Will Higbee
Biographic Data
| ID | 2483974 |
|---|---|
| NAME | Will Higbee |
| GIVEN NAMES | Will |
| FAMILY NAME | Higbee |
| SIGNATURE | HIGBEE W |
| AFFILIATIONS | University of Exeter |
| VERIFIED | No |
| TOTAL WORKS | 21 |
| TOTAL CITATIONS | 83 |
| AUTHOR COUNT | 19 |
| EDITOR COUNT | 2 |
| FIRST PUBLICATION YEAR | 2004 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 4 |
Sino-international film collaboration and co-production
In light of the shift from the first phase to the second phase of transnational cinema studies, this volume examines a set of practices of transnational cinema that have been taking place between China and its counterparts. In exploring transnational cinema activities in the form of film collaborations and co-productions, this volume puts the spotlight on critical trends in transnational cinemas that are not limited to Western spheres of influenc…
Utopian Montage
This essay explores some of the simultaneous limitations and affordances the Covid-19 pandemic has created for emergent perspectives upon a transnational folk cinema. Merging aspects of more traditional scholarly enquiry with the research-by-practice embodied within Scotland's Folk Film Gathering film festival, we position two case studies - of Nadir Bouhmouch's Amussu (2020) and the Amber Collective's Like Father (2001) respectively - within som…
Moroccan Cinema Uncut
Assesses Moroccan cinema through a transnational lens to reframe its postcolonial legacy Based on interviews with key industry figures and filmmakers Case studies include the controversial Much Loved , and an analysis of its reception within and outwith Morocco Argues that Moroccan cinema has de-orbited from Francophone cinema and Morocco's postcolonial legacy to become a transnational cinema Watch the editors discuss the book in a webinar hosted…
Introduction
Introduction :le cinéma maghrébin transnational sous toutes ses formes Will Higbee (bio) Penser en termes de cinéma transnational revient à mettre en exergue la diversité des représentations à la fois locales (spécifiques à une culture) et globales (à même de tisser des liens avec différents publics et des cultures cinématographiques au-delà du pays d'origine). Cet accent sur le transnational permet de sonder tout particulièrement la notion de fr…
"Si le spectateur européen ne s'ouvre pas à nos films, il s'enferme"
"Si le spectateur européen ne s'ouvre pas à nos films, il s'enferme" :An Interview with Ahmed El Maanouni Will Higbee (bio) and Florence Martin (bio) In October 2017, Moroccan director Ahmed El Maanouni was invited by the Transnational Moroccan Cinema (TMC) research project (funded by the Arts and Humanities Research Council, UK) to participate in a public screening of his film Transes1 (1981) and an associated workshop on Moroccan documentary fi…
Adventures of a Transnational African Distributor
Adventures of a Transnational African Distributor:An Interview with Izza Génini Will Higbee (bio) and Florence Martin (bio) The Moroccan-Jewish filmmaker Izza Génini is probably best known as the director of a critically-acclaimed series of eleven documentaries on Moroccan music, Maroc: corps et âme (1987-1992). What is perhaps less well known is her key role in the 1970s and 1980s as a gatekeeper for Moroccan and African cinema in terms of distr…
Studies in French Cinema
Hope and Indignation in Fortress Europe
Article
Post-beur Cinema
Since the early 1980s and the arrival of Beur cinema filmmakers of Maghrebi origin have made a key contribution French cinema's representation of issues such as immigration, integration and national identity. However, they have done so mostly from a position on the margins of the industry. In contrast, since the early 2000s, Maghrebi-French and North African émigré filmmakers have occupied an increasingly prominent position on both sides of the c…
Postbeur Cinema North African Migr And Maghrebifrench Filmmaking In France Since 2000
A comparative analysis of Maghrebi-French and North African émigré cinema in France.
