MADAME COURAGE / Feature Film
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The Cinema of Merzak Allouache Joseph Mcgonagle
Transculturality in Algiers: The Cinema of Merzak Allouache Joseph McGonagle Thanks to its rich and diverse history, the city of Algiers is undoubtedly a privileged site of transculturality. This was certainly the case in the French colonial period when, as Zeynep Çelik argues, colonial Algeria was the most important but most problematic of the French overseas territories and constituted “the colonial city par excellence, the terrain of many battles— cultural, political, military, urban, architectural.”1 Furthermore, as Martin Evans and John Phillips point out: “French rule in Algeria lasted for 132 years, as opposed to 75 years in Tunisia and 44 in Morocco, a depth and duration of colonial experience unique within the Arab world.”2 As a consequence, France “remains an omnipresent feature of Algeria,” and the complexity of its historical legacy helps ensure that Algeria is “the most francophone of France’s former territories.”3 Crucially, the Bay of Algiers forms a major economic maritime hub. As Tom Trevor has asserted regarding port cities more broadly, such spaces provide “symbolic sites of cultural exchange. They are the points of entry and departure, the mouth of an imagined body of the nation-state, where the foreign gets muddled up with the familiar and land-locked certainty is blurred by maritime exchange.”4 Given that Algiers is bordered by the Mediterranean Sea, Trevor’s argument pertains all the more, as the profound cultural and linguistic diversity of this geographical space “encourages a reshuffling of the usual cards of national belonging and unilateral framing.”5 As the capital city and seat of state power, Algiers has played a pivotal role in the formation of Algeria as a nation and the development of Algerian cultural identity. -
Defining Identities and Culture in Contemporary French Cinema
L2 Journal, Volume 3 (2011), pp. 176-200 http://repositories.cdlib.org/uccllt/l2/vol3/iss2/art4/ Rebels with a Cause: (Re)defining Identities and Culture in Contemporary French Cinema SÉBASTIEN DUBREIL University of Tennessee, Knoxville E-mail: [email protected] In Fall 2005, widespread riots shook France. Was Paris really burning? What actually did happen in France that fall? If the “social unrest,” as it was called, was symptomatic of serious social and political issues in France, it was largely misconstrued in some American media outlets. As a corollary, American students of French at times seem to have an inaccurate perception of the period. All the issues underlying the 2005 riots are at the forefront of today’s French socio-political debate, especially since a central political figure at the time, Nicolas Sarkozy, was since elected president. These issues revolve around questions of integration of an increasingly diverse population, social justice, unemployment and poverty. After addressing some of the reasons for the divergence in French and American media discourse, the paper examines in depth France’s contemporary social climate, as portrayed in recent French films, from La Haine to Entre les murs. These films, which represent a fragmented French youth in the midst of redefining its identities, oscillating between revolt and desire for integration in a changing culture, constitute effective entry points to present FL students with contemporary cultural contexts and content. Using the framework of multiliteracies, pedagogical techniques are presented to help guide learners explore difficult, yet critically important topics to improve their understanding of French – and American – culture(s). -
Cinéma Beur Versus Cinéma De Banlieue 108 2
