Florence Martin
Biographic Data
| ID | 5436253 |
|---|---|
| NAME | Florence Martin |
| GIVEN NAMES | Florence |
| FAMILY NAME | Martin |
| SIGNATURE | MARTIN F |
| AFFILIATIONS | Goucher College |
| VERIFIED | No |
| TOTAL WORKS | 19 |
| TOTAL CITATIONS | 9 |
| AUTHOR COUNT | 19 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1947 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 2 |
Exploring the role of synchrony in asynchronous, synchronous, and quasi-synchronous online learner engagement
Synchrony, or the timing of information as it is exchanged between participants, has garnered increasing study in online learning. Within this domain is bichronous online learning (BOL), the blending of asynchronous and synchronous elements within one learning environment. Some research has identified mobile instant messaging as quasi-synchronous (able to be both synchronous and asynchronous), but this affordance has been largely unexamined. This…
The Sahara, the Atlas, and Tangier
Farida Benlyazid and Moroccan Cinema
Film and History
The long, rich history of Francophone cinematic culture has been largely absent from the pages of French Historical Studies. The current issue offers a corrective by initiating dialogue between historians and film studies specialists, and this introduction lays a groundwork by briefly sketching intellectual and cultural contexts for the articles that follow. Brett Bowles, Christian Delage, and Thibault Guichard examine films that recover voices s…
A systematic review of research on online teaching and learning from 2009 to 2018
"Si le spectateur européen ne s'ouvre pas à nos films, il s'enferme": An Interview with Ahmed El Maanouni
"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…
Le transnationalisme dé-routant et nomadique des réalisatrices marocaines
Si les réalisatrices marocaines ont toujours produit des films transnationaux, ce mode de production au-delà des frontières s'est intensifié et diversifié depuis le tournant du millénaire. Une nouvelle génération de réalisatrices, qu'elles soient cinéastes de passage ou implantées au Maroc, a trouvé d'autres façons d'assembler des équipes créatives transnationales et de puiser dans des fonds d'origines géopolitiques diverses qui leur ouvrent des …
Adventures of a Transnational African Distributor: An Interview with Izza Génini
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…
Bad Girls of the Arab World
Explores the new ‘bad girls’ of Sudanese music as they defy national boundaries to bring women’s perspectives and critiques to a global audience. Performers such as Alsarah and Rasha have access to a world music stage to comment upon gender and racial hierarchies, chide Sudanese power brokers about their transgressions, and encourage a more inclusive and just society. Pushback against new voices have included charges in the public domain (e.g. Yo…
Cinéma-monde: De-orbiting Maghrebi cinema
This article proposes to ask and possibly start to answer a series of questions: What on earth is cinéma-monde? How useful is it as a descriptor for the study of postcolonial cinemas in former French colonies? How different is it from cinémas du monde, the French translation for “World Cinema”? The term cinéma-monde was first coined by two French political scientists, Josepha Laroche and Alexandre Bohas, to describe the context against which the …
Paroles et musiques: Les audaces des documentaristes maghrébines
Écran pour tous ? Personnages gays dans trois films phares tunisiens
Cinémas du Maghreb
Satin rouge aux États-Unis: Discours et réception critiques
Screens and Veils: Maghrebi Women's Cinema
The cinematic vision of North African women directors
The Wiles of Maghrebi Women’s Cinema
Maghrebi women's cinema is a dynamic, fascinating paradox: while solidly anchored for over forty years in the history of Maghrebi cinema,1 it has nonetheless manufactured and sustained an uncommon form of resistance that goes against the grain of at least two superimposed patriarchal systems: the global system of film production, and the regional configuration of culture, society, and politics particular to Algeria, Morocco, and Tunisia.KeywordsI…
Transvergence and cultural detours: Nadia El Fani's Bedwin Hacker (2002)
When analysing films by women directors from Tunisia, the usual theoretical toolbox at the critic's disposal contains, for instance, postcolonial, feminist or transnational cinema studies. Although useful to start investigating the work of women who are at least bilingual and bicultural—steeped in a Muslim culture and trained in a western one—these frameworks fail to reflect the multi-fold resistance to authoritarian discourse (on either side of …
Silence and scream: Moufida Tlatli's cinematic suite
One way to look at Tunisian film-maker Tlatli's two films to date, Saimt el Qusur/Silences of the Palace (1993) and La Saison des hommes/Season of Men (2000) is to watch them in a continuum, as two movements of a cinematic suite, structured around two central call-and-response elements: silence and scream. Sound and silence then become central to the architecture of the narrative, to the organization of space (both literal and symbolic) in the fi…
A comparative study of the intelligence of children from private homes and of those from an institutional home
In Lexington, Kentucky, there was an institutional home for dependent children. It was maintained by Lexington and Fayette County; and was known as the Children's Home. Every year there came from this home to Johnson School around seventy-five pupils. No matter how many changes there were within the enrollment of Johnson School's Ungraded Class, one condition remained constant. Boys and girls from the Children's comprised between 50 and 60 per ce…
Cinéma-monde: De-orbiting Maghrebi cinema
This article proposes to ask and possibly start to answer a series of questions: What on earth is cinéma-monde? How useful is it as a descriptor for the study of postcolonial cinemas in former French colonies? How different is it from cinémas du monde, the French translation for “World Cinema”? The term cinéma-monde was first coined by two French political scientists, Josepha Laroche and Alexandre Bohas, to describe the context against which the …
