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.
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
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