Mohamed El Bouayadi
Datos Biográficos
| ID | 1448869 |
|---|---|
| NOMBRE | Mohamed El Bouayadi |
| NOMBRES | Mohamed |
| APELLIDO | El Bouayadi |
| FIRMA | EL BOUAYADI M |
| AFILIACIONES | Chouaib Doukkali University |
| ORCID | 0000-0001-9611-9273 |
| VERIFICADO | Sí |
| TOTAL DE OBRAS | 2 |
| TOTAL DE CITAS | 1 |
| TOTAL COMO AUTOR | 2 |
| TOTAL COMO EDITOR | 0 |
| PRIMER AÑO DE PUBLICACIÓN | 2023 |
| AÑO MÁS RECIENTE DE PUBLICACIÓN | 2024 |
| ÍNDICE H | 1 |
The origins of Moroccan narrative film
New Film historians purport that the historical progression of world cinema has fundamentally been shaped by the transition from the 'cinema of attractions' to the 'cinema of narrative integration.' From a historical perspective, these two concepts reflected not only two visions of the cinema's functions, but they also related to two crucial moments of the development of worldwide filmmaking. This development has often been associated with the sh…
Orientalism on the screen
In colonial Morocco, cinema was effectively dynamic in reflecting the interests and values of the dominant players in the film industry: Europeans. Colonial cinema was, thus, instrumental to Westerners, whereas Moroccans were at best consumers of the moving images or, when represented, seemed to be exotic, distorted and voiceless. This article explores the ways how colonial cinema visually produced the Moroccan native reality on the screen. By qu…
Orientalism on the screen
In colonial Morocco, cinema was effectively dynamic in reflecting the interests and values of the dominant players in the film industry: Europeans. Colonial cinema was, thus, instrumental to Westerners, whereas Moroccans were at best consumers of the moving images or, when represented, seemed to be exotic, distorted and voiceless. This article explores the ways how colonial cinema visually produced the Moroccan native reality on the screen. By qu…
Orientalism on the screen
In colonial Morocco, cinema was effectively dynamic in reflecting the interests and values of the dominant players in the film industry: Europeans. Colonial cinema was, thus, instrumental to Westerners, whereas Moroccans were at best consumers of the moving images or, when represented, seemed to be exotic, distorted and voiceless. This article explores the ways how colonial cinema visually produced the Moroccan native reality on the screen. By qu…
The origins of Moroccan narrative film
New Film historians purport that the historical progression of world cinema has fundamentally been shaped by the transition from the 'cinema of attractions' to the 'cinema of narrative integration.' From a historical perspective, these two concepts reflected not only two visions of the cinema's functions, but they also related to two crucial moments of the development of worldwide filmmaking. This development has often been associated with the sh…
Aesthetics (2 obras) · African history and culture studies (2 obras) · Art (2 obras) · History (2 obras) · History (2 obras) · Literature (2 obras) · Movie theater (2 obras) · North African History and Literature (2 obras) · Sociology (2 obras) · Anthropology (1 obras)