Written and Directed by: Sid Ali Mazif Photo Director: Brahim Tourqui Interpretation: Hosni Kitouni, Ziani ... Production: RTA. 1972. Inflated 16 mm to 35 mm. Black and white. 1:40 A young Algerian is excluded from the French school where the position occupied by his father at the village foreman and former mujahideen, he studied. For the father who dreams of seeing his son move up the social ladder in this disaster is colonized Algeria, and the young man decides to go to work at the mine. This is the beginning of learning to life. With activists he becomes aware of the class struggle and working alongside the resistant. A general strike savagely repressed problems help to radicalize. This first feature by Sid Ali Mazif is full of promise. Several scenes in the film are good views and the director shows his hero for a lot of sympathy, he manages to make us share. In "Omar Gatlato Meanwhile, looks on Algerian cinema " of Wassyla Tamzali. Editions EN.AP 1979.
Cast: Michel Auclair, Sid Ali Kouiret, Keltoum Hassan Hassani.
Production: Algerian News Agency, Telcia Films (Paris). 1972. Colors. 35mm. 2:00.
The Algerian question will be brought to the agenda of the United Nations. Services of the French army in their hands a responsible leader of the FLN. It is anticipated large demonstrations. Torture by French soldiers trying to talk a militant. The film will show us the problems of consciousness of a paratrooper officer. This film is an honest realization lack of interest in the script. Not found there as lyrical and poignant if the director of "Wind Aures .
In "Omar Gatlato Meanwhile, looks on Algerian cinema " of Wassyla Tamzali. Editions EN.AP 1979.
RTA Production Year 1972. Black and white. 16 mm. 1:50.
This film was produced as part of the campaign on the agrarian revolution. The story takes place in a community of poor farmers fishermen. It is with great sensitivity Chouikh shows us the misery, exploitation of these people. He avoided anything that the subject could be easy. From his first feature the director displayed a great talent.
In "Waiting Omar Gatlato, looks on Algerian cinema "of Wassyla Tamzali. EN.AP Editions 1979.
Interpretation : Benguettaf, Zohra Faiza Ahmed Rais, Hassan Hassani, Joseph Nanou.
ONCIC Production Year 1972. Colors. 35mm. 1h45.
The young Palestinian Hayel decided to leave the refugee camp where he is to join the PLO who fought in the occupied territories. His first and only mission, because he died heroically is to attack Israeli camp.
For the second time the Algerian production focuses on a topic that goes beyond its borders - the first we recall was "The Wretched of the Earth"-Ahmed Rachedi You can not call it a success either in terms of achievement or on the themes developed. For instead of addressing the problems that raise Defond Arab nation on the subject, namely the political struggle between progressive and reactionary Arab states, the writers and director have given the Palestinian cause a short film heroic, without interest neither the political nor the film plane.
In "Omar Gatlato Meanwhile, looks on Algerian cinema " of Wassyla Tamzali. Editions EN.AP 1979.
Production: The City of Algiers. 1971. Colors. 35mm. 2:00
Party control of the city of Algiers of a travelogue, a film Zinet happen very particular about his vision of the capital with his present and his past painful chaffing. This film warm and a very modern bill is so far unde finest films of Algerian cinema. He brings this humanism that is so desperately needed a movie that wants popular.
In "Omar Gatlato Meanwhile, looks on Algerian cinema " of Wassyla Tamzali. Editions EN.AP 1979.
Interpretation: Marie José Nat, Mustapha Kateb, Sid Ali Kouiret, Fettouma Ousliha, Jean Louis Trintignant.
ONCIC Production Year 1970. Colors. 35 mm. 2:05
The film brings to the screen's book Mouloud Mammeri the same title. This is the story of Thala village kabyle, during the war with one hand the presence of the French army and the long procession of abuse that we know, the other a village with people engaged in the hard life of fields and gradually find themselves drawn into the struggle for liberation. This film is honest enough in terms of achievement, if it wasn 'side too "American" of some fight scrub. For the rest it's not what we call a work inspired: except maybe the scene where the army will destroy the village and the grove where the old peasants entwine trunks and old cry ...
In "Omar Gatlato Meanwhile, looks on Algerian cinema " of Wassyla Tamzali. Editions EN.AP 1979.
Interpretation: Agoumi, Nourredine Sheikh Mohamed Chouikh, Jacques Monod, Janne Augier ...
ONCIC Production Year 1969. Color. 35 mm. 1:27
Film tribute to western. The director is best known as a screenwriter ("The Wind Aures " and then in 1976: "Chronicle of the Years ember ). Using the style of western tells the story of a bandit of honor in colonial Algeria. This film is slow and clumsy retained only the "poses" of the famous American type.
In "Omar Gatlato Meanwhile, looks on Algerian cinema " of Wassyla Tamzali. Editions EN.AP 1979.
ONCIC Production Year 1969. Black and white. 35 mm. 1:25
Gazelle Gold Mediterranean festival in Rabat in 1969.
This film has been considered the testing ground for young filmmakers to ONCIC Today there are more negative and the copy was accidentally destroyed. Algerian film library has a copy of the beautiful part turned by Bouguermouh " Thrush . A young schoolboy Kabylia is charged by the guerrillas to send a message that is hidden in a thrush. This short film is big on tone quality and accuracy of observation. The world of childhood is shown without being impaired or infantilized. There is also evidence that may Bouguermouh be a very good filmmaker.
In "Omar Gatlato Meanwhile, looks on Algerian cinema " of Wassyla Tamzali. Editions EN.AP 1979.
Production Algerian News Agency. 1968. Black and white. 35 mm. 1:30.
In this second feature Lakhdar Hamina door to catch a character created for the stage by Rouiched and television. Hassen is a petty bourgeois of Algiers, a nobody. The war will put in situations that make him a hero despite himself. This film has managed to give full dimension to the character Rouiched. His poetry and humor. After "Le Vent des Aures" Lakhdar Hamina addresses is a very different kind with equal success.
In "Omar Gatlato Meanwhile, looks on Algerian cinema " of Wassyla Tamzali. Editions EN.AP 1979.
ONCIC Production Year 1968. Black and white. 35mm. 1:45.
Young Cinema Award at the International Festival of Tashkent 1968.
The film tells the story of a group of inmates in a camp hosting. This feature debut from Slim Riad, a former director Television is quite clumsy. This is the first filmproduit by the national film production since its reorganization and installation of its new leaders. Having chosen a director of television, an elder, while young professionals coming filmmakers schools and are reduced to small films, is this a sign of a lack of confidence and lack of immagination? The few years that followed unfortunately we can meet here that these two things.
In "Omar Gatlato Meanwhile, looks on Algerian cinema " of Wassyla Tamzali. Editions EN.AP 1979.
