Dissertations / Theses on the topic 'Tunisian cinema'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 24 dissertations / theses for your research on the topic 'Tunisian cinema.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
Jaziri, Sana. "La question de l'identité dans le cinéma Tunisien : représentations et enjeux." Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01H304.
Full textAt the heart of contemporary concerns in Western and Eastern societies, the question of identity is the general axis that allowed us to question Tunisian cinema and around which we undertook the various analyzes. Why is the question of identity the common thread in most Tunisian films? How can we think about identity in a national cinema? What is the relationship between cinema, memory and history? How is identity represented in a relationship to otherness? And what place has self-identity within a collective society? To answer all these questions and to study the various retained films, three main distinct axes have been highlighted which seem to us crucial and correlated. The first axis is the community, because a national cinema questions the memory and the attitudes to cultural identity and myths. The second axis is otherness because of the dialectic of identity and otherness. One can neither exist nor be thought without the other. Finally, the last axis is the personal identity as in modem Tunisia. the "l" is in constant search of a deliverance from the community power. Through various films, we tried to unravel the links between films and a national culture to highlight a constant that would explain the nation and its films. A hidden dimension, that of identity
Chakroun, Olfa. "Sensualité et séparation des sexes dans le cinéma Tunisien." Thesis, Paris 1, 2017. http://www.theses.fr/2017PA01H319/document.
Full textThe various taboos in the contact between the sexes in Muslim culture lead to questioning the relationship between the moral and institutional foundations and the representation of sensuality on the screen. The evolution of the expression of sensuality in Tunisian cinema is atypical: it evolved from a permissive regime in the 1960s to a regime of restrictions and prohibitions. The paradoxes of this evolution are that the liberal discourse has disappeared. The central problem is the relation of man's possession to the feminine nude, and, in an ancillary manner, his approach to sensuality, eroticism, and ail that touches, near or far; the contact. The separation of the sexes is filled by voyeurism, which takes as its object a feminine world fantasized and sometimes menacing. The dramatic axis that determines the cinematographic treatment of sensuality is the spatial and social separation of the sexes. What is meant by sensuality in a system of separation of the sexes? Sensuality is the pleasure itself, passing by the look, the touch and by the appearance. How is this sensuality allowed or not allowed? The phenomenon of the separation of the sexes relative to the Tunisian society is marked in the body itself by means of the distinction and the types of behaviors required on both sides. The inter-self of the gender can slip towards heavily allusive homosexual themes
Khelif, Ahmed. "Le sacré dans le cinéma arabo-musulman : un interdit ambigu." Thesis, Montpellier 3, 2018. http://www.theses.fr/2018MON30077/document.
Full textCinema was born in a secular world where man tried to evolve through the machine. The origin of the 7th art is not connected with religious or ceremonial practices like painting or theater. The cinema is not the result of religious expression, yet the sacred has ceased to appear in many forms. Robert Bresson was able, in his films, sanctify the daily life of any man, constructing the space piece by piece. In the works of Tarkovsky, the sacred is taking shape thanks to the evolution of the character, which exceeds gradually. However, in Tunisian cinema, the sacred is essentially related to religion. Whether in films Nacer Khemir, Nouri Bouzid or Ridha Behi of the sacred is built on a vertical axis. This is a sacred that is defined - mainly - due to the relationship between man and his God. Is it then the Islamization of film policy in Arab countries reinforced this superposition of sacred and religious? How the Arab-Muslim could trace the lines of the sacred and its limits as he know what he is?
Amira-Ben, Jannet Sarah. "Economie du cinéma : enjeux et perspectives du cinéma en Tunisie." Toulouse 2, 2008. http://www.theses.fr/2008TOU20005.
Full textIn 2004, at the closing of the 20th session of the Carthage Cinematographic Days, we wonder about the future of Tunisian cinema. One thing is, it is undeniable that cultural policy and the active support of the Ministry of Culture to cinematography is real, however, the cinematic landscape, it only looks stable, and hides deep deficiencies, which are mostly financial, infrastructural and industrial. To this end, the study is mainly concerned with economic and institutional conditions in which the films are manufactured, subsequent to public policies and their interaction with the new socio-economic realities. Interest is focused on the emergence and development of public policies in the field of film making, thoughts through projects, institutions and regulations put in place. As a first step, this study analysis the impact of public policy on movies activities which have been observed over the past five decades. Secondly, it provides a full account about the state of the film industry and its activities in Tunisia. At last, this dissertation challenges the traditional macroeconomic approach turns to an analysis of the actors' interpersonal experience, emphasizing their socioeconomic history, their position, their attitude and their motivations in a context where the Tunisian cinema is bottoming out
Ben, Ayed Maya. "Le cinéma d'animation en Tunisie : genèse et évolution (1965-1995)." Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0047.
