1 Growing up, a young Ousmane Sembène ___. abandoned the Muslim faith of his father was only educated in Wolof culture and language attended both French and Islamic school became educated in fillmmaking 2 After serving in WWII, Sembène returned to Senegal, where he ___. became involved with civil bureaucracy participated in the Dakar-Niger Railroad Workers' Strike returned to live in the Casamance region joined a French language association, which exposed him to a variety of films and novels 3 Pivotal moments came early on for Sembène during his time in France in all of the following ways EXCEPT ___. finding employment as a dockworker in Marseilles, which inspired his novel "Le Docker noir" joining the French Communist Party breaking his backbone, which inspired him to take on more intellectual pursuits becoming very interested in Italian language and culture 4 Sembène's interest in sociopolitical and historical themes was solidified early on by ___. research he conducted for one of his jobs as a librarian reading the works of Neruda, Wright, and other Marxists from around the world reading Boccaccio's "Decameron" meeting with a variety of historians at the local docks 5 Sembène's pivot towards depicting "African life" in his work came with ___. Protection (Mooladé) Xala O pays, mon beau peuple God's Bits of Wood (Les bouts de bois de dieu) 6 Sembène studied filmmaking in ___. Russia America South Africa France 7 Sembène liked Wolof film as a medium because ___. it gave him insight into the consumer trends of West Africa it helped him reach a wider audience, since many Senegalese could not read or write in French it helped him to unpack his own identity more effectively than literature it helped him exclude a wider European and global audience 8 Which of Sembène's films was credited with introducing Black, African stories to the cinema world? Mandabi Xala Guelwaar Le Noir de (Black Girl) 9 Sembène is often remembered for the way he centered the narrative and social power of ___. Black, African women African clergy neocolonial bourgeois businessmen a wealthy, white elite in Africa 10 The important social structures of the Wolof people were developed during the time of ___. French colonization the Djolof (Jolof) Empire the domination of the kingdom of Ghana the domination of the kingdom of Mali 11 Coastal Wolof peoples were able to initially gain power during colonization by ___. trading slaves and weapons with the French participating in the French bureaucracy setting up their own maritime trade leagues attending schools abroad in France and Germany 12 Over time, as Wolof language became the lingua franca of postcolonial Senegalese cities, the Wolof people ___. nonetheless continued to be oppressed in the colonial and postcolonial milieu saw a commensurate rise in power and influence in national affairs began to establish a powerful separatist movement that effectively opposed the French expanded their class-based castes to accommodate new occupations and the extant castes of other peoples 13 The official language of Senegal is currently ___. Fula Serer French Wolof 14 Xala's opening scene focuses on ___. a meeting of Senegalese businessmen who are celebrating the appointment of one of their own to the position of President of the Chamber of Commerce and Industry the third wedding of El Hadji the aspirations of Yay Bineta the internal tensions of El Hadji's various family units 15 El Hadji's marriage to his third wife marks him as ___. someone who notably respects women a "captain," the traditional rank reserved for nobility one of the most eligible bachelors in Senegal a lascivious and disreputable individual 16 Before Independence, El Hadji worked as ___. a banker a teacher a doctor an importer-exporter 17 El Hadji's nickname comes from ___. the fact that he completed the pilgrimage to Mecca the fact that he made a trip to Spain his resemblance to another figure, named Hadji his devotion to the cause of Catholicism 18 Yay Bineta took the initiative in matching El Hadji with N'Gone because ___. Yay Bineta herself wishes to marry El Hadji, but she is fated to never marry again she knew El Hadji well and wanted to give him the prettiest girl in town as a wife N'Gone's work and education prospects were otherwise very poor Mam Fatou asked her to do so 19 Which of the following words does NOT describe Adja Awa Astou? Resilient Docile Bold Devout 20 Which of the following words does NOT describe Oumi N'Doye? Provincial Strong-willed Spoiled Sexual 21 El Hadji's first two wives are evocative of ___. the two faces of postcolonial Senegal the two sides of the Senegalese dollar coin the two major sides of an important ideological conflict in Senegal the two main traditional castes for women in Wolof culture 22 Oumi thinks that Adja supports El Hadji's marriage to N'Gone because ___. of an ongoing rivalry between the two of them, which often leaves Adja feeling older and less beautiful of her pure and simple devotion to El Hadji she wants to spend even less time than she already does with El Hadji, and throwing a third wife into the mix accomplishes this N'Gone is, like her, a devout Muslim 23 Adja's father cut ties with her when ___. she dated a European many years ago she abandoned the Catholicism of her youth to marry El Hadji she left Gorée Island to start dating she had her first child, Rama, out of wedlock 24 Rama shares some traditional values with her mother, such as ___. the belief that women ought to be constrained to the domestic sphere a categorical devotion to Islam the hope to one day be married to a stable and conservative man an appreciation for Wolof langugae 25 Sembène compares Adja's religious devotion to ___. a woodworking hobby a competitive sport a demanding career a drug addiction
