Evolution of Maghrebi Women Cinema
Filles-mères in Sofia (2018) and Adam (2019)
Bibliographic Data
| ID | 12878591 |
|---|---|
| Authors | Haniyeh B Pasandi (University of Maryland, Baltimore County, corresponding author) |
| Year | 2023 |
| Volume | 27 |
| Issue | 3 |
| Pages | 386-397 |
| Publication date | 2023-05-27 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Contemporary French and Francophone Studies (JOURNAL) |
| Journal identifiers | ISSN: 1740-9292 • E-ISSN: 1740-9306 |
| Publisher | Routledge (PUBLISHER • GB) |
| DOI | 10.1080/17409292.2023.2225370 |
| OpenAlex | W4386335302 |
| Language | EN |
| References cited | 8 |
This article gives an overview of postcolonial cinema in the Maghreb while focusing on the two Maghrebi filmmakers, Meryem Benm’Barek-Alosï and Maryam Touzani, whose films take a more daring stance on the problem of filles-mères (unmarried mothers) and childbearing out of wedlock in the Moroccan society. This article examines the development of Moudawana (family law) in Morocco, its effects on women's lives, and the concept of shame in Maghrebi culture through a detailed analysis of Sofia (2018) and Adam (2019)
Art · Art history · Humanities · Movie theater · Political science · Shame · Sociology · African history and culture studies · Gender Studies · Law · Multiculturalism, Politics, Migration, Gender · Political and Social Issues
| Highly cited | No |
|---|