Algerian Production News. 1966. Black and Blanc.35mm. 1:30.
Award Best First Film at Cannes in 1966.
Best Screenplay Award at Moscow 1967.
The film begins with the "Works and Days" of a family of Algerian peasants neither too rich nor too poor. The beauty of the land falls the laborious life of these people. Group life and serene. When the sky a plane arrives carrying bombs and seven years of struggle. First is the death of father then the son enlisting in the revolution and his arrest. For the mother began a long ordeal, from camp to camp, from mountain to mountain, from village to village, a soldier, a soldier she is trying to find his son with a chicken as the only wealth it promises to offer the which will help him find his child. This film opens up a wonderful royal Algerian cinema. Lakhdar Hamina which has already been able to appreciate the talent in her first film produced in Tunisia during the war, "Yasmine", with this film caught the Algerian cinema on the bandwagon of high art (the cinema).
In "Omar Gatlato Meanwhile, looks on Algerian cinema "of Wassyla Tamzali. EN.AP Editions 1979.
Interpretation: Mustapha Kateb, Agoumi, Yasmina Tahar El Amiri ...
RTA Production Year 1965. Black and white. 35 mm. 3h
Fresco historical recounting three tables before, during and after the war for national independence, following the evolution of class struggle. The film's protagonists are, firstly Ali, the master-cons and also his boss, Representative of the national bourgeoisie colaboration with the colonial regime, but who tried to hijack the national independence for its own benefit. This film shows the river that official theories on the role of the bourgeoisie during the liberation struggle, however, is marked with a solid experience in staging, although it uses some old-fashioned film.
In "Omar Gatlato Meanwhile, looks on Algerian cinema " of Wassyla Tamzali. Editions EN.AP 1979.
Interpretation: Agoumi, Samia and other actors from the troupe Khaki. CNCA
Production Year 1963-1965.
Centre National du Cinema Algerian who has been created in 1963 will allow the start of construction of the film editing. Ambitious work, it was the tribute of independent Algeria to all those fighting for independence.
A group of young Algerians seek in books, museums, the past of colonized peoples of Africa and Asia.
In the great tradition of films that film editing is supported by a comment written in a language admirably. All epic and all the enthusiasm released by the independence of Algeria is contained in words and images of this film. After him, alas Algerian cinema will regain its borders.
In "Omar Gatlato Meanwhile, looks on Algerian cinema " of Wassyla Tamzali. Editions EN.AP 1979.
Written and Directed by: Jacques Charby Production Manager: Mourad Bouchouchi Interpretation: Belaid Mustapha Djellel Fawzi Mustapha Zerouki and children "El Djil Djadid. CNCA Production Year 1964. Black and white. 16 mm. 1:30. Young Cinema Award at the festival in Moscow 1965.
is the first feature film produced in Algeria. (The year before mounting a film - story and interview - had been completed by the Center Audio-visual Ben Aknoun and directed by René Vautier, shown at the first congress of the FLN, it was "people running" ). This first fiction will address one of the most pressing issues in the aftermath of war: that of childhood. Children, found independence, do not know yet to play "peace", they play quite naturally to "war". The game will end badly for the revolver in the child there is a ball. This simple and moving film is a promising beginning for Algerian cinema.
In "Omar Gatlato Meanwhile, looks on Algerian cinema " of Wassyla Tamzali. Editions EN.AP 1979.
It is quite surprising that the film structures developed by the newly independent Algeria reflected the colonial past. This dependence vis-à-vis the foreign expertise in filmmaking is also reflected in the production of first feature films Algerian fiction. The completion of the first feature film Algerian was led by a foreigner so young A peace was in fact directed by Jacques Charby. It is generally regarded as the cinema has its roots in the liberation struggle, however, this film reveals a surprising continuity. The structure given to the film industry after independence resumed exactly divisions and concerns of colonial structures. As pointed out in his study Maherzi Lotfi, the "drive-bus', grid rural revolutionary who wanted (CDC), accurately reflects the network of colonial propaganda (DSC) and the new structure established for the production of feature films (CNCA) is inspired by the French National Centre for Cinematography (CNC). The state plays a decisive role in framing the Algerian film. His organization controls the import, distribution and presentation of films as well as production. They were the bodies of censorship, controlled access to the profession, and when state funding was available for production, they were responsible for its allocation. Limitations blatant these responsibilities appear multiple clearly expensive in European co-productions that they have incurred in the 1970s and beyond. All these efforts were of financial disaster with the exception of three landmark films of Youssef Chahine financed by ONCIC. The Algerian government believes in total submission to the culture to politics. The ONCIC therefore controlled all aspects of cinema, and although the filmmakers have a certain freedom of tone - as evidenced by the experience Merzak Allouache when performing Omar Gatlato (1976) - the government imposed on its national cinema themes to treated. Algerian cinema was so limited and uncritical, taking on all aspects of a national cinema (ist) stressing the ideas of coherence and unity, and manufacturer of both the national myth and the ideological production. Considering the Algerian crisis, the historian Benjamin Stora has said it is "partly feeds myths forged in the war for Independence ": " The overflow of a falsified memory appears as an obstacle a real reappropriation of the past, building a spirit of nationalism based Republican and tolerant Islam " [1] . In this sense, the film can be seen as complicit in the falsification of the Algerian struggle by the FLN, which eventually caused the tragic collapse of democratic structures in 1992. Since the early 90s the number of cinema has continued to decline, the situation in Algeria is catastrophic, we went from 300 rooms at the time of independence only a fortnight today. This decrease in cinemas has been accompanied by extensive development of alternative distribution structures, with video, communications satellites and the European Internet. The market is flooded with pirated DVDs and VHS. In this context, local film production is inevitably threatened. The dissolution of the production structures of the state and support systems have forced the filmmakers to turn to foreign funding. Films with such blended funding can only reflect the priorities (perhaps unspoken) of the two ways in which an Algerian film can develop a reputation before leaving local: The international film festivals and art cinemas and testing French. But these requirements are contradictory: on the one hand, a requirement of "exotic" is confined to a territory both geographically and ideologically and also a requirement of reality: the document Algeria through its current problems, generally reduced to those of urban areas and in relation to women. In this contest it is difficult to speak of Algerian cinema as if it were a single definition. For filmmakers from Algeria, the main source of foreign financing is France, where their chances are increased thanks to the French state policy. Analyzing what he calls "cinematographic deterritorialization" 1, Raphael Millet draws our attention to the role of the French government (especially between 1984 and 1996), which supports film production in all areas where it has interests or influence (sub-Saharan Africa, North Africa, Vietnam etc..). Thanks mainly to the Ministry of Cooperation, the Ministry of Foreign Affairs, the South Fund (managed by the CNC), FASILD, the agency of the Francophonie, but also through support of legislation increasing the number of productions (agreements formal agreements with nearly 40 countries, and giving an automatic right to receive aid) and order of July 6, 1992 for film production in developing countries [2] . These structures are based on specific criteria determining the style of movies. The South Fund which Algerian filmmakers have access, said he works must be "a strong cultural identity ", created by