Of Spaces and Difference in the Films of Abdellatif Kechiche
This chapter considers the films of Abdellatif Kechiche, a French director of Tunisian origin who has emerged as one of the most original, socially relevant and celebrated new auteurs of French cinema in the 2000s. It offers a detailed analysis of Kechiche's first four films - La Faute à Voltaire, L’Esquive, La Graine et le mulet and Vénus noire - considering issues such as the use of language and silence, the (cinematic) construction of space, t…
Colonial Fracture and the Counter-Heritage Film
The question of memorializing France's colonial past has been a prominent and contested issue in French politics and the media in the 2000s. This chapter considers how Maghrebi-French filmmakers have chosen to represent the Franco-Maghrebi colonial past and in particular the Algerian War and the history of North African immigration to France. Through case studies of four key films – Inch'allah dimanche, Cartouches Gauloises, Indigènes and Hors-la…
Post-beur Cinema
Since the early 1980s and the arrival of Beur cinema filmmakers of Maghrebi origin have made a key contribution to French cinema's representation of issues such as immigration, integration and national identity. However, they have done so mostly from a position on the margins of the industry. In contrast, since the early 2000s, Maghrebi-French and North African émigré filmmakers have occupied an increasingly prominent position on both sides of th…
De-Westernizing Film Studies
Foreword: Graeme Harper Introduction: Film Studies Part 1: (Dis-)continuities of the Cinematic Imaginary: (Non-)Representation, Discourse and Theory Chapter 1: Imagi[ni]ng the Universe: Cosmos, Otherness and Cinema Chapter 2: Questioning Discourses of diaspora: Black Cinema as Symptom Chapter 3: Affective Passions: Dancing Female Body and Colonial Rupture in Zouzou (1934) and Karmen Gei (2001) Chapter 4: African Frameworks of Analysis for African…
Le cinéma maghrébin vu de l'autre côté de la Méditerranée
Displaced audio
The article examines the use of sound in Maghrebi-French film-making since the early 1980s, arguing for a greater need to explore the role of the soundtrack and music in this area of contemporary French/francophone cinema, as well as in diasporic and postcolonial cinema more generally. The article analyses a range of films by Maghrebi-French directors, characterized by what might be termed ‘displaced audio’. Particular attention will be paid to t…
Studies in French Cinema
Concepts of transnational cinema
This article aims to map out the various concepts of transnational cinema that have appeared over the past ten to fifteen years, and its state of deployment, related issues and problematics. It argues for a critical form of transnationalism in film studies that might help us interpret more productively the interface between global and local, national and transnational. It also aims to move away from a Eurocentric approach towards the reading of s…
Beyond the (trans)national
The aim of this article is to explore the current state of theorizing around questions of national and transnational cinema and to propose an approach which I am calling a ‘cinema of transvergence’ as a means of better understanding the complex relationship between national, transnational and postcolonial/diasporic cinemas. The work and situation of Algerian film-makers Merzak Allouache and Mahmoud Zemmouri are referred to in the final section of…
Locating the Postcolonial in Transnational Cinema
This article focuses on the work of four Algerian émigré directors working in France since the early 1980s: Merzak Allouache, Abdelkrim Bahloul, Okacha Touita and Mahmoud Zemmouri, in order to address questions of transnational cinema(s) in a specifically postcolonial context. It considers how selected films by these directors borrow from the traditions of French (European) cinema and combine them with the specificities (and difference) of the Al…
Elle est où, ta place?’ The Social-Realist Melodramas of Laurent Cantet
This article analyses the social-realist melodramas of director Laurent Cantet: Ressources humaines (2000) and Emploi du temps (2001). It considers the socio-political subject matter of the two films in relation to so-called New Realism and the ‘return of the political’ in French cinema since the mid-1990s. The article also examines Cantet’s use of melodrama – the function of mise-en-scène, emphasis on the family as the site of wider social crisi…
Concepts of transnational cinema
This article aims to map out the various concepts of transnational cinema that have appeared over the past ten to fifteen years, and its state of deployment, related issues and problematics. It argues for a critical form of transnationalism in film studies that might help us interpret more productively the interface between global and local, national and transnational. It also aims to move away from a Eurocentric approach towards the reading of s…
Beyond the (trans)national
The aim of this article is to explore the current state of theorizing around questions of national and transnational cinema and to propose an approach which I am calling a ‘cinema of transvergence’ as a means of better understanding the complex relationship between national, transnational and postcolonial/diasporic cinemas. The work and situation of Algerian film-makers Merzak Allouache and Mahmoud Zemmouri are referred to in the final section of…
Locating the Postcolonial in Transnational Cinema
