Log in

Relevant bibliographies by topics / Tunisian cinema / Journal articles

To see the other types of publications on this topic, follow the link: Tunisian cinema.

Journal articles on the topic 'Tunisian cinema'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 31 journal articles 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 journal articles on a wide variety of disciplines and organise your bibliography correctly.

1

Gana, Nouri. "Sons of a Beach." Cultural Politics 13, no. 2 (2017): 177–93. http://dx.doi.org/10.1215/17432197-4129125.

Full text

Abstract:

This article examines the cultural politics of bastardy in the films of Tunisian filmmaker Nouri Bouzid at a time when questions of national and cultural identity have come to the fore in Tunisia in the wake of the Revolution of Freedom and Dignity. Nouri Bouzid is the doyen of Tunisian cinema. Not only was he involved in every major postcolonial film, whether as a screenwriter, a scriptwriter, or even as an actor, but he single-handedly directed more than half a dozen films, each of which enjoyed wide national and international acclaim. His debut film, Man of Ashes, dramatizes the trauma of child molestation and the collapse of filial relations as well as the emergence of a new generation of men who seek to recast filial and familial relations beyond blood ties and familial limitations. This same cinematic pursuit is further developed in his later films with striking consistency and perseverance. At a time when the postrevolutionary public sphere is saturated with heated debates around Tunisian national identity, propelled by fantasies of purity and virile filiation, Bouzid’s bastard characters serve, the author argues, not only to warp and reclaim the political playing field for revolutionary purposes but also to remind Tunisians of the disturbing legacy of bastardy (instituted by a long history of colonial rape from the Romans to the French) to which they had been and continue to be heirs, and with which they have to reckon. Studying the rhetoric of bastardy in Bouzid’s cinema leaves us in the end with the touching yet unsparing conclusion that for Bouzid there are no Tunisians until they have assumed their bastardy.

APA, Harvard, Vancouver, ISO, and other styles

2

Mamelouk, Douja. "New Tunisian cinema: allegories of resistance." Journal of North African Studies 21, no. 3 (2015): 527–28. http://dx.doi.org/10.1080/13629387.2015.1118197.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Kchir‐Bendana, Kmar. "Ideologies of the nation in Tunisian cinema." Journal of North African Studies 8, no. 1 (2003): 35–42. http://dx.doi.org/10.1080/13629380308718494.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Gana, Nouri. "Bourguiba's sons: melancholy manhood in modern Tunisian cinema." Journal of North African Studies 15, no. 1 (2010): 105–26. http://dx.doi.org/10.1080/13629380903189413.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Stollery, M. "Masculinities, generations, and cultural transformation in contemporary Tunisian cinema." Screen 42, no. 1 (2001): 49–63. http://dx.doi.org/10.1093/screen/42.1.49.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Belguellaoui, Cheira. "New Tunisian Cinema: Allegories of Resistance by Robert Lang." French Review 88, no. 4 (2015): 252–53. http://dx.doi.org/10.1353/tfr.2015.0300.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Mannone, Nathanael. "Intertextuality in Tunisian Cinema: State, Allegory, and ‘Sexual Breathing Room’." Middle Eastern Literatures 18, no. 1 (2015): 62–85. http://dx.doi.org/10.1080/1475262x.2015.1067013.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Connon, Daisy. "Towards a Theory for African Cinema (Férid Boughedir, 1974)." Film Studies 16, no. 1 (2017): 78–88. http://dx.doi.org/10.7227/fs.16.0006.

Full text

Abstract:

Towards a Theory for African Cinema is an English translation of a talk given in French by the Tunisian filmmaker and critic Férid Boughedir (1944–) at a conference on international cinema, which took place in Montreal in 1974. In his presentation Boughedir discusses the vocation of the African filmmaker, who must avoid succumbing to the escapism and entertainment values of Western cinema and instead strive to reflect the contradictions and tensions of the colonised African identity, while promoting a revitalisation of African culture. Drawing on the example of the 1968 film Mandabi (The Money Order) by the Senegalese director Sembène Ousmane, Boughedir conceptualises a form of cinema which resists the influences of both Hollywood and auteur film and awakens viewers, instead of putting them to sleep. Boughedir‘s source text is preceded by a translator‘s introduction, which situates his talk within contemporary film studies.

APA, Harvard, Vancouver, ISO, and other styles

9

Gana, Nouri. "Powers of Powerlessness: The Politics of Defeat in the Cinema of Nouri Bouzid." Journal of Visual Culture 16, no. 2 (2017): 253–73. http://dx.doi.org/10.1177/1470412917702935.