filmmakers living in the country concerned and in no case did the shooting may have place in France or Europe [3] . Nationality films From the 1970s until today, we witness the permanent coming and going between Algeria and France filmmakers. Since the late 1990s, the film is virtually nonexistent in Algeria, most directors and technicians have been forced into exile. The lull that plagued the country since 2001, however, allowed a certain number of directors to return. In the meantime, most focused on the themes of the immigrant community with such Merzak Allouache Hi Cousin! and Mohamed Zemmouri with 100% Arabica and Beur White Red . Others in the image of Mohamed Rachid Belhadj have continued to move away from questions Maghreb. His feature film Mirka , made in 1999, is an international co-production touring the Balkans with French producers, Italian and English, a cinematography Italian stars of French and English. The fact that it is presented as a film "Algerian" the Carthage Film Festival in 2000, has surprised many critics. More recently it Indigenous Bouchareb which caused a scandal by representing Algeria in the Oscars 2007. These controversies underlying the contrast between the way the film contributes to the construction of national identity on the one hand and the insistence of the critics on the other hand cultural purity. When it comes to movies, issues of national identity are regularly raised. But in a globalized world, international co-productions that he is of national identities? It is increasingly difficult to assign a national identity defined in Arab and African films. Take the example of Mohamed Sudani, was born in Algeria in 1949, but is of Malian origin. Since his studies at IDHEC he lived and worked in Switzerland. His film Waalo Fendo (1997), is a Swiss co-production which takes place in the community of illegal Senegalese immigrants in Milan since Sudani returned to Algeria to film a documentary without images War (2000 ). The short film is not left short films Algerian apparently having been made over the past five years are the result of European productions. These films were shot in Algeria and for the most part their filmmakers were trained in European film schools, and currently live in Europe. This "hybrid" culture is very legible in the work of filmmakers Algerian feature films from immigrant belonging to the second generation, commonly called the "Beurs". The first films of these directors, Mehdi Charef, Bouchareb, Abdelkrim Bahloul, reflecting the lives and concerns of immigrant communities in which they grew up. The joined in the early 90s, a dozen new filmmakers. Algeria The time is now inaccessible from these new director a kind of fantasy. Traid Karim, for his film The truth tellers (2000) chose to shoot in Portugal scenes of his film supposed to take place in Algiers. The Harem of Madame Osmane (2000) Nadir Moknèche was filmed in Morocco. Benjamin Stora in its study of Algeria in the 90s sees a film structured around the absence. All this appears in a film whose action unfolds in 1993 in a building in Algiers inhabited by women but in fact everything is merely the absence " the absence of men gone to war in the fields Petroleum or France, the absence of Algeria real lack of ideological commitment, lack of blood and cure re " [4] . Nadir Moknèche since turned to two movies in Algiers Viva Aldjérie (2004) and Paloma Delight (2007). Most filmmakers immigrants or an immigrant felt the need to address other subjects taking their distance from the soil of origin. Bouchareb for example, has made films about children mestiza ( Dust of Life) and on the tensions between Senegalese immigrants and Afro-American New York (Little Senegal ). But as for Bouchareb Mehdi Charef who at one time also abandoned the description of the source community, there is a homecoming: the latter produced a film about his childhood in Algeria called Cartouches Gauloises in 2007, Rachid Bouchareb after Indigenous preparing a film about the massacre of May 8, 1945 in Sétif. policy stimulus from the Department of Algerian culture, associated with a return to relative calm on the security front a new impetus to these "exiles" a creative return. The Algerian filmmaker in exile or those of immigrant origin have become integrated with ease into the structures of commercial cinema, where the French international coproduction and participatory institutions are common. The French government's interest against the "cultural exception" for filmmakers and production have provided Francophone filmmakers from Algeria a land welcoming. For most shot entirely in French and some just released movies born from these EU policies rarely meet a public success in Algeria (mostly of these films were screened last decade previewed in Algiers but knew not of cinema ... The networks piracy is responsible for bridging this gap). this state of aesthetics, are in addition to ideological reasons cited reasons underlying structural and inherent in the policy or insufficiently coherent-in cinema and culture. The reality of this field is that of a traditional practice. Without industrial structures, without stable funding, without film school, this sector has attracted marginal nor the enthusiasm of intellectuals, nor the various professional vocations (writers, assistants, set designers, costume designers, etc..) which are necessary. In Algeria, we must admit that the attempt to establish as a cinema system "and pledged dealienating" which was different from the "ideological artifice of film classics" failed to propose new forms, new aesthetic, and n has done that reducing the scope of intervention of the films by reducing them to the particulars of speech illustrated. is from this point of view, a film that has consistently seen the initiatives of its promoters confined to the more mundane crafts. On the one hand, a very low-production never exceeded ten feature films per year for cinema, in its better years, on the other hand, random production of more and more adventurous about the implementation of projects. This is said not to justify the feeling of dissatisfaction that we leave these films, and evacuate the moral responsibility and artistic creators, but to understand the global climate in which projects cheminent until a number of them track the day. The other crucial problem for Algerian cinema is that of transmission namely, training in all sectors, directed to the projectionist. More than 40 years after independence, no training structure has been implemented since the dissolution of the INC became legendary ...
[1] Benjamin Stora, History of Algeria since independence, Paris: Edition La Découverte, 1994: p.102-103 [2] Raphael Millet ( in) dependence of films from the South & / vs France, Theorem 5, Paris1998 [3] Fund website South http://www.ambafrance-cr.org/article.php3?id_article=472 [4] Benjamin Stora, The Invisible War: Algeria 90s, Paris: Presses de Sciences Po, 2001 ,: p.91
The 90s began with a production high and there was no indication that the reorganization would bring disastrous Algerian cinema to its knees. A few clear exceptions, the characteristic The most flagrant that emerges from this new decade is its continuity with the 1980s. In several cases, the works of the 90s are higher than those previously produced, but the effect again, the unexpected absence from the production of most established filmmakers. The exceptions are among the key works of the decade. Established filmmakers and experienced filmmakers Television (Chouikh, Allouache Hadjadj, and Bouguermouh Meddour) made great efforts to overcome both lower production subsidies and real physical threat of fundamentalist violence. Together they realized a series of excellent films about the contemporary situation, exploring both the present and the causes of poverty today ( Youcef and Bab el-Oued City ), as well as telling fables and allegories on the honor, violence and identity, questioning the tradition that seem to have little protection against the chaos ( Machaho , Hill missed La Baya Mountain, Desert and L'Arche ). In terms of personalities, we experienced a real revival of what was becoming an aging generation, but very few of these newcomers gave the filmmaking of the era a fresh voice and authentic. Malik Lakhdar Hamina (with Fall - October in Algiers) and Hafsa Zinai-Koudil (with The Demon in the feminine), one Algerian woman to have completed the course films throughout the decade, each produced the first feature film fiction that could pave the way for others, which was unfortunately not the case.
