Download Beyond Casablanca: M. A. Tazi and the Adventure of Moroccan by Kevin Dwyer PDF

By Kevin Dwyer

In past Casablanca, Kevin Dwyer explores the issues of creativity in the Arab and African global, concentrating on Moroccan cinema and one in all its key figures, filmmaker M. A. Tazi. Dwyer develops 3 topics concurrently: the filmmaker's profession and movies; filmmaking in postcolonial Morocco; and the connection among Moroccan cinema, 3rd international and Arab cinema, and the worldwide movie undefined. This compelling dialogue of Moroccan cinema is based upon many years of anthropological study in Morocco, such a lot lately at the Moroccan movie region and the worldwide movie undefined, and indicates a sensitivity to the cultural, political, social, and monetary context of artistic task. The e-book facilities on a sequence of interviews carried out with Tazi, whose occupation presents a wealthy remark at the global of Moroccan cinema and on Moroccan cinema on this planet. The interviews are framed, variously, by means of displays of Moroccan background, society, and tradition; the position of international filmmakers in Morocco; thematic discussions of cinematic concerns (such as narrative innovations, using symbols, movie as an expression of identification, and difficulties of censorship); and the worldwide context of 3rd international filmmaking.

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Additional info for Beyond Casablanca: M. A. Tazi and the Adventure of Moroccan Cinema

Sample text

You mean where Hajj Ben Moussa says to the religious teacher [Ar. fqih], “My son is now yours. ” M. Yes, exactly. So I spent that whole morning in the Msid. All around the room, there were little cupboards with doors where the writing materials and other things were stored. ” “Well, they are full of rats. ” And we all knew that rats love oil! That’s exactly what he told me. When I heard that I was traumatized, and I came back home with a fever of 40 degrees [104 degrees Fahrenheit]. My mother told my father, “That’s it!

You’re not saying that Moroccan society is without racism, are you? M. No, not at all. But it is of a very different nature here from what it is in the United States. Just as with humor, you need keys to understand racism—it’s not the same from country to country. HOUDA’S EXCURSION, SCREENWRITER’S AVERSION K. Coming to the negative aspects of Houda’s experience of “freedom,” I’d like to ask you a little about her excursion with her friend Khadija to the cafe´ and their encounter with the young men.

In the film, when the Hajj takes his son to the Msid, he tells his boy that in the old days the children who went to the Msid wore ponytails—their heads were completely shaven except for a braid, a At the Koranic school 44 Beyond Casablanca little like what you used to see in Japan. And then the Hajj tells his son the story of a teacher who got so angry that he grabbed a kid by this braid and threw him over the balcony, and “the braid remained in his hand, and the kid lay on the street” [Ar. el-qern ibqa f-yiddu, wa derri msha l-il-zilka].

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