Full text

Abstract:

This article examines the cultural politics of defeat in the cinema of Tunisian filmmaker Nouri Bouzid. Taking a lead from Bouzid’s directorial début Man of Ashes, the author focuses on Golden Horseshoes (1989) and Making of (2006), the two films that best dramatize the continuities between the crisis of filiation and the crisis of affiliation, and that deal head-on with left-wing (socialism) and right-wing (religious fundamentalism) ideologies. These two early films paint the broad strokes of Bouzid’s cinematic project, specifically its entwined dramatization of the crisis of filiation ( Man of Ashes) and the crisis of affiliation ( Golden Horseshoes), the profound loss of any discernible project of psychoaffective investiture, intellectual commitment and decolonial resistance, especially in the wake of the spectacular dissolution of international socialism and the ensuing triumphalism of global capitalism and financial imperialism.

APA, Harvard, Vancouver, ISO, and other styles

10

Rastegar, Kamran. "Robert Lang, New Tunisian Cinema: Allegories of Resistance, Film and Culture Series (New York: Columbia University Press, 2014). Pp. 402. $105.00 cloth, $35.00 paper." International Journal of Middle East Studies 47, no. 2 (2015): 397–99. http://dx.doi.org/10.1017/s0020743815000239.

Full text

APA, Harvard, Vancouver, ISO, and other styles

11

Hirchi, Mohammed. "Robert Lang: New Tunisian Cinema: Allegories of Resistance. xxii, 380 pp. New York and Chichester: Columbia University Press, 2014. £24. ISBN 978 0 231 16507 5." Bulletin of the School of Oriental and African Studies 78, no. 3 (2015): 628–30. http://dx.doi.org/10.1017/s0041977x15000592.

Full text

APA, Harvard, Vancouver, ISO, and other styles

12

Messnaoui, Mostafa. "History of Arab cinema (introduction to understanding and interpretation)†." Contemporary Arab Affairs 7, no. 2 (2014): 195–208. http://dx.doi.org/10.1080/17550912.2014.902183.

Full text

Abstract:

Since the inception of cinema, historians have totally ignored or only briefly mentioned Arab productions and achievements in their depictions of the history of cinema. Therefore, some Arab writers, such as Jalal Sharqawi, broke an Arab ‘tradition’ of confining works on cinema to narrating stories about movie stars and ‘subject inventories’ to talk about this cinema and its history. Another concern was that technical cinematic terms translated into Arabic were frequently inaccurate and included some major mistakes which made the Arab reader misunderstand this history. Aside from that, though, the general lack of interest of Arab readers in all cognitive fields and their lack of awareness of history and the need for it may be the core of the problem. The main focus of historians of Arab cinema is Egypt, thus relegating all other countries to the margins, although many Arab cinemas have proved themselves internationally in the field of production, including Morocco, Tunisia and Lebanon, while the United Arab Emirates have been pioneering in the field of film festivals, keeping pace with the modernization witnessed in Dubai and Abu Dhabi. The main problem, however, resides in the allocation of public or private funding for film production, while overlooking other significant cinema-related issues, such as the availability of cinema halls and training institutes.

APA, Harvard, Vancouver, ISO, and other styles

13

Boudraa, Nabil. "Robert Lang . New Tunisian Cinema: Allegories of Resistance. New York, NY: Columbia University Press, 2014. 448 pages, preface, acknowledgments, illustrations, notes, bibliography, filmography, glossary, index. Paper US$35.00 ISBN 978-0-231-16507-5." Review of Middle East Studies 49, no. 1 (2015): 92–93. http://dx.doi.org/10.1017/rms.2015.17.

Full text

APA, Harvard, Vancouver, ISO, and other styles

14

Bliss, Greta. "Reworlding Tunisia: sacrifice in post-revolutionary cinema." Contemporary French Civilization 43, no. 1 (2018): 33–54. http://dx.doi.org/10.3828/cfc.2018.3.

Full text

APA, Harvard, Vancouver, ISO, and other styles

15

Trabelsi, Anouar. "Le cinéma tunisien est-il européen ?" Les Enjeux de l'information et de la communication 2008, no. 1 (2008): 96. http://dx.doi.org/10.3917/enic.008.0800.

Full text

APA, Harvard, Vancouver, ISO, and other styles

16

Elgamal, Amal. "Cinema and its image." Contemporary Arab Affairs 7, no. 2 (2014): 225–45. http://dx.doi.org/10.1080/17550912.2014.918320.