Algerian cinema continues to be virtually nonexistent, with no sign of recovery of production or distribution structures. The Voisine (2002) of Ghaouti Bendeddouche, one of the films left unfinished when the bodies production closed in 1998, was finally completed. Nagüeles Belouad turned eight weeks in Algeria a study of suffering polygamy women living in Algeria in the 90s, called the attention of women (2000) there also turn Father. Both films have been distributed in Algeria, it seems that Father was recently released on Algerian television. The Other World (2001) by Merzak Allouache, marks the return after 7 year absence, the director. This is the story of a painful back Yasmine a young woman born in France and speaks no Arabic, left for Algeria in search of her lover Algeria Rachid; that disappeared during an ambush. The winding action, ends with an absurd killing. For security reasons, much of the filming took place in the Algerian desert, an area more secure. The shooting of this film is an important event, but the film itself does not generate little interest. It will make a quiet exit in Algeria. Mehdi Charef, director of immigration from turning on him Keltoum The Girl (2002), the film also recounts the story of a young woman giving up the security of Europe to go to Algeria at the search of his mother who believes she was abandoned. The film was shot in Tunisia as a significant number of films and TV movies that are set in Algeria, but for security reasons could not be turned.
Rachida (2002), first film by Yamina Bachir-Chouikh (b. 1954 and wife Mohamed Chouikh), was most impressive; In Algiers, during the years of terror, Rachida, a young teacher, went to work without wearing her veil. She was violently taken to task by a band of terrorists, is located in one of his former students, Sofiane. They ask him to place a bomb in his school, but she refuses to comply. They then pull him over and left for dead. She survives and takes refuge with his mother in a small village. She believes could flee the violence of terrorists but again violence rages and decimated the village. With a strong relay media: newspapers, tapes ads on the only television channel in Algeria, the film has a great public success. It marks the return of Algerian cinema and accompanying The hopes raised by the policy of civil concord of President Bouteflika recently elected (1999). Critics blame him, however his lack of realism.
Rachida Year of Algeria in France (2003) sees the funding of a dozen feature film which will be barely half the day ... With the back of oil prices and a fragile return to peace, a new desire to create movies in Algeria is emerging. In 2003 and 2004 are put in place new structures, including Centre National du Cinema. With the exception of Sun Killed Bahloul (2004), chronicling the life of poet Jean Senac, and Si Mohand or M'Hand Liazid Khodja all of Algerian films of this new decade, reflects, examines, violence that the country is seized in the early 1990s and its traumas. Tea Ania (2004) and Viva Algeria (2004) are two prominent examples. The first, directed by journalist and playwright Said Ould Khelifa, tells of a singular walks novelist forced to shut himself in his home by fear of reprisals terrorists. Here, no physical attacks or political speeches. The resonances of a murderous past are distinguished by a voluntary solitude, reflecting a frenzy of madness and discreet. The hero refuses any communication with the outside light in this company the cause of his torment. Hope fallen stranglehold on acute paranoia, the writer is hanging by a thread, one that connects it to his next-door neighbor, a certain Ania, a symbol of hope as you want. Ould Khelifa, through his character, questioned the tear. Before him, Algerian cinema was moving towards a representation facts, now is the time to allegory and reproduction of grief and its consequences in order to draw a picture of the Algerian trauma. The author presents an artist who can only be expressed by words. It must continue its search for the sublime even if he has suffered a major earthquake within. The art must not retreat, this is the conclusion of the filmmaker. This film copyright was not distributed in Algeria but known abroad as a broadcast network rooms arthouse French and festival. Viva Algeria second film Nadire Moknèche is without doubt side Bled Number One the film's most striking characteristic of this new decade, wanting more popular than Tea Ania having recourse to that effect Biyouna actress very popular in Algeria, this film wants it without a glance concession on the Algiers post-terrorism. Goucem, 27, works in the shop of a photographer. His mother, Papicha (Biyouna), drags his fifty years and his memories collided cabaret dancer. Under the pressure of terrorism, they had to leave their city to the suburbs of Algiers to take refuge in a downtown hotel. Goucem there he meets Fifi, a young prostitute. Viva Algeria takes its title from a famous slogan of the Algerian stages, mixing French (Algeria) Arabic (El Djazair) but the film suffers from not having been shot in the local language. The use of French creates a mismatch with the realist film. Which earned him strong criticism in Algeria. It should be noted that this, like all the films made in recent years a co-production, namely France and Belgium. However Nadire Moknèche denies having been subjected to any pressure on the non-use of language Algerian dialect. This question of why he had not "turned this young language" aldjérienne ", asked in an interview by historian Benjamin Stora [1] , Nadir Moknèche initially wanted to recall" I am the first to want to hear my native language, especially since this language is called default Arabic, but is also far from Arabic than Italian from Latin, is censored on television and Radio Eta t ". But at the difficulties of casting with most young actors from the Algerian school and "ridiculous" to want to talk Lubna Azabal in his language, namely Arabic, Moroccan filmmaker has not hesitated to decide. " Algeria is the second largest French-speaking world by the number of minority staff, says Nadir Moknèche, much of its literature is written in French, so it is not an illegitimate Algerian filmmaker decides to use French to speak .