Inhalt I. Einleitung 9 1. Ein neues Genre 9 2. Genrebegriffe 16 Exkurs: Prototypensemantik 20 3. Produktion und Rezeption 25 4. Genre beur 29 5. Interkulturelle Intertextualität – Vorbilder des cinéma 40 beur 1. Großbritannien 42 2. Deutschland 45 3. USA 50 II. Die Entwicklung des genre beur 57 III. Le thé au harem d’Archimède 67 1. „[...] a much needed personal exorcism“? 67 Synopsis 71 2. Original und Kopie 72 1. Peripherie und Zentrum 72 2. Interkulturelle Kinderbetreuung 76 3. Rassismus und seine kreative Nutzung 81 4. Der Beginn einer wunderbaren Freundschaft 87 5. Und wieder Truffaut 92 3. Prototypische Elemente 96 IV. La haine 99 1. Mathieu Kassovitz – Auf dem Weg nach Hollywood 99 2. Dekonstruktion von Stereotypen - Métisse 102 Synopsis 107 3. Die banlieue als mediales Konstrukt – La haine 108 1. Cinéma beur versus Cinéma de banlieue 108 2. Realität und Fiktion der banlieue 112 3. Die Vorstadt als Zoo 116 4. „Beurz ’n the Hood“? 121 5. Mediale Einflüsse und identitäre Entwicklung 127 4. Kritik am genre beur? 133 Inhalt V. L’autre côté de la mer 137 1. Engagiertes Kino 137 Synopsis 140 2. Die Konstruktion nationaler Zugehörigkeit und 142 Identität 1. Gaouris à vie 142 2. Probleme der Perspektive 147 3. Südfrankreich als Ort des métissage 151 3. Perspektivenwechsel 154 VI. Bye-bye 157 1. „Marseille c’est une ville à l’intersection“ 157 Synopsis 159 2. Kultureller und intertextueller Métissage 161 1. Topographische und kategoriale Schwierigkeiten 161 2. Das Meer als Projektionsfläche 164 3. „Beur pourri“ 173 4. Die Mean Streets von Marseille 180 5. -
LOVATO-DISSERTATION-2015.Pdf
Copyright by Martino Lovato 2015 The Dissertation Committee for Martino Lovato Certifies that this is the approved version of the following dissertation: Harboring Narratives: Notes Towards a Literature of the Mediterranean Committee: Hélène Tissières, Supervisor Samer Ali Paola Bonifazio Tarek El-Ariss Barbara Harlow Norma Bouchard Harboring Narratives: Notes Towards a Literature of the Mediterranean by Martino Lovato, Laurea; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August, 2015 Dedication To all those suffering in the Mediterranean the calamity of war. To my family. Acknowledgements I owe my deepest gratitude to my supervisor Dr. Hélène Tissières, and to all the distinguished faculty members who served on my dissertation committee: Professors Samer Ali, Tarek El-Ariss, Paola Bonifazio, Norma Bouchard, and Barbara Harlow. Without their mentoring and advice, their rigor and insightful comments, this work would not have been possible. I am also forever indebted with The Program in Comparative Literature, and particularly with Elizabeth Richmond-Garza, César Salgado, and Lynn Wilkinson, for their constant encouragement and example. I am grateful to many programs, departments and study groups at the University of Texas at Austin, whose precious contributions allowed me advance in my research. My heartfelt thanks to the Department of French and Italian, and particularly to professors Daniela Bini and David Birdsong. I also want to thank The Middle Eastern Studies Department, The Center for European Studies, The European Union Center of Excellence at the University of Texas at Austin, particularly to professor Douglas Biow, The Medieval Studies Research Group and Alison Frazier, and The Ethnic and Third World Literatures Concentration. -
Sofia Djama and the Movement to Retake Algerian Cinema
Sofia Djama and the movement to retake algerian cinema Daniel Stefani Gabrielly Pereira | Algeria | translated by Lemuel Robinson Sofia, thank you for being here at the International University of the Peripheries in Maré, Rio de Janeiro. Could you introduce yourself? However you like. Sofia Djama: I’m Algerian, my name is Sofia Djama and I was born in Oran, which is a large city in western Algeria by the sea. I grew up in Bougie, which is also a seaside town, and I live in Algiers, always by the sea. I’m a filmmaker: I started out with short films, then made a feature-length film, Les Bienheureux, which is The Blessed in English, and Al-Sawad in Arabic. Les Bienheureux is a film about an Algerian couple in their 50s who lived through the first revolt in 1988. I imagined them as having been militant activists during that time, but the film is really about Algiers—that’s the central character in a story that takes place 20 years after, in 2008. During those 20 years there was a civil war between institutions and Islamic radicals who attacked the people because they believed that the 1991 elections were stolen from them. They created an army that attacked the population because they considered every person who didn’t respond positively to the project of imposing Sharia on Algeria as not being fit to live. So we’ve been in a state of war. The film doesn’t only deal with that—it focuses not on the origin of the war, but rather its impact and the post-traumatic context. -