Full textThis work seeks to understand how animation in Tunisia – an artistic activity on the fringes, both in the art world and in the society in which it is produced - became a vehicle for political protest within an authoritarian context. It recounts the hitherto untold history of this art form together with the socio-political changes under the two post-independence authoritarian regimes. We intend to reveal the form(s) of protest by examining, on the one hand, the cinematic material and, on the other, live testimonials, first-hand memories of the art form. We confront two different types of rhetoric, that of the regime (core values) and the art of animation(marginal culture) to reveal the mechanisms used to formulate the protest statements in Tunisian animation
Mejri, Ouissal <1980>. "Il cinema in Egitto e in Tunisia dal 1896 all'avvento del sonoro: l'influenza straniera." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2011. http://amsdottorato.unibo.it/3954/.
Full textBesbes, Samir. "Regard sur l'évolution du cinéma d'animation depuis ses origines : le cas du film tunisien." Paris 1, 1998. http://www.theses.fr/1998PA010631.
Full textWithin the context of our doctoral thesis "A look at the development of cartoons since its beginning, the case of the Tunisian cartoons. ", we have divided our research in three main parts : introduction to the history of cartoons, history of cartoons, and the case of the Tunisian cartoons. The first part traces the animation's origins, from the magic lamp of kirchen to the optical theatre of Reynaud. During this period, some famous scientists and physicists were dedicated to the study of the animated images : robertson and his fantascope, faraday and his cog-wheel, plateau and his phenakistiscope, reynaud and his optical theatre. In the second part, we start with the history of cartoons since their beginnings. After Reynaud, the " father " of this art form, from 1906, appear the pionners blakton, cohl et mccay. The development of this art starts around 1912, thanks to starewitch and his threedimensional animation, to ginna and his abstract animation and to hurd and his cell process system which opened the way to a large production and an industrial growth of animated films. This process is at the origin of the artistic development of cartoons, marked by three heros : Félix the cat, Koko the clown and Mickey Mouse. Nowadays, the art of cartoons is varied enough. To make easier its understanding, we have defined a method which divides it in three trends, pictorial, fine arts and experimental, each of which will be the vehicule of its own history. The third part recalls the history of tunisian cartoons. At first, we have placed this history in the context of the arabian world to compare it to Egyptian and Algerian one, which are distinguished by the production of some cartoons. Then, we have talked about our personal experience, and analysed three movies : the child and the plane from m. Khelifi, jahjouh i, jahjouh ii, our two personal creations, and at last, we have suggested some solutions to the development of this art in Tunisia
Chamkhi, Sonia. "La problématique de l'enfermement dans le cinéma tunisien des années 1980-1995." Paris 1, 2000. http://www.theses.fr/2000PA010681.
Full textSkandrani, Salma. "L'aura entre absence/présence dans le cinéma Tunisien à travers les approches esthétiques des cinéastes Tletli Moufida et Khmir Naceur." Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01H308.
Full textBased on Benjamin Walter‘s approach and the question of aura in cinematographic works, this thesis aims at analyzing two Tunisian films “the Silences of the Palace” directed by M. Tletli and “Baba Aziz” by N. Khmir. The selection of the two films stems from an aura of expectations within the two filmmakers’ apprehension and more specifically their aesthetic approaches which explore in a sensitive manner all the formal systems, and where the visual and acoustics reign in perfect harmony. Taking into account the formal aspects of these two films, a thorough analysis of different sequences where the question of aura is identified and the issue of presence and absence is brought into play. This new reading is hopefully to be original for further considerations. Indeed the aim of this work is to see how far the question of aura within the two filmmakers predetermines direction in spite of the technical and artistic requirements dictated by filmmaking. It is also of paramount importance to show the different aura codes and the decoding strategy in the analytical approach of cinematographic sequences
Corriou, Morgan. "Un nouveau loisir en situation coloniale : le cinéma dans la Tunisie du protectorat (1896-1956)." Paris 7, 2011. http://www.theses.fr/2011PA070069.
