Sembene Ousmane's film, Black Girl, is the African director's attempt to adopt a revolutionary and political way of making cinema that can serve as a tool against oppressive factors. Black Girl falls into the category of Third Cinema cinema and its main goal is to inspire political change and provide audiences with a kind of social commentary. This film conflicts with government messages that turn it into a kind of manifesto, which opposes the concepts of colonialism and capitalist system popularized in the 1960s. To represent the new political tones of this period, Ousmane uses Third Cinema to show how film itself has the ability to quickly spread information to a multitude of people regardless of their level of education. Through two specific scenes that show a juxtaposition of the main character's dispositions and attitudes, Ousmane represents the classic vision of many Senegalese citizens and shows the audience the disadvantages of their possible actions through an easily transferable cinematic medium. Ousmane's film focuses primarily on a Senegalese waitress named Diouana who finds work in France with a bourgeois family. Diouana's character in the film is the prototype of a 1960s Senegalese citizen, which is extremely essential to the film. Ousmane did his best to portray the typical citizen in an attempt to create a kind of inner exploration for his viewers. The audience would be transported into the role of Diouana and would therefore experience all the unfortunate things that she and typical citizens would experience. By placing the audience in the role of an African citizen, Ousmane's films recall the documentary and neorealist modes of cinema. Using long, expansive shots,......middle of paper......constipated with the necessary rejection of other ignorant and idealistic Africans.Showing the death of Diouana, the comparison between the idealistic beliefs of European life and reality of imperialism is completed. Ousmane's film is able to portray and distribute this message to those who have not been able to read the political ramifications of imperialism and successfully exemplifies the idealistic and misunderstood portrayal of European culture. This self-reflexivity pushes the audience to take a look and analyze the current situation in Africa. If Diouana chose not to return to Senegal and ultimately committed suicide, it would suggest that neither France nor Senegal is a suitable environment for an illiterate African woman. In this way, Ousmane provides a deeper and clearer understanding of postcolonial Africans and how to represent them in cinema..