This article focuses on the work of four Algerian émigré directors working in France since the early 1980s: Merzak Allouache, Abdelkrim Bahloul, Okacha Touita and Mahmoud Zemmouri, in order to address questions of transnational cinema(s) in a specifically postcolonial context. It considers how selected films by these directors borrow from the traditions of French (European) cinema and combine them with the specificities (and difference) of the Al…
Moroccan Cinema Uncut
Assesses Moroccan cinema through a transnational lens to reframe its postcolonial legacy Based on interviews with key industry figures and filmmakers Case studies include the controversial Much Loved , and an analysis of its reception within and outwith Morocco Argues that Moroccan cinema has de-orbited from Francophone cinema and Morocco's postcolonial legacy to become a transnational cinema Watch the editors discuss the book in a webinar hosted…
Post-beur Cinema
Since the early 1980s and the arrival of Beur cinema filmmakers of Maghrebi origin have made a key contribution to French cinema's representation of issues such as immigration, integration and national identity. However, they have done so mostly from a position on the margins of the industry. In contrast, since the early 2000s, Maghrebi-French and North African émigré filmmakers have occupied an increasingly prominent position on both sides of th…
Hope and Indignation in Fortress Europe
Article
Elle est où, ta place?’ The Social-Realist Melodramas of Laurent Cantet
This article analyses the social-realist melodramas of director Laurent Cantet: Ressources humaines (2000) and Emploi du temps (2001). It considers the socio-political subject matter of the two films in relation to so-called New Realism and the ‘return of the political’ in French cinema since the mid-1990s. The article also examines Cantet’s use of melodrama – the function of mise-en-scène, emphasis on the family as the site of wider social crisi…
Elle est où, ta place?’ The Social-Realist Melodramas of Laurent Cantet
This article analyses the social-realist melodramas of director Laurent Cantet: Ressources humaines (2000) and Emploi du temps (2001). It considers the socio-political subject matter of the two films in relation to so-called New Realism and the ‘return of the political’ in French cinema since the mid-1990s. The article also examines Cantet’s use of melodrama – the function of mise-en-scène, emphasis on the family as the site of wider social crisi…
Beyond the (trans)national
The aim of this article is to explore the current state of theorizing around questions of national and transnational cinema and to propose an approach which I am calling a ‘cinema of transvergence’ as a means of better understanding the complex relationship between national, transnational and postcolonial/diasporic cinemas. The work and situation of Algerian film-makers Merzak Allouache and Mahmoud Zemmouri are referred to in the final section of…
Locating the Postcolonial in Transnational Cinema
This article focuses on the work of four Algerian émigré directors working in France since the early 1980s: Merzak Allouache, Abdelkrim Bahloul, Okacha Touita and Mahmoud Zemmouri, in order to address questions of transnational cinema(s) in a specifically postcolonial context. It considers how selected films by these directors borrow from the traditions of French (European) cinema and combine them with the specificities (and difference) of the Al…
Concepts of transnational cinema
This article aims to map out the various concepts of transnational cinema that have appeared over the past ten to fifteen years, and its state of deployment, related issues and problematics. It argues for a critical form of transnationalism in film studies that might help us interpret more productively the interface between global and local, national and transnational. It also aims to move away from a Eurocentric approach towards the reading of s…
Studies in French Cinema
De-Westernizing Film Studies
Foreword: Graeme Harper Introduction: Film Studies Part 1: (Dis-)continuities of the Cinematic Imaginary: (Non-)Representation, Discourse and Theory Chapter 1: Imagi[ni]ng the Universe: Cosmos, Otherness and Cinema Chapter 2: Questioning Discourses of diaspora: Black Cinema as Symptom Chapter 3: Affective Passions: Dancing Female Body and Colonial Rupture in Zouzou (1934) and Karmen Gei (2001) Chapter 4: African Frameworks of Analysis for African…
Le cinéma maghrébin vu de l'autre côté de la Méditerranée
Displaced audio
The article examines the use of sound in Maghrebi-French film-making since the early 1980s, arguing for a greater need to explore the role of the soundtrack and music in this area of contemporary French/francophone cinema, as well as in diasporic and postcolonial cinema more generally. The article analyses a range of films by Maghrebi-French directors, characterized by what might be termed ‘displaced audio’. Particular attention will be paid to t…
Post-beur Cinema
Since the early 1980s and the arrival of Beur cinema filmmakers of Maghrebi origin have made a key contribution French cinema's representation of issues such as immigration, integration and national identity. However, they have done so mostly from a position on the margins of the industry. In contrast, since the early 2000s, Maghrebi-French and North African émigré filmmakers have occupied an increasingly prominent position on both sides of the c…
Postbeur Cinema North African Migr And Maghrebifrench Filmmaking In France Since 2000
A comparative analysis of Maghrebi-French and North African émigré cinema in France.