Full textMy aim has been to explore both the economies of cinema in Tunisia during the colonial era and the social experience of films by Tunisian, French and Italian audiences. The first part of my dissertation deals with the early beginnings of cinema in Tunisia. I argue that a Tunisian audience existed as early as the beginning of the 20 century. These filmgoers took part in a burgeoning urban life. But this new form of entertainment also found its way into religious and traditional practices. From 1922 onwards, cinemas expanded in the "European" areas as well as in the medinas. I notice the involvement of Italians and Tunisian Jews in the cinema industry. In a second part, I investigate the 1930s and the 1940s, a period characterized by the intrusion of politics in the film business and the cinemas. The arrival of sound film implied a break as films became more and more identified as a national product. I describe cinemas as a new public space. Social issues characterize the last period that runs from the post-war years until Independence in 1956. In the aftermath of World War II, the cinemas stood out as an important venue for social evolutions rather than for direct political protests. Film going revealed slow changes in gender relationships, a growing generation gap and, above all, the rise of an educated Tunisian youth
Ben, Ameur-Darmoni Kaouthar. "L'univers féminin et la drôle de guerre des sexes dans quelques films tunisiens." Lyon 2, 2000. http://theses.univ-lyon2.fr/documents/lyon2/2000/ben-ameur_k.
Full textBelkaïed, Guiga Lamia. "L' actuel paysage audiovisuel en Tunisie : la télévision, la radio et le cinéma." Paris 2, 2008. http://www.theses.fr/2008PA020018.
Full textBen, Ameur-Darmoni Kaouthar Bonn Charles. "L'univers féminin et la drôle de guerre des sexes dans quelques films tunisiens." [S.l.] : [s.n.], 2000. http://demeter.univ-lyon2.fr:8080/sdx/theses/lyon2/2000/ben-ameur_k.
Full textCoskun, Cicek. "Modernization And Women In Tunisia: An Analysis Through Selected Films." Master's thesis, METU, 2006. http://etd.lib.metu.edu.tr/upload/12607598/index.pdf.
Full texts modernization process has been analyzed through the qualitative analyses of five Tunisian films by focusing on conceptualization of women issue as one of the main elements of Tunisian modernization. More presicely, the study examines stages of women&rsquo
s modernization on the one side, and representation of this process in films on the other. In conclusion, I argue that examining written literature alone is not enough to understand women&rsquo
s modernization process in a non-western society. Expansion of modernization is not rapid and equal in the Tunisian society. If taking place in the public sphere, having a paid job and having education are taken as the indicators of women&rsquo
s modernization, it is seen that lower class women face with problems in every stage of Tunisian modernization. At that point, attending to visual sources like cinema which has the ability to reflect the society can give us convenient information about this process.
Mabrouki, Anwar. "La société tunisienne contemporaine à travers la production cinématographique entre 2000 et 2007." Strasbourg, 2011. http://www.theses.fr/2011STRA1023.
Full textI wanted to start work on contemporary Tunisia. I then examined whether the image proposed by the Tunisian cinema truly reflects the reality of Tunisian society, or if the image, by contrast, is a distorted, embellished or blackened. Tunisian filmmakers have they gained enough maturity and artistic skills in order to claim some authority that allows them to act as a spokesperson of the people ? In the first part, in order to situate the place and role of contemporary Tunisian cinema, I first examined the history of Tunisian cinema as a whole. In the second part of my research, i wondered about the nature of the relationship between film and contemporary Tunisian society today. Why chose to analyse twenty films through a sociological light, by selecting the films on criteria related the social problems. I devoted the third part of my work at a theme by which i have classified the film analysis : this is the theme of women. Finally, in part IV, I considered the locations ant the sets of films. I think in fact that the locations and sets play an important role in the relationship that developped between a film and its audience. Therefore, there is a real debate on the credibility of the Tunisian cinema today, and its abiility to touch audiences deeply and awaken the consciences of the current state of Tunisian society. This problem cannot be solved only when the restrictions on freedom of expression are lifted
Goldmann, Annie. "Le Parcours de l'identité : histoire et représentations : thèse sur travaux." Paris, EHESS, 1987. http://www.theses.fr/1987EHESA003.
