Search results for ""Author Will Higbee""

It is a comparative analysis of Maghrebi-French and North African emigre cinema in France. From militant cinema in the 1970s, through beur and banlieue cinema of the 1980s and 1990s, to the popular box-office successes of the 2000s, Maghrebi-French and North African emigre filmmakers have played a crucial role in representing post-colonial French society from the perspective of France's most visible ethnic minority group. This book explores the work of these filmmakers on both sides of the camera since the 1970s, offering original perspectives and fresh interpretations of key films, both mainstream and independent. The book provides new scholarship on recently released films that continue to re-define the relationship of Maghrebi-French and North African emigre filmmakers to French national cinema: La Graine et le mulet (Kechiche, 2007), Indigenes (Bouchareb, 2006), Cartouches gauloises (Charef, 2007), Le Grand voyage (Ferroukhi, 2004) and Dernier Maquis (Ameur-Zaimeche, 2008). It takes an innovative approach on two fronts. Firstly through its investigation of the recent 'mainstreaming' of Maghrebi-French and North African emigre cinema. With the crossover success of directors such as Allouache, Bouchareb and Kechiche and popularity of stars such as Roschdy Zem and Djamel Debbouze, these films and filmmakers are no longer confined exclusively to the margins (economic, political or artistic) of the French film industry. Secondly, the book engages with broader debates surrounding diasporic, post-colonial and exilic filmmaking, by examining the 'place' of these filmmakers in the local, national and global context(s) of their films. Using the concept of a 'cinema of transvergence', the book analyses the complex and shifting negotiations taking place within these films between the global/local, colonial/post-colonial, national/transnational as well as margin/centre. This is the first study to bring together a comprehensive comparative analysis of both Maghrebi-French and North African emigre cinema in France. It includes original analysis of films such as Indigenes, Cartouches Gauloises and Dernes Maquis. It discusses directors such as Allouache, Bouchareb and Kechiche.

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This is a comparative analysis of Maghrebi-French and North African emigre cinema in France. Since the early 1980s, the arrival of Beur cinema filmmakers of Maghrebi origin have made a key contribution to French cinema's representation of issues such as immigration, integration and national identity. However, they have done so mostly from a position on the margins of the industry. In contrast, since the early 2000s, Maghrebi-French and North African emigre filmmakers have occupied an increasingly prominent position on both sides of the camera, announcing their presence on French screens in a wider range of genres and styles than ever before. This greater visibility and move to the mainstream has not, however, automatically meant that these films have lost any of their social or political relevance. Through a detailed study of this transformative decade for Maghrebi-French and North African emigre filmmaking in France, this book argues for the emergence of a 'Post-Beur' cinema in the 2000s that is simultaneously global and local in its outlook. It provides a comprehensive overview of the key developments in Maghrebi-French and North African emigre filmmaking in France since the 2000s. It includes detailed case studies of key films from the 2000s that have yet to receive scholarly attention, such as La Graine et le mulet (Kechiche, 2007), Indigenes (Bouchareb, 2006), Cartouches gauloises (Charef, 2007), Le Grand voyage (Ferroukhi, 2004) and Dernier Maquis (Ameur-Zaimeche, 2008). It analyses trends in production, distribution and exhibition as they relate to Maghrebi-French and North African emigre filmmakers in the 2000s.

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Taking a transnational approach to Moroccan cinema, this book examines diversity in its production models, its barriers to international distribution and success, its key markets and audiences, as well as the consequences of digital disruption upon it.

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