Écrans américains, écrin maghrébin
The focus of this article is the reception of Maghrebi films in the USA, concentrating on three films released in the early 2000s, one Tunisian, Satin Rouge [Amari, 2002], and two Algerian, Viva Laldjérie [Nadir Moknèche, 2004], and Rachida [Yamina Bachir-Chouikh, 2002], projected during the 8th San...
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| Formato: | article |
| Lenguaje: | EN FR |
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Université de Provence
2013
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| Acceso en línea: | https://doaj.org/article/dc39df3773674772bd6ba93f9fd8b362 |
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| Sumario: | The focus of this article is the reception of Maghrebi films in the USA, concentrating on three films released in the early 2000s, one Tunisian, Satin Rouge [Amari, 2002], and two Algerian, Viva Laldjérie [Nadir Moknèche, 2004], and Rachida [Yamina Bachir-Chouikh, 2002], projected during the 8th San Francisco Arab Film Festival of 2004. We begin by presenting Florence Martin's rendering of the reception of Satin Rouge in the journal Africultures dedicated to Cinemas of the Maghreb and its public, which focused on the media and academic circles. We extend her study by exploring another popular venue for the diffusion of movies in the US, the film festival circuit. We then analyze the reception of the female Maghrebi body by Californian audiences through the study of two emblematic actresses, Palestinian Hiam Abbass (Satin Rouge) and Moroccan Lubna Azabal (Viva Laldjérie) who each embodies a unique version of the Arab woman on screen. |
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