A transnational feminist rereading of post-Third Cinema theory
The case of Maghreb documentary
Bibliographic Data
| ID | 9373341 |
|---|---|
| Authors | Stefanie Van De Peer (0000-0003-3152-2912, University of St Andrews, corresponding author) |
| Year | 2012 |
| Volume | 4 |
| Issue | 2 |
| Pages | 175-189 |
| Publication date | 2012-10-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Journal of African Cinemas (JOURNAL) |
| Journal identifiers | ISSN: 1754-9221 • E-ISSN: 1754-923X |
| Publisher | Intellect (PUBLISHER • GB) |
| DOI | 10.1386/jac.4.2.175_1 |
| OpenAlex | W2312905737 |
| Language | EN |
| Citations received | 5 |
The pioneering women making documentaries in the Maghreb – Selma Baccar, Assia Djebar, and Izza Génini – started their careers in the 1970s and 1980s. Their formative years as artists were rooted in an era in which global social movements took to the streets. Two vital manifestoes on film in the Third World and in the Arab world appeared in this context at the end of the 1960s. It is in this light that the early documentaries by Selma Baccar, Assia Djebar and Izza Génini are contextualized. Younger documentarists from the Maghreb have reacted against certain tendencies in their predecessors’ films, or have precisely taken on their politically engaged aesthetic directions. This article looks in detail at the developments of documentary making in the Maghreb since the 1970s, dispelling the myth that there is no freedom of speech or that there are no women making politically activist documentaries in this region
Advertising · Art · Art history · Context (archaeology · Economic history · Formative assessment · Literature · Making-of · Media studies · Movie theater · Mythology · Sociology · Third world · African history and culture studies · Gender Studies · History · North African History and Literature · Political and Social Issues
| Citations per year | 0.42 |
|---|---|
| Citation span | 2014 - 2022 (9) |
| Highly cited | No |