Bringing into focus narrative text and subtext in Moroccan film

As a reading of a (forbidden) Moroccan love story, this article examines the ways in which the narrative structure of Laila Marrakchi's Marock (2005) creates meaning by presenting the image not only as a ‘story’ (or content), but also as ‘narration’ (or an act of enunciation) that delivers ‘new images’ (in the Deuleuzian sense) of Moroccan society. In addition to the emblematic title, which expresses the notion of identity formation through processes of interaction with Western cultural otherness (the word ‘Maroc’ fused with the word ‘rock’), several structural elements in the narrative text are activated to develop a religious and gender subtext that highlights dialogue with otherness within. It is argued that these elements have the effect of generating deeper insights about the complexity of Moroccan identity, translating Marrakchi's auteurist move to leave individual imprints, and offers a gendered take on a reality that reflects a changing social landscape

Aesthetics · Art · Epistemology · Focus (optics · Identity (music · Linguistics · Literature · Meaning (existential · Narrative · Physics · Reading (process · Sociology · Subtext · African history and culture studies · Hispanic-African Historical Relations · North African History and Literature · Philosophy

• A Colonial Labyrinth

  Abdelkébir Khatibi, Catherine Dana•Yale French Studies•1993

  Añadir item

• The Mellah Society

  Susan Gilson Miller, Shlomo Deshen et al.•The International Journal of…•1990

  Añadir item

• Marockin Morocco

  Brian T Edwards•The Journal of North African…•2007

  Añadir item

• Ali Zaoua

  Josef Gugler•The Journal of North African…•2007

  Añadir item

• Cinema I

  Gilles Deleuze•Cinema I•1986

  Añadir item