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LEADER 00000ngm a2200385 i 4500 
003    CaSfKAN 
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007    cr una---unuuu 
008    150429p20152001cau076        o   vlfre d 
028 52 1139647|bKanopy 
035    (OCoLC)908378063 
040    CaSfKAN|beng|erda|cCaSfKAN 
043    e-fr--- 
245 00 Dole (Money).|h[Kanopy electronic resource] 
264  1 [San Francisco, California, USA] :|bKanopy Streaming,
       |c2015. 
300    1 online resource (1 video file, approximately 77 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 2001. 
520    A dramatic look at city life, rap, High school, 
       delinquency and dysfunctional families as experienced by 
       African youth and in Gabon. Dole offers a Gabonese 
       perspective on the global crisis facing today's youth. 
       With familial and societal structures crumbling, young 
       people are increasingly thrown back for support on each 
       other and an all-encompassing international pop culture. 
       This film reveals that, whether in Libreville or in our 
       own inner cities and suburbs the underlying causes of 
       youthful disaffection can be remarkably similar. With Ça 
       twiste à Poponguine, Dole provides one of the most 
       affectionate and affecting portraits of African youth 
       poised precariously on the cusp of modernity. Winner of 
       the first-place Gold Tanit at the 2000 Carthage Film 
       Festival, It has already been widely compared to François 
       Truffaut's iconic coming of age film -- a kind of "Le 
       quatre cents coups" in Gabon. Dole begins not with plot 
       but with performance. On a rooftop overlooking the city, 
       in a scene which could happen anywhere, a group of young 
       men vent their frustrations in instantly recognizable 
       rhythms. Performing only for themselves, they aggressively
       search for an identity through the universal patois of hip
       -hop. When they plot a robbery to obtain one of the 
       necessary accoutrements of that lifestyle, what they call 
       un ghettoblaster, one cannot help but wonder if the image 
       is reflecting reality or has begun to determine the 
       reality. This begs the question: What does it mean to be 
       "real" if this is essentially a pose, one stance among 
       many for approaching a particular reality? The main 
       character, Mougler, seems almost to be a sociological 
       study of a ghetto youth slipping into a life of petty 
       crime. As is so often the case, there is an absent male 
       figure, a dissolute father who has abandoned his family; 
       there is also a strong, long-suffering mother who, however,
       is slowly dying from an unspecified disease. The larger 
       society represented by school does not appear to offer 
       Mougler any better support system. Once an outstanding 
       student, he now affects the truculent stance of a 
       gangbanger, reading rap magazines rather than his texts in
       class. Mougler finds an alternative to family and school 
       among his peers, specifically in a not very intimidating 
       gang. The four boys in his group are each following an 
       unrealistic or at least unlikely path out of poverty and 
       obscurity. Joker is still young enough to live out his 
       fantasies through toy boats and tales of buried treasure. 
       Baby Lee, the gang leader, dreams of becoming a rap star. 
       Akson, like so many poor boys before him, looks to prize 
       fighting as his route to fame and fortune. Mougler's 
       mother has given him a name "that sounds like a movie 
       star" as a talisman for success. For the millions of 
       people like Mougler living on the margins of the emerging 
       global economy, a lottery can seem like their only hope 
       for financial success. Looked at in this light, a lottery 
       is a kind of travesty of a healthy economy, where the 
       connection between work and material rewards has become 
       purely a matter of luck. In Le Franc, Djibril Diop Mambety
       used the lottery to symbolize the dependent relationship 
       between Africa and international finance capital. In Dole 
       we see how the media cynically collaborate with the 
       lottery to divert desperate people's economic aspirations 
       into a spectacle, a contemporary combination of "bread and
       circuses." When Mougler urgently needs money to buy 
       medicine for his mother, he decides to up the stakes and 
       even the odds by robbing the cash box at the lottery 
       kiosk. What has up until now been a fairly light-hearted 
       look at the follies of youth suddenly turns somber. The 
       kiosk has an armed guard, nicknamed "Rambo," who kills 
       Baby Lee in the heist (what makes the situation so 
       dangerous is that pop fiction and reality interpenetrate 
       everywhere in this world). Although Mougler succeeds in 
       purchasing the medicine, it comes too late to save his 
       mother. "Provides a rare peek into life in Gabon's capital,
       Libreville. This likeable first directing effort by Imunga
       Ivanga has a laid-back authenticity missing from more 
       dramatized tales of African youth." - Variety "African 
       cinema is moving into cities and rejuvenating its 
       characters. Between high school and delinquency, rap and 
       dysfunctional families, we recognize familiar figures and 
       situations...The director hits the right spot." - Le Monde
       "Pure and abrasive like everything produced with real 
       modesty. - Le Figaro. Dole ends, however, not with this 
       denouement but with a dream. It is as if the filmmaker 
       cannot bring himself to consign his young cast to its 
       dreary fate. In a coda or epilogue, the scene shifts 
       abruptly from the congested city to the open sea; Mougler 
       and his friends relax on the deck of a ship slicing 
       through the water. The ship belongs to Mougler's Uncle 
       Charlie, the positive male role model in his life. The 
       director even draws attention to the arbitrariness of this
       ending by having Baby Lee magically reappear from the dead
       through a hatch. As a final gesture, Mougler throws a 
       lottery ticket into the sea because he "doesn't want to 
       lose anymore." Perhaps he is remembering Uncle Charlie's 
       observation: "There are two kinds of people in the world; 
       those whose destiny is shaped by events and those who 
       shape their own destiny." 
538    Mode of access: World Wide Web. 
650  0 Teenage boys|xJuvenile delinquents |vDrama|zAfrica|zGabon.
650  0 Social conditions|vDrama|zAfrica|zGabon. 
655  7 Feature films.|2lcgft 
700 1  Ivanga, Imunga |efilm director. 
710 2  Kanopy (Firm) 
856 40 |uhttps://naperville.kanopy.com/node/139648|zA Kanopy 
       streaming video 
856 42 |zCover Image|uhttps://www.kanopy.com/node/139648/external
       -image