Viva Algeria Nevertheless, it seems obvious that the films co-produced with French-speaking countries have an obligation to be run in French, the third film Nadire Moknèche, working with the same producers as for his previous film was shot entirely in French; shot in Algiers during the summer of 2006, Paloma Delight is again directed Biyouna in the role of a gang leader who is not cold in the eyes . These films are considered by critics Algeria (if it exists ...) as being intended for public view. Films whose financing is fully turned on Algerians in their dialect, in the case of El Manara (2004) by Belkacem Hadjadj, Douar de Femmes (2006) Mohamed Chouikh. Through a story of friendship caught in the spiral of crisis El Manara attempts to illuminate the contradictions and anachronisms of a society that is rooted in its time and tied to his beliefs and traditions. Hence the reference to the legacy of tolerance symbolized by the ritual El Manara (Lighthouse), which each year celebrates the birth of the Prophet in the city Cherchell. A popular festival deemed heretical by fundamentalists. Constantly on the thread of the documentary, with characters of all shades, the image of a society riddled with contradictory currents, El Manara participates in its own way the duty of remembrance and mourning to be accomplished. Proposed for several months during special sessions, the film has regularly proved that the debate was possible and necessary. With a small budget of 35 million dinars (350,000 euros) El Manara , one of the few films Algerian initiative of the last five years, was shot in DV [2] . With Morituri, his fourth feature film shot during the summer of 2004 in Algiers, Okasha Touita brings to the screen the adventures of the famous Commissioner Llob success created by writer Yasmina Khadra. At the heart of years of terrorism in Algeria, while investigating the missing daughter of a former egg plan, Brahim Llob is featured on the trail of a terrorist group responsible for eliminating intellectuals. During its investigations, on the sidelines of a financial scandal involving senior officials, the Commissioner finds itself at the center of a plot.
the image of Algerian literature born during the years of terrorism and called the literature of emergency, we can talk of a cinema of urgency. The aesthetic issues have deserted the field of creation to make way for an effective narrative, narrative. Submitted economically co-production of this film often loses its authenticity using the French language, exiling the scene of action in the secure areas of the country and using foreign performers. These films appear to the public as Algeria for export and therefore turns away. The official state despite its withdrawal continues to be the main provider of funds through a cyclical policy, and like the Year of Algeria in France, the new event called "capital of Algiers Arab culture "funds for the year 2007 the completion of 22 films feature films, 44 documentaries and 11 films and will return the camera to veterans such as Ahmed and Mohamed Rachedi Lakhdar-Hamina ...
Since independence, despite a policy of Arabization intensive Amazigh identity has continued to speak, mainly through its poets, musicians and singers. For the film, he has had to wait more than thirty years. Time Boumediene, Chadli then he was out of question that the production of Algeria, wholly nationalized, draws a detour through the Berber. Once the system began to crack in the early 90s, the film Amazigh won their place on the screen. For it is indeed a victory, that of a cinematically unexplored territory of Algerian culture. The four feature films made to date in Tamazight language - Hill forgotten, Machaho , Mountain Baya and Si Mohand or M'hand - beyond the standards of the Algerian production, given the mounting financial, infrastructure and general, one might add, in their eagerness to exist. Hill forgotten first feature film in the Berber language was released in January 1995. This movie is the adaptation of the famous and iconic novel Mouloud Mammeri is obviously no coincidence. Its director, Abderrahmane Bouguermouh, stated elsewhere in the prospectus for opening the press release: "Between Mouloud Mammeri and me, there was an oath: if we honor one day returning to the first film in Berber, Hill would be forgotten (...) There was also this contract with the Kabylie: working for the rebirth of culture .
Video The Forgotten Hill - The hill, forgotten, kabyle sent kabylovore . - Short film, documentary and trailer. 1965, Bouguermouh running a short film in Tamazight, Like a soul, which earned him his dismissal and forfeiture of the film [1] . This does not prevent re-offending three years later, by filing the draft Hill forgotten before the commission of the scenario. Although in 1952 Mammeri wrote his novel in French, he and Bouguermouh insist that the film takes place in Berber. The draft is not accepted. The director then tried, unsuccessfully, to mount the production abroad, before re-submitting the script to proceedings Official 20 years later, in 1988. They finally agreed, but lip service: the contribution of CAAIC is limited to the provision of filming equipment and the technical team. Bouguermouh obtained parallel 4 million dinars, or an eighth of the funding, with the support of a committee whose members number of intellectuals like Rachid Mimouni. The remaining budget is mounted via associations, local politicians, artists, who are mobilizing en masse for sets, costumes, props, extras and non-professional actors and, of course, funding. Bouguermouh is not the end of his sentences because in fact the film is not finished: the state laboratory that ensured the draw for the copy, as often happens, the missed work. And any post-production remains to be done. It took two years for the film, finding its shape and duration definitive way at last. Bouguermouh then declare the daily Liberté " This will be my last film. I reached my final goal; there ends my career as a filmmaker irrevocably . "At the newspaper El Watan, which asks whether the film is such that he had dreamed, the director replied bluntly:" Not at all. I did not technical means. For us, what mattered was first to make a film in Tamazight. We must be content with that. This does not mean that The Forgotten Hill is a bad movie. That the public to judge. But there was a choice to make. Either do a very good movie, and it required all currency to acquire hardware, costumes, technicians lot of money to get rid of the chores and take care only of the film, which was not, alas! Either take this opportunity and rush to make this film before it's too late, with the means at hand. I chose the second option and I think I was right " [2] . The same funding difficulties will be encountered by the two following films in Tamazight, Machaho (1996) and The Mountain Baya (1997). These two films are among the first to have used a system of independent production . In this case Imago Films, a company founded by Belkacem Hadjadj and Azzedine Meddour.
Thousand financial problems are almost derailed the project and block repeatedly achieve. In addition there are threats to the filmmakers, like many intellectuals during this period. While preparing the film, such change must Meddour roof every night [3] . The shootings are the high-risk companies, particularly as the Kabylia is now one of the most dangerous regions of Algeria and the terror there is in full swing ... Belkacem Hadjadj is yet Machaho starts in février1994, three months after the first round of crank Hill forgotten. In July, the team was ambushed. The film is completed only by the local population, which provides permanent protection service. " Machaho production, the first feature film in the Berber language, has a history. Is that of Algerian technicians who have demonstrated their tremendous generosity and courage, and their French counterparts who, like them, believed in this adventure, "wrote the director in a production note. He continued: "Who would have been foolish to turn in 1994 in Kabylia, in natural settings, while each day brought its share of tragedies? Who but madmen driven mad by love of this country and this people that history turmoil? "To achieve Baya Mountain, filmed several times interrupted, lasts a year and a half, Azzedine Meddour also faces the greatest dangers. The horror will be at the rendezvous. In a space that contains explosives for use in a scene from the film, an explosion erupts and carries a part of the team. A dozen technicians, whose script and found death. Accident? In the interview published in the press kit, Meddour said: " Was it an attack? There should be evidence and I do not the boards, so I can not speculate on that. The chosen version says it was an accident, but I personally do not believe at all, like most people who were in the room . few months after this tragic episode, which had severely affected Meddour said: " What is absolutely amazing with this scenario and the history of film, is that at some point it became the same destiny: we began to experience what living Baya. She fought for the survival of certain values. We. We were doing cinematic expression Survive, survive ourselves as being humans, citizens, creators. We wanted to say we're still here. For how long? Nobody knew then . Azzedine Meddour who died in May 2000, three years after the release of his film, from cancer.
[1] The "permanence Berber" by Jeanne Baumberger in CinémAction Cinemas Maghreb: echoes from the front, Paris Telerama Ed.Corlet-, N-111, 2nd quarter 2004, p.213 [2] Ibid, p.214 [3] Testimony in June 2006 Timezrit, hometown director.
