Written by the erudite script-writer Farida Benlyazid, farhati’s movie reflects the quotidian pains of Moroccan women during the post-independence era. The movie reflects the reality and demonstrates how sexual abuse and social oppression operate. It is also an invitation to explore Moroccan culture through the customs and the traditions it presents: wedding parties, funerals, traditional music and the entire folklore of the country.
Another noticeable aspect regarding the changes that the film industry witnessed at that time is the emergence of the female directors. Farida Benlyazid is regarded as the first woman filmmaker in Moroccan cinema. She began her career by writing some successful works for other filmmakers and shifted her focus
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Before moving into film directing, Tazi worked as a cameraman in varied short movies. Like many filmmakers of his generation, he studied cinema in Paris and returned to his country to work in the CCM. In the late 80s, Tazi made his first appearance directing two feature movies, Ibno Sabil and Badis. Carter believes that Tazi’s early experiences taught him that making cinema in Morocco requires a lot of efforts especially that the funds provided and the infrastructure are not adequate. Gender issues are well manifested in his works. Tazi’s films present to the audience his own perspective regarding women 's experience in society. They frankly highlight women’s oppression under male predominance, and their quest for freedom. They are an indirect recognition of the patriarchal order within the Moroccan culture. In his films, women are more related to the private sphere and are represented as …show more content…
The second generation of Moroccan directors managed to adopt new styles and techniques shifting their focus into the so called ‘auteur’ cinema. They also succeeded to detach themselves gradually from the impact of the French and other foreign cinema models rendering the films more original. The filmmaker’s growing interest in domestic issues contributed to the emergence of the debate over the role of cinema as cultural product in the development of the nation. Questions about the type of film the state should encourage pushed the latter to revise its policies and to issue new regulation so as to enhance
This book differs from most ethnographies in that it was not authored by an anthropologist. Fernea originally set out to accompany her husband as he completed research for his doctorate in social anthropology from the University Chicago. Henceforth, Fernea did not enter the field with any specific goals, hypotheses, or particular interests. In many ways, Guests of the Sheik reads as a personal narrative, describing Ferneas struggles integrating into a society that has vastly different expectations and guidelines for women. Fernea recalls the culture shock she first experienced as well as her eagerness to overcome it. Her goals were mainly of a human nature: she wanted to feel a sense of belonging, to have friends, and to establish a life in El Nahra. The first part of Guests of the Sheik largely mimics Fernea's own journey to feeling accepted as it introduces readers to the various groups of women who soon become Fernea's close friends and confidants, most importantly Laila, who will later introduce many aspects of Muslim culture to Fernea. Throughout the book, each chapter emphasizes a different aspect of life as Fernea discovers it, or details an important event. As such, readers experience Ramadan and Eid, two staples of the Muslim culture, Weddings and marriage arrangements, discussions of monogamy and polygamy, the Pilgrimage to Karbala, and many other customs
The film Jindabyne, is a story about death, marriage, and race in an Australian town in New South Wales called Jindabyne. In the film, four men go fishing, and one of them discovers the dead body of a young indigenous girl. Instead of reporting what they found to the police immediately, they decide to stay and continue fishing. They decide that there is nothing they could do for her, so they tie her legs to a tree and continue with their fishing, reporting the death only when they return home. After they are done with their weekend of fishing and report the incident, conflict starts, as the men are criticized for not respecting the dead. Through the story of the town’s reaction to the four fishermen’s response to the dead girl, the movie shows Australia to be fragmented and divided over white-indigenous relations.
Both el Saadawi and Al-Shaykh both show how perception and expression are both affected within the confines of politics, social opportunities, and male privilege depicted in their stories. Whether the reader is a follower of the feminist movement or not, it is very clear and easy to see that these women are not being treated with the respect that any human being deserves. The misogynistic stranglehold on society, especially in this part of the world, is excessive and avoidable in today’s world but it is very likely that the traditional, conservative ways of the past will continue to control and inhibit women from being able to be fully treated as equals for many years to come, perhaps even after this generation has
...ome to us at an interesting time, before the Revolution, 40 percent of Tehran movie theaters were showing pornography. The function of this office is purification as well as promotion for the arts.” The first part notions the Western stereotype of the Orient since the same as the time when it was discovered, but now the people of the Orient realize the stereotypes and are changing the way they see themselves because of these stereotypes. It is only by correcting these assumptions, stereotypes, and misconceptions of the Orient at the heart of society today, the media can Orientalism be fixed. The Eastern people must be allowed to sympathize in movies and films to humanize them and have intimate interactions. Otherwise, the Orient will be continued to be known incorrectly as a place with people who are without reason, screaming, protesting, and in swarming mobs.
Writing Women's Worlds is some stories on the Bedouin Egyptian people. In this book, thwe writer Lia Adu-Lughod's stories differ from the conventional ones. While reading, we discover the customs and values of the Bedouin people.