1 Hope and Indignation in Fortress Europe: Immigration and the Crisis Of
ORE Open Research Exeter TITLE Hope and Indignation in Fortress Europe: Immigration and Neoliberal Globalization in Contemporary French Cinema AUTHORS Higbee, Will JOURNAL SubStance DEPOSITED IN ORE 22 October 2015 This version available at http://hdl.handle.net/10871/18506 COPYRIGHT AND REUSE Open Research Exeter makes this work available in accordance with publisher policies. A NOTE ON VERSIONS The version presented here may differ from the published version. If citing, you are advised to consult the published version for pagination, volume/issue and date of publication Hope and Indignation in Fortress Europe: Immigration and the Crisis of Neoliberal Globalization in Contemporary French Cinema Will Higbee Over the past twenty years, in France, as elsewhere in Europe, cinema has produced an increasing number of films that engage with the thematics of immigration (both legal and illegal) and represent the living and working conditions of first-generation immigrants. In France, such films have also tended to focus on questions of citizenship and nationality as they pertain to the French-born descendants of immigrants, whose presence within the nation demands a reconsideration of previously fixed notions of community, origins and national identity. Though certainly not limited to the perspective of one ethnic minority, the majority of these French films, from militant immigrant cinema in the 1970s, to so-called beur and banlieue cinema in the 1980s and 1990s, have nonetheless tended to focus on protagonists, politics and narratives of immigrants from France’s former colonies in the Maghreb: Algeria, Tunisia and Morocco. Maghrebi characters are still quite visible on the screen. However, since 2000, French film professionals of North African descent have nonetheless begun adopting a broader range of modes of production and genres and assuming a greater variety of roles on both sides of the camera. -
Bab El Oued City & the Time That Remains
Cinematic Orientalism: Bab el Oued City & The Time that Remains Volkan Yücel & Ziya Toprak [email protected] , [email protected] Volume 6.2 (2017) | ISSN 2158-8724 (online) | DOI 10.5195/cinej.2017.179 | http://cinej.pitt.edu Abstract This paper focuses on orientalism as a cinematic paradigm in Islamic imagination. We compare two movies, “Bab el Oued City” (1994) and “The Time That Remains” (2009) that present different cases with regard to orientalism, fundamentalism and gender. We identify basic characters, their agency and roles in the whole setting. Our main argument about the movies, though originating from different contexts and historicity, is that they present somewhat conflicting cases with regard to issues we named above. Keywords: Orientalism, Bab el Oued City, The Time that Remains, Politics, Fundamentalism New articles in this journal are licensed under a Creative Commons Attribution 4.0 United States License. This journal is published by the University Library System of the University of Pittsburgh as part of its D-Scribe Digital Publishing Program and is cosponsored by the University of Pittsburgh Press. Cinematic Orientalism: Bab el Oued City & The Time that Remains Volkan Yücel & Ziya Toprak Introduction Cinema as such, provides unique spaces of documental materiality that present promises, aspirations, failed hopes, distorted affections, and narratives that bind micro and macro realms of making nations and imagined individuals. Bab el Oued City (Merzak Allouche, 1994), and The Time that Remains (Elia Suleiman, 2009), are among the Arab classics that exemplifies these unique, yet contradictory spaces that in the paper we dwell upon. Bab el Oued City (Merzak Allouache, 1994) displays an intense case where fundamentalism, poverty, oppression, and a materialist culture intertwined. -