Full text

Abstract:

Cinema, or motion pictures, is known as ‘the art of the moving image’. Historically, fine arts have never been prohibited by the three monotheistic religions, but after the emergence of cinema, some religious leaders not only considered it ‘undesirable’ but also called for its outright prohibition. However, no consensus has ever been reached among jurists. Cinema is a universal language and a method of narration, recounting and storytelling whose popularity exceeds that of any other art as it is more entertaining and bedazzling. Egypt was a pioneer among Arab countries in the field of cinema, producing immortal films that addressed the sufferings and concerns of its people in an artistic manner. Throughout the history of Arab cinema its trends have varied from realism and neo-realism to biography, which was introduced by Youssef Chahine. Moreover, the evolution of cinema in Arab countries, notably Egypt, Syria, Morocco, Tunisia and Lebanon, could not have been achieved without breaking taboos and tackling problematic issues within society.

APA, Harvard, Vancouver, ISO, and other styles

17

Lachman, Kathryn M. "Robert Lang. The New Tunisian Cinema: Allegories of Resistance. New York: Columbia University Press, 2014. Film and Culture Series. xxii + 380 pp. Illustrations. Preface. Acknowledgments. Notes. Filmography. Glossary. Bibliography. Index. Paper. $35.00. ISBN: 978-0-231-16506-8." African Studies Review 60, no. 2 (2017): 268–70. http://dx.doi.org/10.1017/asr.2017.79.

Full text

APA, Harvard, Vancouver, ISO, and other styles

18

Lapompe-Paironne, Lionel. "Cinéma et désert." Téoros 30, no. 1 (2012): 90–98. http://dx.doi.org/10.7202/1012112ar.

Full text

Abstract:

Les paysages cinématographiques, réels ou imaginaires, peuvent constituer un élément déclencheur de la mobilité touristique, comme tout support visuel. Landes, collines et montagnes de la série Lord of the Rings (Le Seigneur des anneaux), mais aussi déserts de Lawrence of Arabia ou de Star Wars (La Guerre des étoiles), autant de paysages à la fois réels et imaginaires suscitent l’attrait touristique. Les environs de Ouarzazate (Maroc) et de Tataouine (Tunisie) ont servi et servent encore de toile de fond à des productions diverses et variées. Pourtant, si le cadre paysager reste identique, les conséquences sur l’aménagement touristique et sur la fréquentation ne sont pas les mêmes d’un bout à l’autre du Sahara, de même que les motivations des touristes qui se rendent sur ces deux sites. Cette contribution, après avoir traité de la manière dont l’industrie cinématographique a exploité les paysages désertiques du Maroc et de la Tunisie, aborde la question de l’importance différenciée du ciné-tourisme dans les deux espaces considérés. Il s’agit de comprendre, notamment grâce à la théorie des « marqueurs » de MacCannell (1976, r. 1989a), comment le tourisme lié au cinéma s’est développé selon deux modalités différentes, en termes de fréquentation et d’impact spatial, d’un bout à l’autre du Maghreb.

APA, Harvard, Vancouver, ISO, and other styles

19

Chikhaoui, Tahar. "Le cinéma tunisien des années 90, permanences et spécificités." Horizons Maghrébins - Le droit à la mémoire 46, no. 1 (2002): 113–19. http://dx.doi.org/10.3406/horma.2002.2035.

Full text

APA, Harvard, Vancouver, ISO, and other styles

20

Barlet, Olivier. "Le cinéma tunisien à la lumière du printemps arabe." Africultures 89-90, no. 3 (2012): 270. http://dx.doi.org/10.3917/afcul.089.0270.

Full text

APA, Harvard, Vancouver, ISO, and other styles

21

Jarjoura, Nadim. "The current state of Arab cinema: the stories of individuals … and an update on documentary films†." Contemporary Arab Affairs 7, no. 2 (2014): 209–24. http://dx.doi.org/10.1080/17550912.2014.916524.

Full text

Abstract:

Cinematic works in the Arab world, unified only by language, differ in their artfulness and their format both among countries and within each country. Equally, even countries with long-established cinema cultures have witnessed ups and downs. Thus we can observe that ‘Egyptian Neo-Realism’ emerged at the end of the last century to counter the decline in Egyptian cinema, once known for its nobility and rootedness. Contemporary ‘Arab Cinema’ is not only about artfulness; it also unveils the sufferings, concerns and interests of people through technical and cognitive development as well as innovative ideas. The most prominent actors in this genre in the Middle East are Egypt, Syria, Lebanon and Palestine. However, young directors in the Gulf region are seeking to acquire experience and professionalism, notably in Saudi Arabia where restrictions on daily life have become an incentive for rebellion and creativity. In addition, the Arab Maghreb countries have made great cinematic contributions, using their own methods and experiences, along with modern technology, to shed light on current political and humanitarian situations in the Arab world. Today, cinematic works are confronting censorship and oppression (due to political or religious reasons), not only in conservative countries such as Saudi Arabia but also in Arab states usually considered ‘liberated’ and ‘democratic’ like Tunisia, Morocco and Lebanon.