Full textThe ensemble of the presented (and published) works deals with three types of materials: movies made between the sixties and the eighties; xixth century french novels; the memory of the jewish community of tunisia during the french protectorat. The first material was studied through a sociological approach of movies from godard tou wenders, casting light on the revealing function of movies as regards the phenomenon of marginality. The second element allows to analyze thorgh eugenie grandet, madame bovary, l'education sentimentale, bel-ami, l'assommoir and so on, how female roles belonging to the "bourgeois" morality got stabilized in this period of time, and how anay break away of these roles used to be severly repressed. The study of these novels, under that angle, allows to analyze, in particular the mecanisms of "ossification" (reification") of the relations beetween men and women. The third element is the relation of the history of a jewish family of tunisia, conducted through interviews, familia memorabilia, diaries, analysis of news papers. The light is put on social and most of all psychological changes induced by the cultural chock that french colonisation forced upon the jewish community of tunisia, specially regarding women. This body of works is summed up in an enclosed text (61 pages) and the list of the books and articles is in the french summary
Zalila, Ikbal. "Les mises en scène du politique dans les actualités cinématographiques tunisiennes entre 1956 et 1970." Paris 1, 2010. http://www.theses.fr/2010PA010524.
Full textKamoun, Miranda. "Nouri Bouzid entre transgression et interdit : une rébellion contre le non être et l'être autre." Paris 1, 2001. http://www.theses.fr/2001PA010507.
Full textGhariani, Ghofrane. "Cinéphilies contemporaines : éléments de conceptualisation et proposition de typologie à partir des expériences de cinéphiles de Tunis et de Paris." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030027.
Full textThis dissertation is based on a conceptualization approach of cinephilia, thanks to different reserach disciplines such as cinema economics, sociology of leisure, cultural studies or consumer behaviour, in order to better understand this phenomenon in the contemporary context. Unlike the theoritical propositions adopting a break-up posture, opposing yesterday’s cinephilia to today’s one or scholary to popular cinephilia, this dissertation makes the evolutive approach of the concept prevail, through the transition hypothesis to multiple cinephilias : regardless of the cultural context, contemporary cinephilias did not substitute a unique cinephilia, built on an idealized model of excessive love of cinema. A qualitative methodology based on the glaserian version of Grounded Theory is adopted. Theorization analysis of cinephiles perceptions and experiences in Tunis and Paris, led to the identification of different levels of the cinephile commitment, characterized by four dimensions (cognitive, affective, conative and social), and defined by individual and external factors. Cinephilia has multiplied and gone beyond consumption facilities and geographical boarders, being impregnated with individual and social specificities
Van, de Peer Stefanie E. "The aesthetics of moderation in documentaries by North African women." Thesis, University of Stirling, 2011. http://hdl.handle.net/1893/3535.
Full textAidoudi, Lamia. "Le cinéma tunisien des années 1970 en tant qu’espace public autonome d’accueil et de co-construction de la contestation politique et sociale : configuration du récit et du discours." Thesis, Bordeaux 3, 2018. http://www.theses.fr/2018BOR30028.
Full textThis doctoral dissertation hangs on three key concepts : Space, Narrative and Speech. It is focused on a main and significant body of six Tunisian films, every one made during the 1970s, a period of political, social and cultural effervescence and great social movements. So, the research is thus centered on the analysis of the different modes of presence on the scene, as they were invested by people who contributed to animate them, from different points of view and narrative performances. Faced with the dominant and coercive discourse of the established power, a counter-speech was indeed born and developed, carried by both male and female voices that challenged the political and social control of the regime of Bourguiba, President of the Republic of Tunisia at that time, both on institutions, associations and Tunisian ever-day life in general. For most of them, mixing both political offensive and mastered aesthetic language, the Tunisian cinema of the 1970s was the main catalyst for a political and social challenge that students, trade union, cultural associations, and leftist activists were also taking the lead. In this sense, it has been able to constitute what we consider as an autonomous public sphere, both welcoming and co-constructing an exemplary Tunisian public expression
Esta disertación doctoral se articula en torno a tres conceptos clave : espacio, narrativa y discurso. Se basa en un cuerpo principal y significativa de las seis películas de Túnez, todos hechos en la década de 1970, un período de agitación política, social y cultural y de grandes movimientos sociales. La investigación se centra tanto en el análisis de los diferentes modos de presencia del lugar, ya que se han invertido por los eventos relacionados con este período en particular y los personajes que contribuyeron a animar, a partir de diferentes puntos de vista y registros narrativos. Dado el discurso dominante y los poderes coercitivos fácticos, un contra-discurso hecho nace y se desarrolla, llevado por los dos voces masculinas y femeninas que desafían el dominio del régimen de Bourguiba, Presidente de la República de Túnez en este momento, en las instituciones, asociaciones así como la vida tunecina en general. La mayoría de sus cineastas ha sabido combinar ofensiva política y lenguaje estético dominado. Así, el cine tunecino de estos década de 1970 fue el principal catalizador de la protesta política y social que los estudiantes, sindicatos, asociaciones culturales, activistas de izquierda también fueron adalides. En este sentido, podría ser lo que consideramos como un espacio público independiente, tanto para acoger y co-construir una expresión pública tunecina ejaemplar
Azzouz, Aziza. "L'espace domestique : dialectique intérieur [/] extérieur à la lumière de la filmographie de Nouri Bouzid (1986-2006) : L'homme de cendres : cas d'analyse." Thesis, Rennes 2, 2016. http://www.theses.fr/2016REN20040/document.