Of Spaces and Difference in the Films of Abdellatif Kechiche
This chapter considers the films of Abdellatif Kechiche, a French director of Tunisian origin who has emerged as one of the most original, socially relevant and celebrated new auteurs of French cinema in the 2000s. It offers a detailed analysis of Kechiche's first four films - La Faute à Voltaire, L’Esquive, La Graine et le mulet and Vénus noire - considering issues such as the use of language and silence, the (cinematic) construction of space, t…
Colonial Fracture and the Counter-Heritage Film
The question of memorializing France's colonial past has been a prominent and contested issue in French politics and the media in the 2000s. This chapter considers how Maghrebi-French filmmakers have chosen to represent the Franco-Maghrebi colonial past and in particular the Algerian War and the history of North African immigration to France. Through case studies of four key films – Inch'allah dimanche, Cartouches Gauloises, Indigènes and Hors-la…
Post-beur Cinema
Since the early 1980s and the arrival of Beur cinema filmmakers of Maghrebi origin have made a key contribution to French cinema's representation of issues such as immigration, integration and national identity. However, they have done so mostly from a position on the margins of the industry. In contrast, since the early 2000s, Maghrebi-French and North African émigré filmmakers have occupied an increasingly prominent position on both sides of th…
Studies in French Cinema
Hope and Indignation in Fortress Europe
Article
Introduction
Introduction :le cinéma maghrébin transnational sous toutes ses formes Will Higbee (bio) Penser en termes de cinéma transnational revient à mettre en exergue la diversité des représentations à la fois locales (spécifiques à une culture) et globales (à même de tisser des liens avec différents publics et des cultures cinématographiques au-delà du pays d'origine). Cet accent sur le transnational permet de sonder tout particulièrement la notion de fr…
"Si le spectateur européen ne s'ouvre pas à nos films, il s'enferme"
"Si le spectateur européen ne s'ouvre pas à nos films, il s'enferme" :An Interview with Ahmed El Maanouni Will Higbee (bio) and Florence Martin (bio) In October 2017, Moroccan director Ahmed El Maanouni was invited by the Transnational Moroccan Cinema (TMC) research project (funded by the Arts and Humanities Research Council, UK) to participate in a public screening of his film Transes1 (1981) and an associated workshop on Moroccan documentary fi…
Adventures of a Transnational African Distributor
Adventures of a Transnational African Distributor:An Interview with Izza Génini Will Higbee (bio) and Florence Martin (bio) The Moroccan-Jewish filmmaker Izza Génini is probably best known as the director of a critically-acclaimed series of eleven documentaries on Moroccan music, Maroc: corps et âme (1987-1992). What is perhaps less well known is her key role in the 1970s and 1980s as a gatekeeper for Moroccan and African cinema in terms of distr…
Moroccan Cinema Uncut
Assesses Moroccan cinema through a transnational lens to reframe its postcolonial legacy Based on interviews with key industry figures and filmmakers Case studies include the controversial Much Loved , and an analysis of its reception within and outwith Morocco Argues that Moroccan cinema has de-orbited from Francophone cinema and Morocco's postcolonial legacy to become a transnational cinema Watch the editors discuss the book in a webinar hosted…
Utopian Montage
This essay explores some of the simultaneous limitations and affordances the Covid-19 pandemic has created for emergent perspectives upon a transnational folk cinema. Merging aspects of more traditional scholarly enquiry with the research-by-practice embodied within Scotland's Folk Film Gathering film festival, we position two case studies - of Nadir Bouhmouch's Amussu (2020) and the Amber Collective's Like Father (2001) respectively - within som…
Sino-international film collaboration and co-production
In light of the shift from the first phase to the second phase of transnational cinema studies, this volume examines a set of practices of transnational cinema that have been taking place between China and its counterparts. In exploring transnational cinema activities in the form of film collaborations and co-productions, this volume puts the spotlight on critical trends in transnational cinemas that are not limited to Western spheres of influenc…
Art (16 works) · Movie theater (15 works) · Political science (13 works) · African history and culture studies (12 works) · Sociology (12 works) · Art history (11 works) · Media studies (8 works) · North African History and Literature (8 works) · Cinema and Media Studies (7 works) · History (7 works)