Post-Beur cinema : North African émigré and Maghrebi-French filmmaking in France since 2000 / Will Higbee.
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 c...
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Full Text (via Cambridge) |
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| Format: | eBook |
| Language: | English |
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Edinburgh :
Edinburgh University Press,
[2013]
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| Series: | Traditions in world cinema.
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| Subjects: |
MARC
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| 100 | 1 | |a Higbee, Will, |e author. | |
| 245 | 1 | 0 | |a Post-Beur cinema : |b North African émigré and Maghrebi-French filmmaking in France since 2000 / |c Will Higbee. |
| 264 | 1 | |a Edinburgh : |b Edinburgh University Press, |c [2013] | |
| 264 | 4 | |c ©2013 | |
| 300 | |a 1 online resource (xii, 204 pages) : |b illustrations | ||
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| 490 | 1 | |a Traditions in world cinema | |
| 504 | |a Includes bibliographical references (pages 192-200) and index. | ||
| 588 | 0 | |a Print version record. | |
| 505 | 0 | |a 1. Introduction: From immigrant cinema to national cinema -- 2. The (Maghrebi- )French connection: diaspora goes mainstream -- 3. Colonial fracture and the counter-heritage Film -- 4. Of Spaces and Difference in the Films of Abdellatif Kechiche -- 5. Home, Displacement and the Myth of Return: Journey Narratives in the 2000s -- 6. Screening Islam: Cinematic Representations of the Muslim Community in France in the 2000s -- 7. Conclusion: Post-Beur Cinema. | |
| 520 | |a 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 camera, announcing their presence on French screens in a wider range of genres and styles than ever before. This greater visibility and move to the mainstream has not, however, automatically meant that these films have lost any of the social or political relevance. Indeed in the 2000s many of these films have increasingly questioned the boundaries between national, transnational and diasporic cinema, whilst simultaneously demanding, either implicitly or explicitly, a reconsideration of the very difference that has traditionally been seen as a barrier to the successful integration of North African immigrants and their descendants into French society. -- Publisher description. | ||
| 650 | 0 | |a Motion pictures |z France |x History |y 21st century. | |
| 650 | 0 | |a Motion picture industry |z France |x History |y 21st century. | |
| 650 | 0 | |a North Africans in motion pictures. | |
| 650 | 0 | |a Immigrants in motion pictures. | |
| 650 | 0 | |a Social integration in motion pictures. | |
| 650 | 7 | |a Social integration in motion pictures |2 fast | |
| 650 | 7 | |a Immigrants in motion pictures |2 fast | |
| 650 | 7 | |a Motion picture industry |2 fast | |
| 650 | 7 | |a Motion pictures |2 fast | |
| 650 | 7 | |a North Africans in motion pictures |2 fast | |
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