October 1993 saw a new radical reorganization of the Algerian film industry: the production was privatized, was attributed to developers three years of salary and are invited to start their own companies [1] . The CAAIC continued to offer support to production and manage a new system that allows filmmakers to receive state assistance for specific projects submitted for approval, based on their scripts, commission of which was First chaired by writer Rachid Mimouni. This reorganization, coinciding with major political upheaval, serious threat to the Algerian film. But it was worse in 1998 when the government suppressed the CAAIC, ENPA (the body television production) and NAFA (news agency), without specifying whether new structures are planned. Four feature films- Meriem of Fettar, The Neighbor of Bendeddouche, Mimouna of Mazif Howl and the new director-Abderrahim Laloui remained unfinished. The only Voisine finally released in 2002. The 217 employees of CAAIC - backbone of the Algerian film industry - found themselves unemployed. A report of this period indicates that the number of entries had increased from nine million in 1980 to only five hundred thousand in 1992, while the number of cinemas (most of converted video room) was increased from 458 at Independence in 1999 to only twelve [2] . The new privatization combined with the growing political unrest and waves of mass killing, Algerian cinema seriously cut its links with the outside world. In 1995-1999, only five feature films Algerian were distributed abroad, and many filmmakers, actors and technicians were forced into exile. Previously, the reforms of 1987 had seemed to encourage the production of Algeria, while 19 films were released in 1990-1993, an average of almost five films per year. In the early 90s, appeared the new films from several directors of the 80 confirmed, whereas the ENPA co-producing two feature films. neon Children (1990), was directed by Brahim Tsaki in France, after filming two feature films in Algeria. The Cry of Men (1990), Okasha Touita new film, describes the friendship of two police officers, one black foot, the other Arab-who find themselves on opposite sides during the conflict ever more violent between the FLN and France, in 1959 in Mostaganem. Mahmoud Zemmouri, who also began his career in France, made his third feature , From Hollywood to Tamanrasset (1990): Another satirical fiction that deals this time of fun alienating influence of foreign television on the community Algerian rural in which the director was born and raised. The only long- film directed by Sid Ali Fettar in the 90s, Forbidden Love (1993), located in 1955, tells the love condemned Azzedine, a young Algerian student, and Francine, a young girl born in Algiers. Everywhere else, this film would have looked conventional, but in Algeria, on the contrary, it represents a move away from the dominant social and political tendency. also was seen reappearing some veterans of the 70s. The new leader of ENPA, Mohamed Lamine Merbah, produced a film in 16mm, Radhia (1992), the story of a divided family. Jafar Damardji, whose first film in 1972, finally completed in a second Errances , also known as the ash Earth (1993), based on the voyages of European exploration, Isabelle Eberhardt. Another exceptional creation by a veteran Lotus Flower, directed by Amar Laskri, head of CAAIC from 1996. This co-production between Algeria and Vietnam, full of ambition (co-directed with Tran Dac) which accounted for much Laskri 90s, highlights some of the impacts the least suspicion of occupation and colonial wars through The history of a Vietnamese journalist, Houria, who arrived in Algiers to seek his Algerian father. He had been sent to Vietnam in the '40s, to be part of the French expeditionary forces. There, he supported the Vietnamese involved (for which the mother was also active Houria) because of the French massacres in his country, before returning to Algeria to attend the last event of the liberation struggle. A new generation was born with the debut film of the son of Mohamed Lakhdar Hamina, Malik Lakhdar Hamina (b. 1962): Fall-October in Algiers (1991). This is the vivid and colorful portrait of a family caught in the turmoil of October 1988, while young Algerians took to the streets and find themselves faced with inexperienced soldiers and panic. This movie tone very free so disturbing, was not circulated in Algeria, the only existing 35mm print that is abroad [3] . Other films from the early 90s, are those of the journalist Said Ould Khelifa including White Shadows (1991), in which Yousef, a young man who disappeared two days ago, is actively sought by one of his close friends. Banallal Rashid (born 1946) became a director after being an editor, turned ouled Ya (1993), which recalls especially the works of the 1960s and early 1970s, with the history of events seen in July 1962 through the eyes of children growing up in Algiers divided by the struggle: on one hand the settlers, on the other Algerians.
BA FALL October in Algiers Fran sent Lakhdar-Hamina . - Short film, documentary and trailer. Among those who realized their first theatrical films in the 90s, many people from television, often with considerable experience. The old RTA was restructured in 1987 to become the ENTV and ENPA. Mohamed Hilmi (born 1931), director confirmed, wrote and directed El Ouelf Essaib (1990), in which a composer and his friends lead a hectic and eventful life in a comedy about everyday life. Other confirmed director, Haj Rahim realized Portrait (1994), the story of a taxi driver and his family in a district of Algiers. Benamar Bakhti (b. 1941) realized this huge popular success has been The Underground (1991), the story of Si Abdallah, a resourceful man who supports his large family by working illegally as a taxi driver, with a backdrop, a painting and comic living in the city of Algiers. Rabah Bouberras (born 1950), who, like Bhakti, had produced many films for the RTA, realized Sahara Blues (1991), the story of a woman who reported on its past and present during a trip to southern Algeria with her son and her second husband, intimate film that n'eu unsuccessful public. The novelist-Hafsa Zinai Koudil (born 1951) has also received support from ENPA to realize The Demon feminine (1993), but his film, challenged, resulting in conflicts with producers. This is a woman whose husband is convinced she is possessed by the devil: he left to charlatans who tortured under the pretext of exorcising. In 1995, she said the daily Le Monde: " I made a film in a state of terror. I suffered many defections among the technicians. Even when we were filming in the studio, under the protection of the police, we were scared and the players lacked concentration. The actress who was to play the mother received threats and was arrested after the first days of filming. I replaced somehow. Also, in the film, the son air barely younger than his mother. I was thinking more security team to have fun in creativity. Work under such circumstances leave little room for the artist . " upheavals within the film industry settled and chaos in society as Islamic fundamentalists opposed to politicians, intellectuals and foreigners, are reflected in many films of the 1993-1994. In the second film Rachid Mohamed Belhadj, Touchia (1993) a woman trapped in her apartment in 1991 by protesters supporters of the Islamic republic, remembers having had a similar disillusionment, when the dreams of independence of the child she was in the 50s have violently clashed with the reality brutal rape and death of his best friend. The film Mahmoud Zemmouri The honor of the tribe (1993), looks bleak - and often grotesque, the impact was on the 25-year rule of the FLN and reflects the confusion of the Algeria in the early '90s: It starts as an apologia for the Islamic new vitality for change, but ends with a box that contradicts the entire logic of the story: " Djamel and his friends have now shown their true faces. People die every day in Algeria . "In the film Mohamed Chouikh, Youcef, the legend of the seventh frame (1993), an amnesiac travels the country and trying to understand, but fails to find in contemporary Algeria none of the ideals for which he and his colleagues had fought during the Liberation War, this film he extends this he start with Citadel (1998), a wave of movie where the story is parable, borrowing from multiple sources. The most accurate description of the situation in Algeria in the early 1990s is perhaps Bab el-Oued City (1994), Merzak Allouache. This brings us back in the district of Algiers, which had formed part of Gatlato Omar, a neighborhood now totally transformed by violence and force of fundamentalism. Through a plot woven around the disappearance of the loudspeaker of the mosque, he evokes the young unemployed who are in the rigor of the new Islamic leadership behaviors to follow, and young women who feel stifled in this new environment. The film is a major painting of contemporary Algeria. In his study of what he calls "invisible war" in Algeria in the 1990 Benjamin Stora draws attention to the importance of the few films about contemporary society: "What strikes primarily with a few movies at a time when gray is the will to survive. As if the filmmakers had decided to go together to meet a world which, apparently, do most awaited " [4] .
