outside these constrictions. In the end, 
       society's expectations are the "father" to which Amri must
       surrender. The Father The Father is set during one of the 
       darkest periods of Ethiopian history - the terror 
       following the 1974 deposing of Haile Selassie launched by 
       the new military regime, the derg. Alazar is an apolitical
       painter looking forward to marrying Rahel, his model and 
       girlfriend. His best friend, Yonas, a political radical, 
       takes refuge in Alazar's house, causing them both to be 
       captured and tortured by the military. Rahel bribes the 
       major in charge with money and by submitting to his sexual
       advances. Alazar is allowed to escape the firing squad -- 
       but only if he will shoot Yonas. Seven years pass, and 
       Alazar has made an uneasy peace with the regime and with 
       himself. He is chosen to paint a portrait of the national 
       leader, showing "that he is the only man who can lead the 
       country." But an unexpected reunion with Yonas' sister, 
       Tingist, stirs old memories; he begins to suspect that his
       wife was raped as part of the price for sparing him and 
       that the real father of his seven-year-old daughter may be
       the torturer who forced him to shoot his friend. Enraged, 
       he defaces the painting of the leader with the same slogan
       Yonas used years before: "Death to the Military 
       Dictatorship." When we see Alazar for the last time, he is
       fleeing the country in disguise. The Father is an 
       impassioned political thriller which argues that past 
       injustices will inevitably return to haunt the present and
       that one must never accommodate oneself to political 
       oppression. A Barber's Wisdom A Barber's Wisdom is a short
       farce showing what Nigerian filmmakers can do when not 
       restricted by commercial concerns; the cinematographer is 
       the director of our other new Nigerian release, 
       Thunderbolt. In contrast to Surrender, the father here is 
       ridiculed not for being too traditional but for not being 
       traditional enough, for failing his responsibility to 
       protect his family and uphold morality. Amadou is a barber
       whose business is so slow his formidable wife, Stella, has
       had to become the primary breadwinner by selling grilled 
       fish. After a visit to the city, Amadou decides to 
       modernize his shop to attract the hip younger generation. 
       Apart from rap music, the principal new attractions are 
       his two daughters, provocatively dressed like Lil' Kim and
       Jennifer Lopez. Stella is outraged that he is in a sense 
       pimping his own daughters but Amadou will do anything to 
       make money. He only sees the light after one of them tells
       him that she has become pregnant. When we last see him, he
       is burning the city clothes and the women are again in 
       traditional dress. Unlike Zanzibar in Surrender, the 
       society depicted in A Barber's Wisdom is rushing headlong 
       toward modernity; references to a global television 
       culture abound, and the pursuit of profit has encroached 
       on every other value. The film's humor stems from the 
       contrast between Amadou's presumptions of patriarchal 
       authority and his craven exploitation of his own family. 
       Behind this, one feels, is a more general indictment of 
       Nigerian society, its often corrupt leaders and its 
       "anything goes" economy. "What is especially incredible 
       about this film (The Father) is that despite its brevity, 
       it possesses a complete epic quality." - Gaylene Gould, 
       Planet Africa, toronto International Film Festival 
       "Assured directorial touches, narrative economy and wit 
       make A Barber's Wisdom a perceptive parable about 
       conflicting values, shifting gender roles and generational
       tensions." - Jude Akudinobi, University of California-
       Santa Barbara. 
538    Mode of access: World Wide Web. 
650  0 Social history|y1960|vDrama|zAfrica. 
650  0 Patriarchy|zAfrica|xFathers|y1960|vDrama. 
655  7 Feature films.|2lcgft 
655  7 Short films.|2lcgft 
700 0  Ermias Woldeamlak,|efilm director. 
710 2  Kanopy (Firm) 
914    kan1139653 
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