Kooperativer Bibliotheksverbund

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Format: 205 S.

ISBN: 2845862822

Series Statement: Lettre du Sud

Note: Includes bibliographical references (p. [193]-201)

Language: French

Subjects: Romance Studies

Keywords: Französisch-Guayana ; Literatur ; Französisch ; Aufsatzsammlung ; Stephenson, Élie 1944- ; Maximin, Daniel 1947- ; D'Chimbo

URL: Inhaltsverzeichnis

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Format: x, 271 p.

Edition: Electronic reproduction. Ann Arbor, MI : ProQuest, 2015. Available via World Wide Web. Access may be limited to ProQuest affiliated libraries.

Series Statement: New directions in national cinemas

Note: Overture: Maghrebi women's transvergent cinema -- Transnational feminist storytellers: Shahrazad, Assia, and Farida. Assia Djebar's transvergent Nuba: the Nuba of the women of Mount Chenoua (Algeria, 1978) -- Farida Benlyazid's initiation narrative: A door to the sky (Morocco, 1988) -- Transvergent screens. Yamina Bachir-Chouikh's transvergent echoes: Rachida (Algeria, 2002) -- Raja Amari's screen of the haptic: Red satin (Tunisia, 2002) -- Nadia El Fani's multiple screens: Bedwin hacker (Tunisia, 2002) -- From Dunyazad to transvergent audiences. Yasmine Kassari's "burning" screens: The sleeping child (Morocco, 2004) -- Selma Baccar's transvergent spectatorship: Flower of oblivion (Tunisia, 2006) -- Coda.

Language: English

Keywords: Electronic books.

URL: Click to View

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Format: 1 online resource (x, 277 pages) : , illustrations

ISBN: 1-4744-7795-X

Content: Assesses Moroccan cinema through a transnational lens to reframe its postcolonial legacyBased on interviews with key industry figures and filmmakersCase studies include the controversial Much Loved, and an analysis of its reception within and outwith MoroccoArgues that Moroccan cinema has de-orbited from Francophone cinema and Morocco's postcolonial legacy to become a transnational cinemaWatch the editors discuss the book in a webinar hosted by SOASThis is the first book length study to consider the transnational dimension of Moroccan cinema. Over the past two decades, cinematic production has increased dramatically in Morocco, with Moroccan films leading at the domestic box office and being selected for prestigious international festivals such as Cannes and Berlin. And yet, Moroccan cinema remains little known outside of its national borders. This book asks why this might be and, in so doing, analyses the actual state of Moroccan national cinema beyond a post-colonial optic. Featuring interviews with filmmakers and key industry figures, such as Hicham Laari, Nadir Boumouch and Tala Hadid, the book explores Moroccan cinema’s transnational reach through a focus on the cultural politics of international co-production, the role of international festivals as alternative distribution networks, piracy and digital disruption, film education and activism."

Note: Frontmatter -- , CONTENTS -- , FIGURES AND TABLES -- , ACKNOWLEDGEMENTS -- , INTRODUCTION: MOROCCAN CINEMA: A STORY OF TRANSNATIONAL ADAPTATION -- , PART ONE. PRODUCTION FROM ABOVE: FORMAL NETWORKS -- , 1. ESTABLISHED SITES OF PRODUCTION AT HOME -- , 2. TRANSNATIONAL CROSSINGS -- , PART TWO. PRODUCTION FROM BELOW: EMERGING SITES -- , 3. ALTERNATIVE AND EMERGING NETWORKS -- , 4. DIVERSE VOICES -- , PART THREE. DISTRIBUTION AND EXHIBITION NETWORKS: FESTIVALS, AUDIENCES AND MARKETS -- , 5. DISTRIBUTION AND EXHIBITION NETWORKS IN MOROCCO -- , 6. INTERNATIONAL FESTIVALS: AN ALTERNATIVE TRANSNATIONAL DISTRIBUTION NETWORK FOR MOROCCAN CINEMA? -- , 7. SALES, DISTRIBUTION AND DIGITAL DISRUPTION: THE UNREALISED TRANSNATIONAL REACH OF MOROCCAN CINEMA? -- , CONCLUSION: TRANSNATIONAL MOROCCAN CINEMA: OF BUMBLEBEES AND BUTTERFLIES -- , BIBLIOGRAPHY -- , SELECT FILMOGRAPHY -- , INDEX

Additional Edition: ISBN 1-4744-7793-3

Language: English

DOI: 10.1515/9781474477956

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Format: 1 online resource (286 p.)

ISBN: 1-280-59660-0 , 9786613626431 , 0-253-00565-5

Series Statement: New directions in national cinemas

Content: Examined within their economic, cultural, and political context, the work of women Maghrebi filmmakers forms a cohesive body of work. Florence Martin examines the intersections of nation and gender in seven films, showing how directors turn around the politics of the gaze as they play with the various meanings of the Arabic term hijab (veil, curtain, screen). Martin analyzes these films on their own theoretical terms, developing the notion of ""transvergence"" to examine how Maghrebi women's cinema is flexible, playful, and transgressive in its themes, aesthetics, narratives, and modes of a

Note: Description based upon print version of record. , Overture: Maghrebi women's transvergent cinema -- Transnational feminist storytellers: Shahrazad, Assia, and Farida. Assia Djebar's transvergent Nuba: the Nuba of the women of Mount Chenoua (Algeria, 1978) -- Farida Benlyazid's initiation narrative: A door to the sky (Morocco, 1988) -- Transvergent screens. Yamina Bachir-Chouikh's transvergent echoes: Rachida (Algeria, 2002) -- Raja Amari's screen of the haptic: Red satin (Tunisia, 2002) -- Nadia El Fani's multiple screens: Bedwin hacker (Tunisia, 2002) -- From Dunyazad to transvergent audiences. Yasmine Kassari's "burning" screens: The sleeping child (Morocco, 2004) -- Selma Baccar's transvergent spectatorship: Flower of oblivion (Tunisia, 2006) -- Coda. , English

Additional Edition: ISBN 0-253-22341-5

Additional Edition: ISBN 0-253-35668-7

Language: English