By 1995, the Algerian film production has fallen by one or two movies a year, most of them co-productions exploring the strengths and contradictions of tradition. They are moving away from urban areas, and narratives give way to realistic fables and allegories. in the Ark of the Desert (1996), Mohamed Chouikh shows an isolated community of desert exploring and questioning the validity of its values and traditions. For many other filmmakers, the only choice was exile. Merzak Allouache produced two feature films in France: Hi cousin! (1996), which recounts the adventures of Alilo, a young Algerian in which his cousin very Frenchified "beur" second generation, Mok, discover the Parisian life. In Algiers-Beirut , for the record (1998) Laurence, French protagonist, returns to Beirut that left child. There she found that she had experienced before Rachid Algiers. They fall in love with each other, and she tries to persuade him to take refuge in France. He refused and returned to Algiers, to find death. Mahmoud Zemmouri realized a musical, France, 100% Arabica , the film combines the satiric portrait of a poor district of Paris to the music rai Khaled and Cheb Mami.
[1] Oral Testimony of Liazid Khodja, on the sidelines projection of Si Mohand or M'hand at Cinema Le France, Saint-Etienne in February 2007 [2] Jacques Mandelbaum, "Algiers is reborn in film," Le Monde (Paris, October 17, 2000) : p.16. [3] In It turns Algiers documentary Salim Aggar,, 2007. [4] Benjamin Stora, The Invisible War: Algeria 90s, Paris: Presses de Sciences Po, 2001. p.90.
Merzak Allouache who already looked on the side of Paris from the rave reviews that had rained down on his Omar Gatlato during his presentation at Cannes, has finally left for France to shoot A Love in Paris, played among others by Daniel Cohn-Bendit and entirely in French. He is joined by Tsaki Brahim, who after winning the grand prize at the Pan-African Festival of Ouagadougou with its History a meeting, it turns Children neon . The last image , Mohamed Lakhdar Hamina, built on childhood memories of the author-lovers to twelve years of Miss Boyer, a French governess "progressive" - speaks to 80% French and sees all the important roles played by adult actors in French.
A common trend is apparent in the three Maghreb countries: from nationalism to internationalism. Is this due to the fallout of third-world ideologies? At the disillusionment and disenchantment of many intellectuals to the reality of the schemes put in place after independence? Or is it, for filmmakers victimized by the narrow their market diffusion, a desire to enter the international market? The theme African cinema, which was common to filmmakers from the Maghreb and black Africa during the 1960s and 1970s, has evolved differently depending on whether one or the other region of Africa during the 1980s. As more and more films are looking for black Africa in the 1980s on local specificities [1] , filmmakers Maghreb leave instead the "local" in the search for the "universal". This research is probably warranted, as we have suggested, a weariness from the cinema and political engagement in rigor in Algeria during the years 1960 and 1970. The avant-garde formal certain films appeared in this new decade as First Step (1980) and The Refusal (1984) Mohamed Bouamari seem dictated by the weariness of the "political" too omnipresent, and which is seen as a substitute for more intimate works.
This universalist temptation of a cinema which succumb more and more filmmakers Algerian explained perhaps by economic considerations. Given the narrowness of the market local distribution, it is understandable that many filmmakers are the European market, both filled rooms and TV and film where they are, by the grace of the festival, more than seen on the African continent and the world Arabic. This economic concern is evident when the North African filmmakers hire known European actors, sometimes even to play the role of Arab character, in the case of Mohamed Lakhdar-Hamina using the French Albert Minsky, Michel Boujenah Veronique Jannot for his last two movies, Sandy Wind (1982) and The last image (1986). This development marked in part by the decline of political cinema, and secondly by the refuge in purely artistic or consideration by the appeals of the foot towards the West, may be linked to changes experienced by the economics of cinema at this time that we described earlier in this chapter. The internationalism of the Algerian filmmakers seem motivated by the legacy of past leaders, whose weight had become unbearable.
In the 80s, Algeria has experienced a small decline in film production. The themes in the 80s are largely in continuity with those treated in the previous decade, but with a more critical approach and finer social issues, and greater depth by the filmmakers. There is even room for humor. There is a softening of the rigid system which imposed cycle of films, first on the war and on land reform. Some remarkable films explore further the war years ( Gates of silence of Laskri, The Awakened of Touita or film made by a collective We will go over the mountain ) and the legacy of this war ( Harvest of steel Bendeddouche), but the former official line can now be treated with derision ( The Roaring of the twist Zemmouri) or satirical ( Le Moulin de Fabre ). Bouamari continues to experiment with the narrative possibilities The Refusal without encountering public. A new tone is set to discuss immigration, Bahloul in The Mint tea and Zemmouri in Take ten thousand bullets and break up , draw in the subject matter to write comedy break with the misery of the decade prev. There are also emerging signs of some inner non-existent during the 70s: The Zerda or songs from oblivion of Djebar, the evocation of his own childhood by Lakhdar Hamina ( The last image), the Personal Tsaki two studies on children. If the '70s were years of social interest, the 80 continue to emphasize the individual, the Algerian film "s'auteurise" while putting aside the aesthetic experiments.
[1] Denise Brahimi, "Find origin "Cinemas in Francophone Africa and Maghreb, Paris, Ed Nathan University Collection: Cinema 128, p.75
Build Yurt is already starting. From a violence done to language in language, from a personal need to violanguer the native idiom.