Full textThe study of space, in particular the domestic-space, presents several interests and tends for a long time to become a key concept in human science researches, which concentrate more and more to study the individual in his shares, organizations, relationships… At the end of the last century, considered as century of big changes having upset the environment and the functioning of the human beings, and with the beginning of a new millennium which continues to be worked by the same mutations, it belongs to us as researcher to wonder about the impact of those changes on the social and spatial family structure to determinate what changed and what resisted for change. Taking the cinematographic image as a medium, we try to show the sense of socio-spatial and identity movements, through the analysis of the modes of occupation and appropriation of domestic space and its surroundings, in the mirror of Nouri Bouzid filmography (1986-2006)
Thabet, Mezghani Wafa. "The voice of silence as echoed by female filmmakers : reading between the shots." Thesis, Aix-Marseille, 2016. http://www.theses.fr/2016AIXM3108.
Full textThe current research aims to explore several of the manifold states of silence represented in film and to investigate how silence and silencing have been perceived and conceived by female filmmakers from a Critical Discourse Analysis (CDA) perspective.This is achieved by examining the case studies of four feature films produced in the twenty-first century by four female filmmakers from two different cultural backgrounds–namely the USA and Tunisia. Research questions are qualitatively applied to a corpus of four films, following Fairclough’s (1989) three analytic stages: description, interpretation and explanation, using pragmatics combined with semiotic analysis. The thesis also introduces the concept of ‘voicing’ with reference to the semiotic signs and film techniques that underpin the meaning of silence and its pragmatic dimension.The findings of the study show that using ‘voicing’ has proved to be effective in creating a systematic method of analyzing silence in films. They also show that even though the cinematographic practices, the themes dealt with and the socio-cultural background of the filmmakers may be different, there is a common denominator between the four films: their feminist or pro-feminist agenda.Further, it argues that the films under discussion may be considered as barriers of resistance to the hegemonic patriarchal mainstream cinema and that these barriers are strongly influenced by the filmmakers’ own individual perceptions, personal experiences and cultural background
Belghiti, Sarah. "L’enfermement des personnages féminins dans le cinéma tunisien : évolution d’un thème, des années 1990 à aujourd’hui." Thesis, 2020. http://hdl.handle.net/1866/24289.
Full textThis master’s thesis examines the imprisonment of female characters in Tunisian cinema from the 1990 until today. The notion of imprisonment articulates relations of power within a spatial dimension, while integrating the temporal and corporal dimension. For this, we chose a corpus of four long-feature films directed by women: The Silences of the Palace (Moufida Tlatli, 1994), Bedwin Hacker (Nadia El Fani, 2002), Burried Secrets (Raja Amari, 2009) and Beauty and the Dogs (Kaouther Ben Hania, 2017). We think those movies are part of a female Tunisian cinematographic tradition dealing with oppressions felt by women and their desire for emancipation. However, we observe some variations in the way the heroines’ imprisonment is shown. This is emphasized by the mise en scène and the discourse of the directors about female characters and their emancipation. This corpus explores different spatial scales (domestic, public, global and virtual) and shows the diversity of oppression faced by the heroines. To begin with, we study the imprisonment of female characters in a domestic space, employing the notions of heterotopia and harem. Then, we examine the exit of those spaces and the occupation of public spaces to explore the institutional dimension of imprisonment. Finally, we analyze the possibility of overcoming this imprisonment in order to hold a discourse of emancipation.