JBA Production, Homegreen Films and the Louvre Museum Present
JBA Production, Homegreen Films and the Louvre museum present FACE a Tsai Ming-Liang film Taiwan / France / Belgium / Netherlands 2009 / 2h21 / original version in French and Chinese / 35mm color 1,85 Dolby SRD / visa 119458 With Fanny Ardant, Laetitia Casta, Jean-Pierre Léaud, Lee Kang-Sheng, Lu Yi Ching, Norman Atun • And the exceptional appearances of Jeanne Moreau, Nathalie Baye, Mathieu Amalric, Yang Kuei Mei, Chen Chao Rong • Cinematography Liao Pen Jung • Sound Roberto Van Eijden, Jean Mallet, Philippe Baudhuin • Art direction Patrick Dechesne, Alain-Pascal Housiaux, Lee Tian Jue • Choreography Philippe Decouflé • Costumes Anne Dunsford, Wang Chia Hui with the participation of Christian Lacroix and the Comédie Française • Editing Jacques Comets • Coproducers Vincent Wang, Henri Loyrette, Joseph Rouschop, Stienette Bosklopper • A coproduction JBA Production (France), Homegreen Films (Taiwan), The Louvre museum, Tarantula (Belgium), Circe Films (Netherlands) and ARTE France Cinéma • In association with Fortissimo Films • With the support of CNC (France), GIO (Taiwan), Nederlands Fonds voor de Film (Netherlands), Eurimages (Conseil de l’Europe), La Région Ile-de-France • With the participation of ARTE France, Cinécinéma, Tax Shelter ING Invest, Department of Cultural Affairs Taipei City Government • Script developed with the support of the programme MEDIA and the Atelier of the Cannes Film Festival. Produced by Jacques Bidou and Marianne Dumoulin • Directed by Tsai Ming-Liang International sales Fortissimo Films International Sales: -
Traditions in World Cinema Sampler
ANTONIO LÁZARO-REBOLL ANTONIO LÁZARO-REBOLL Traditions in World Cinema Traditions in World Cinema Series Editor: Steven Jay Schneider Series Editor: Steven Jay Schneider Associate Editors: Linda Badley and R. Barton Palmer Associate Editors: Linda Badley and R. Barton Palmer This new series introduces diverse and fascinating movements in world cinema. Each volume This new series introduces diverse and fascinating movements in world cinema. Each volume concentrates on a set of films from a different national or regional (in some cases cross-cultural) concentrates on a set of films from a different national or regional (in some cases cross-cultural) cinema which constitute a particular tradition. Volumes cover topics such as: Japanese horror cinema which constitute a particular tradition. Volumes cover topics such as: Japanese horror cinema, Italian neorealist cinema, American blaxploitation cinema, African filmmaking, global cinema, Italian neorealist cinema, American blaxploitation cinema, African filmmaking, global ‘post-punk’ cinema, Czech and Slovak cinema and the Italian sword-and-sandal film. ‘post-punk’ cinema, Czech and Slovak cinema and the Italian sword-and-sandal film. SPANISH HORROR FILM SPANISH HORROR FILM ANTONIO LÁZARO-REBOLL ANTONIO LÁZARO-REBOLL Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diam nonummy nibh euismod tin- Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diam nonummy nibh euismod tin- SPANISH HORROR FILM cidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad minim veniam, quis nostrud SPANISH HORROR FILM SPANISH HORROR FILM cidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad minim veniam, quis nostrud SPANISH HORROR FILM exerci tation ullamcorper suscipit lobortis nisl ut aliquip ex ea commodo consequat. -
Merzak Allouache Présentera “Harragas” Et “Bab El Web”: Toute L