At one point there is a need to leave the language from within, need to make a stew out the language, of misleading language, in good traitor, unworthy son, worships in-land. That's what I want to mention the name of a yurt, the telluric movement of an inside to an outside language. Outside is a yurt, inside, is the mond'poche, woven by the men lang. Opportunity for me, it's Jah Klacan.
Building yurt is also from another direction, which contradicts the previous concept the "from", the "starting point" of the original amount. Still gone. It is to be in search of a site acting, but that would hardly need to exist, or only need a presqu'exister, which would be written as the geography of a quest that can be perpetuated across because just a private place where assigned. A yurt, babel kit, a home for fuck off.
Yurt language, or make a yurt in the language, if one claims to be understood, how this cloud of meaning could still be cleared? Making the yurt, yurt language means:
dwell language to my own way, I will defeat assignments in the language (its dominance effects), I make it habitable, hoping thereby to render habitable the world itself same.
I will become a repairer wrong, a sort of Batman, Robin Hood, a zorro language. I will avenge the oppressed, the set, the speech impaired, with mask the name of Jah Klacan.
Here in the yurt, living are Sphinx, the riddle capita in source language, soyant warm the yurt, where the wind call waiting, sphingeons the yurt right in the puzzle, where living s'prennent tumbling yurt of silence, let the yurt with things inside the iron stove, carpet the language, the word wind The image rootlet, the animal sex, and anything that makes the dance hall chair and enigmatic words deculturation carpet, the Sphinx, which many inlaid patterns interweaving, blending in rehearsal.
shines at the beginning, this sphinx, sphinx and this life then nothing s'énigmatise in common. In the yurt this sphinx, it feels nothing common sphinxifie it exists. It was in the yurts that sphingeons but since then s'communisons anyway, that tend to at s'communiser like that may want to shame the cloakroom s'proférer here among the living who are here and the living who are there are more in understanding but in the viv and s'trouver like this in the viv viv is as we live life in the making and the feeling, that is to say between the things of the world, such as pre-language and like after.
if the people lack, if it disappears, if people in mourance (as well as feel it should be these days) is that something that could kill people there, today, now.
radotons Well, radotons: think this thing is tongue-in-man. Tongue-in-man is poison of a people. Tongue-in-man makes nothing where there would be possible, tongue-in-man absent from the germ of something in people. Human language is the language constructs that some things do not say, so nobody can say more. So do not believe there will be new people without a new language! More than ever people without language other than tongue-in-man, which is poisonous! For the symbolic autonomy of the human race, to people where tongue-in-man does not say, strangle the man in Snapping his tongue in the language of power and poison!
To live for good other than speak a language of power and poison! Study the language of power and poison, and look: when think to say something, she speaks, she is the language that speaks what are, that says what you are, so it is ... Then inspect the place well where it's poison, the place where it's about and where it assigns as the antidote, believe me, it's even talk, believe that the antidote is to yet to language, and tip the language into another language, a language of truth worked. That truth working your tongue, fellow, she worked in either the language to speak that truth! Truth that would trigger the language is the antidote!
But the truth like "Me Truth grand'souveraine's big speech," not "the common sense of the word in grand'pertinence", it still is power and poison!
L antidote is there a language of truth is we, not something that we, living in life, then the truth is that live there, is the experience of creature, which is the inside of life, that's truth, speech is not true of false creator, theorist of the top-of-life small-time! The truth is not all-powerful demiurge who is supposedly off situation, which sets itself up without a good life, which creates a small out-to-order, that is nothing that the trial in which t'assigne a poor and without a word, shit and blinding.
Manufactures a language to see! Creature-of-l'hom lang! Powerlessness it! Make out the tongue-in-man, do a language from within! Make a word of creature! Empty the bladder! Loves truth! Listen to the language of birds! Listen for the enigmatic point, the language of the living world! Makes up a clear, empty the bladder with a ladle! Makes up for the fishy evidence! Go away you cast your cheese! Go t'enténébrer in carnation in créaturielle fromagéité! Would there then see if possible, the feasible!
If yourtons anger, if we're in thrall, as if cutting to dip grunting décivilisons language and the idiom is that feel it necessary to do this kind of cons, make a good non-denial hard inside the quiet course of language to dominate. And yet there is no enough Klacan another effort to make the yurt! Must do the cons, the cons and the cons and the cons, the can say here can say yes, can even say that's what they do and they are just that: no matter how the chignolent language to make the cons are a little con ... But it's hollow and it pummeled against a language, language-of-man, and it would well because of martial held at times is what takes to not stifle, not die beneath his board. Think there is more to speech, and words to say nothing somehow find nothing to say other than another language, just to make day all that stirs this hole inside, everything outside in the noggin as aircraft which takes the place of the world. For world-pocket is thought-made world, but by whom and how? Have intuition unfortunate that this world-pocket where we were born, where are requested to keep still, is thought to even the language, as it is built to fit into a single language, as it is constructed so it fits under the worst assigning board, he is held to be discoursed like that, somehow that there would be nothing more to say other than what was already said ... So yurt language induced anger yes of course, is we barbarized yurt could say, in the sense that each small empire of each in him assemble the outside, each fief power, it will dismantle its puzzle Verber, yurt, well, push him pushing his little barbarian . If there is violence there, because in those waters, looking for, dig, find and assume that, like these tips then you read these words, then take violently against any assignment feel that there where it speaks. Hystérisons conversation but never mind, Let's bump where it assigns me ... that's how the overturning between four plates-one is ever so slightly in the shaking of a language other, not made for t'assigner. That would change, right?
merde / Someone crawl and words dripping with roads, the striae land-broth!
There is no language-mother, but took power by a dominant language in a political multiplicity. Language stabilizes around a parish, a bishopric, a capital city. It bulb. It evolves by subterranean stems and flows, along river valleys, or railway lines, it moves by oil stain. Deleuze Goitarry
Tambouillons language rights, grind it with a ladle, comrade! Sédimentons the riddle in words, so that it resembles what have inside, that feel outside, it looks at real a little bit the damn language! In what real life is molded in, and even more qu'moulé squinted at the ladle ravinons the old plank of man, his board to talk assignment, although the board's miter, worm holes in the miter block , and even Lacanian nodes, famous, because the word, according Klacan Jah, not-only-sign-but-node d'significations. And because the board of man, they all bite, to dominate the board, they all have the hook planted in the board of assignment, some have up through the throat plate, that's where lies the tongue of man, that's the location of the real impediment, will do the termites, the board of mittens, and he planed Let us recall the flaps, it remix sawdust in clusters, and components of language, are turning into the mouth as old forty-five turn and between me and my noggin calon remixed the board ends, turned them into tournu'jargoneux. This is where the breast cook, the kitchen is where tinker, this is qu'hurlons like to swear, this is qu'yourtons, Yurt is the guttural language where Fromageon de Gaulle.
