Abstract

This study focuses on two films by filmmaker Idrissa Ouédraogo, Yaaba and Tilaï. In these two films, representative of the first period of the Bukinabe filmmaker, all practices and bodily interactions are ostensibly of a passionate nature: gestuality in exchanges, affectionate or aggressive contacts, illness, sexuality, displacements, all is passion and ethics at the same time. Actors transgress the rules, follow others who contravene the previous ones, resist, vituperate, stigmatize, threaten, punish and reward. These practices and passions are observed, watched, moralized, challenged or encouraged under the gaze of other actors. The global conjunction of these bodily passions, of the modal properties of the spaces in which they manifest, as well as the enunciative choices of framing and editing configures forms of living and semiotic worlds, in the four territorial areas (endotopic, peritopic, allotopic and utopic ones): conflicts, transitions and compromises between these forms of life give substance to the syntagmatic of the films of Ouédraogo.