APA, Harvard, Vancouver, ISO, and other styles

22

Caillé, Patricia. "FIFAK 2013: Gendered and Generational Expressions of a Passion for Cinema in Tunisia." Diogenes 62, no. 1 (2015): 73–87. http://dx.doi.org/10.1177/0392192117735800.

Full text

APA, Harvard, Vancouver, ISO, and other styles

23

Corriou, Morgan. "La consommation cinéma - tographique : les plaisirs du cinéma en Tunisie au tournant de 1956." Africultures 89-90, no. 3 (2012): 116. http://dx.doi.org/10.3917/afcul.089.0115.

Full text

APA, Harvard, Vancouver, ISO, and other styles

24

Pierre-Bouthier, Marie. "Documentary cinema and memory of political violence in post-authoritarian Morocco and Tunisia (2009–2015)." Journal of North African Studies 23, no. 1-2 (2017): 225–45. http://dx.doi.org/10.1080/13629387.2018.1400774.

Full text

APA, Harvard, Vancouver, ISO, and other styles

25

Patricia, Caillé. "Fifak 2013. Expressions sexuées, genrées et générationnelles d’une passion du cinéma en Tunisie." Diogène 245, no. 1 (2014): 104. http://dx.doi.org/10.3917/dio.245.0104.

Full text

APA, Harvard, Vancouver, ISO, and other styles

26

Pierre-Bouthier, Marie. "Des créateurs et des curateurs aux frontières des arts visuels et du cinéma documentaire. Maroc – Tunisie (2011-2016)." Revue des mondes musulmans et de la Méditerranée, no. 142 (December 30, 2017): 142. http://dx.doi.org/10.4000/remmm.10092.

Full text

APA, Harvard, Vancouver, ISO, and other styles

27

"New Tunisian cinema: allegories of resistance." Choice Reviews Online 52, no. 03 (2014): 52–1316. http://dx.doi.org/10.5860/choice.169375.

Full text

APA, Harvard, Vancouver, ISO, and other styles

28

Dönmez-Colin, Gönül. "CINEFAN 2007." Kinema: A Journal for Film and Audiovisual Media, November 20, 2007. http://dx.doi.org/10.15353/kinema.vi.1157.

Full text

Abstract:

OSIAN'S CINEFAN - FESTIVAL OF ASIAN AND ARAB CINEMA Celebrating its ninth birthday, Osian's Cinefan (New Delhi, 20-29 July 2007) once again confirmed its status as the most important film festival of India with its comprehensive program, select guest list and stimulating conferences and seminars. The festival, which started as a showcase of Asian cinema has already added a section of Arab cinema to its program a few years ago. This year, Arab films that do not come from the Asian countries were also allowed to enter the competition, which brought a more colorful quality to the program. The fact that a Tunisian filmmaker would share the same concerns with his or her Taiwanese counterpart was another confirmation of the fact that the world was becoming smaller each day and the problems of one country would unavoidably have repercussions on another country, even miles away. The opening film of...

APA, Harvard, Vancouver, ISO, and other styles

29

Siino, François. "BEN AYED Maya, Le cinéma d’animation en Tunisie. Un cinéma de la marge en contexte autoritaire." Revue des mondes musulmans et de la Méditerranée, no. 149 (September 3, 2021). http://dx.doi.org/10.4000/remmm.14895.

Full text

APA, Harvard, Vancouver, ISO, and other styles

30

Caillé, Patricia. "S’imaginer en cinéma. Les hésitations genrées des cinéastes amateurs en Tunisie." Genre en séries, no. 5 (June 1, 2017). http://dx.doi.org/10.4000/ges.900.

Full text

APA, Harvard, Vancouver, ISO, and other styles

31

Lepoutre, Nicolas. "Maya Ben Ayed, Le cinéma d’animation en Tunisie (1965-1995). Un cinéma de la marge en contexte autoritaire." Lectures, May 27, 2020. http://dx.doi.org/10.4000/lectures.41216.

Full text

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!