Silence and scream: Moufida Tlatli's cinematic suite
One way to look at Tunisian film-maker Tlatli's two films to date, Saimt el Qusur/Silences of the Palace (1993) and La Saison des hommes/Season of Men (2000) is to watch them in a continuum, as two movements of a cinematic suite, structured around two central call-and-response elements: silence and scream. Sound and silence then become central to the architecture of the narrative, to the organization of space (both literal and symbolic) in the fi…
A comparative study of the intelligence of children from private homes and of those from an institutional home
In Lexington, Kentucky, there was an institutional home for dependent children. It was maintained by Lexington and Fayette County; and was known as the Children's Home. Every year there came from this home to Johnson School around seventy-five pupils. No matter how many changes there were within the enrollment of Johnson School's Ungraded Class, one condition remained constant. Boys and girls from the Children's comprised between 50 and 60 per ce…
Silence and scream: Moufida Tlatli's cinematic suite
One way to look at Tunisian film-maker Tlatli's two films to date, Saimt el Qusur/Silences of the Palace (1993) and La Saison des hommes/Season of Men (2000) is to watch them in a continuum, as two movements of a cinematic suite, structured around two central call-and-response elements: silence and scream. Sound and silence then become central to the architecture of the narrative, to the organization of space (both literal and symbolic) in the fi…
Transvergence and cultural detours: Nadia El Fani's Bedwin Hacker (2002)
When analysing films by women directors from Tunisia, the usual theoretical toolbox at the critic's disposal contains, for instance, postcolonial, feminist or transnational cinema studies. Although useful to start investigating the work of women who are at least bilingual and bicultural—steeped in a Muslim culture and trained in a western one—these frameworks fail to reflect the multi-fold resistance to authoritarian discourse (on either side of …
The Wiles of Maghrebi Women’s Cinema
Maghrebi women's cinema is a dynamic, fascinating paradox: while solidly anchored for over forty years in the history of Maghrebi cinema,1 it has nonetheless manufactured and sustained an uncommon form of resistance that goes against the grain of at least two superimposed patriarchal systems: the global system of film production, and the regional configuration of culture, society, and politics particular to Algeria, Morocco, and Tunisia.KeywordsI…
Screens and Veils: Maghrebi Women's Cinema
The cinematic vision of North African women directors
Cinémas du Maghreb
Satin rouge aux États-Unis: Discours et réception critiques
Écran pour tous ? Personnages gays dans trois films phares tunisiens
Paroles et musiques: Les audaces des documentaristes maghrébines
Cinéma-monde: De-orbiting Maghrebi cinema
This article proposes to ask and possibly start to answer a series of questions: What on earth is cinéma-monde? How useful is it as a descriptor for the study of postcolonial cinemas in former French colonies? How different is it from cinémas du monde, the French translation for “World Cinema”? The term cinéma-monde was first coined by two French political scientists, Josepha Laroche and Alexandre Bohas, to describe the context against which the …
Bad Girls of the Arab World
Explores the new ‘bad girls’ of Sudanese music as they defy national boundaries to bring women’s perspectives and critiques to a global audience. Performers such as Alsarah and Rasha have access to a world music stage to comment upon gender and racial hierarchies, chide Sudanese power brokers about their transgressions, and encourage a more inclusive and just society. Pushback against new voices have included charges in the public domain (e.g. Yo…
"Si le spectateur européen ne s'ouvre pas à nos films, il s'enferme": An Interview with Ahmed El Maanouni
"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…
Le transnationalisme dé-routant et nomadique des réalisatrices marocaines
Si les réalisatrices marocaines ont toujours produit des films transnationaux, ce mode de production au-delà des frontières s'est intensifié et diversifié depuis le tournant du millénaire. Une nouvelle génération de réalisatrices, qu'elles soient cinéastes de passage ou implantées au Maroc, a trouvé d'autres façons d'assembler des équipes créatives transnationales et de puiser dans des fonds d'origines géopolitiques diverses qui leur ouvrent des …
Adventures of a Transnational African Distributor: An Interview with Izza Génini
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…
A systematic review of research on online teaching and learning from 2009 to 2018
Film and History
The long, rich history of Francophone cinematic culture has been largely absent from the pages of French Historical Studies. The current issue offers a corrective by initiating dialogue between historians and film studies specialists, and this introduction lays a groundwork by briefly sketching intellectual and cultural contexts for the articles that follow. Brett Bowles, Christian Delage, and Thibault Guichard examine films that recover voices s…
The Sahara, the Atlas, and Tangier
Farida Benlyazid and Moroccan Cinema
Exploring the role of synchrony in asynchronous, synchronous, and quasi-synchronous online learner engagement
Synchrony, or the timing of information as it is exchanged between participants, has garnered increasing study in online learning. Within this domain is bichronous online learning (BOL), the blending of asynchronous and synchronous elements within one learning environment. Some research has identified mobile instant messaging as quasi-synchronous (able to be both synchronous and asynchronous), but this affordance has been largely unexamined. This…
Art (11 works) · Art history (8 works) · Political and Social Issues (8 works) · Political science (8 works) · African history and culture studies (7 works) · Movie theater (7 works) · Humanities (5 works) · Sociology (5 works) · Aesthetics (4 works) · Computer Science (4 works)