Culture / Culture LE FESTIVAL CINÉMA ET MIGRATIONS D’AGADIR LUI RENDRA HOMMAGE DANS SA SEPTIÈME ÉDITION DU 10 AU 13 FÉ Merzak Allouache présentera “Harragas” et “Bab El Web” La septième édition du Festival Cinéma et Migrations d’Agadir qui se tiendra du 10 au 13 février prochain, rendra hommage cette année au cinéaste algérien, Merzak Allouache, qui a fait beaucoup parler de lui ces derniers temps, en raison de la sortie de son nouveau long-métrage Harragas. Un film largement salué par des critiques dithyrambiques et des consécrations dans plusieurs festivals, notamment le Grand prix de la Mostra de Valencia, ainsi que trois autres prix au Festival de Dubaï. D’une durée de quatre-vingt-quinze minutes, Harragas est un drame franco-algérien qui relate l’histoire de quatre jeunes Algériens (dont une fille) et de six autres jeunes venus du Sahara, qui décident d’aller explorer l’autre côté de la Méditerranée, mais clandestinement. L’émigration clandestine est un fléau enraciné qui a depuis fort longtemps intéressé les cinéastes, mais nous n’avons eu droit qu’à des courts-métrages et des documentaires. Harraga est quasiment le premier long- métrage qui traite de l’émigration clandestine, considérée comme un moyen de résistance qui séduit de plus en plus les jeunes, de toutes catégories sociales. Une pléiade de jeunes artistes se partagent la vedette dans ce film, notamment Lamia Boussekine, Nabil Asli et Samir El Hakim. En plus de la projection de Harragas qui a été tourné à Mostaganem en Algérie puis à Sète et Frontignan en France, le Festival Cinéma et Migration rendra hommage à ce réalisateur visionnaire, à l’avant-garde. -
`` Hope and Disillusion. the Depiction of Europe in Algerian and Tunisian
“ Hope and disillusion. The Depiction of Europe in Algerian and Tunisian Cultural Productions about Undocumented Migration ” Farida Souiah, Monika Salzbrunn, Simon Mastrangelo To cite this version: Farida Souiah, Monika Salzbrunn, Simon Mastrangelo. “ Hope and disillusion. The Depiction of Europe in Algerian and Tunisian Cultural Productions about Undocumented Migration ”. North Africa and the Making of Europe: Governance, Institutions and Culture, Bloomsbury Academic, pp.197-228, 2018, 9781350021822. hal-02117610 HAL Id: hal-02117610 https://hal.archives-ouvertes.fr/hal-02117610 Submitted on 2 May 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Hope and disillusion. The Depiction of Europe in Algerian and Tunisian Cultural Productions about Undocumented Migration Farida Souiah Aix Marseille Univ, CNRS, LAMES, Aix-en-Provence, France Monika Salzbrunn Université de Lausanne, ISSR, Lausanne, Suisse Simon Mastrangelo Université de Lausanne, ISSR, Lausanne, Suisse dans Muriem Davis et Thomas Serres (dir.), North Africa and the Making of Europe: -
Contemporary Algerian Filmmaking: from "Cinã©Ma National" to "Cinã
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2007 Contemporary Algerian Filmmaking: from "Cinéma National" to "Cinéma De L'Urgence" (Mohamed Chouikh, Merzak Allouache, Yamina Bachir-Chouikh, Nadir Moknèche) Cheira Belguellaoui Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES CONTEMPORARY ALGERIAN FILMMAKING: FROM “CINÉMA NATIONAL” TO “CINÉMA DE L’URGENCE” (MOHAMED CHOUIKH, MERZAK ALLOUACHE, YAMINA BACHIR-CHOUIKH, NADIR MOKNÈCHE) By CHEIRA BELGUELLAOUI A Dissertation submitted to the Department of Modern Languages and Linguistics in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Fall semester, 2007 Copyright © 2007 Cheira Belguellaoui All Rights Reserved The members of the Committee approve the Dissertation of Cheira Belguellaoui defended on July 27, 2007. Alec G. Hargreaves Professor Directing Dissertation Mark G. Cooper Outside Committee Member William J. Cloonan Committee Member Reinier Leushuis Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii To the memory of my grandmother. iii ACKNOWLEDGEMENTS I would like to thank Dr. Alec G. Hargreaves for his ongoing support, limitless patience, valuable feedback and meticulous insights. I am likewise grateful to Dr. William J. Cloonan whose friendship and mentoring enabled me to push and look forward, and Dr. Mark Cooper whose invaluable expertise has made this research particularly rich. Finally, Dr. Reinier Leushuis whose motivation, practical advice and availability never failed. Most importantly, I am indebted to the Winthrop-King Institute whose scholarships and travel grants made the pursuit of this study possible.