Casablanca is a visually sound film in its use of Hollywood craftsmanship during the 1940’s. The director, Michael Curtiz, and the writers, Howard Koch, Julius Epstein, and Philip Epstein, all won Oscars for their contributions including best director and best writing. The film has numerous successes, however, with its use of mise-en-scene, timeless writing, and cinematographic elements.
It revolves around the issues of gender oppression, sexual assault, and importance of social status. Alifa Rifaat manages to express her opinions towards these themes by writing about a typical Egyptian marriage. She puts in focus the strong influence that a patriarchal society has. She also manages to prove how important social status is in society. The uses of literally elements such as theme and irony help express this view. It shows that in a typical Egyptian society women are commonly oppressed by all males in society
This time, she used a new medium, the feature-length film, to express her feeling of Iranian society, and she declared that the film is telling a story rather than conveying a concept (754). In this way, the film Women Without Men tells four women’s story in islamic society, and Neshat tired to use these four emotional and sad stories to reflect women’s status in islamic society. Shirin Neshat separated the film to different sections, and each section tells a single story of each woman (754). All of them are from different social classes and backgrounds, and they meet each other in a garden where they try to live safely during the difficult time in 1953 coup (754). Zarin is a young woman from the lowest social class who is unwilling to be a prositutue, and her struggle was shown when she lost herself in brothel (754). Munis and Faezeh represent two positions of women in middle class; Munis cares about political events, however her brother always prevent her from participating in political events (Danto 223); in this way, Munis’s struggle emphasize a gender issue in Islamic society that women has to right to participate in political events. On the contrary, compare to Munis, Faezeh is a very traditional woman, however, this character in the film reflects a serious issue in Islamic society, which is sexual assault (215). Unlike other
Often times people neglect the fact that the things- such as films- that they see and hear day to day can actually be worthwhile in teaching them. They come into contact with them purely for the purpose of being entertained and, sometimes, do not even realize that they are being taught valuable life lessons in the process. In conjunction with this theory, Professor Michael Taylor once said, “We don’t often think of the value of media beyond its entertainment, but there is a whole area that has to do with education through entertainment. As filmmakers, the work that we do has a huge impact on our culture. With that comes an opportunity, and may be even a responsibility, to use that impact for greater good.” Many French and Francophone films
With many different genres and types of filmmaking, it can result in a large variety of stories and conflicts. Nevertheless, film has always brought people together as a society. If there is one thing everyone can notice about films is the achievement in style and directing. The three directors talked about in this paper are the most successful at delivering a breathtaking style and direction to their films. Baz Luhrmann, Wes Anderson, and Martin Scorsese have produced and directed films over decades and each film as impacted not only the United States but worldwide. With the unmistakable trademarks that each director has, it is very easy to feel sucked into the world in which they are shaping around you and the story. Because of these three directors, the film world and industry has been revolutionized for many centuries to come.
"Baraka" exemplifies everything Emile Durkheim referred to as sociological functionalism. This is the perspective that various parts of a society or social system affect other parts within that system, and how they function in the overall continuity of that system. Durkheim showed that all the aspects of human society work together much like the parts of a machine. The concept of social solidarity - ties that bind people to one another and to society as a whole- play a major role in the lives of humans. This film reflects these ideas.
Hitherto, filmmakers considered African cinema to be a purely instructional form of art and thus repudiated the idea of African films as entertaining. Early african filmmakers used films for the sole purpose of pursuing political persuasions and instigating national reformation. As such, entertainment was likened to Western Cinema which was deemed an ‘escapist cinema’ as it neglected real-life complexities and thus, decelerated the perception process. (Tcheyuap pp 9). They believed that the superficiality of entertainment films digressed from the ‘mission’ of African filmmaking as an instrument of transformation. However, modern filmmakers are embracing these new genres, techniques and stylistic devices to achieve their own transformational goals.
Since the creation of films, their main goal was to appeal to mass audiences. However, once, the viewer looks past the appearance of films, the viewer realizes that the all-important purpose of films is to serve as a bridge connecting countries, cultures, and languages. This is because if you compare any two films that are from a foreign country or spoken in another language, there is the possibility of a connection between the two because of the fact that they have a universally understanding or interpretation. This is true for the French New Wave films; Contempt and Breathless directed by Jean-Luc Godard, and contemporary Indian films; Earth and Water directed by Deepa Mehta. All four films portray an individual’s role in society using sound and editing.
...Relatively Every summer Houda al-Habash teaches the quran to her her female students (as there is a divide in public space in a religious setting). This can be useful to argue against the ultra conservatives that argue for the repression of women. Even as ignorance is portrayed as bliss in the media in general knowledge is power and can set you free. Towards the end of the film there is a Hijab ceremony that empowers young women and it is a rite of passage into maturity.
As an Arab American, a Muslim and a woman writer, Mohja Kahf challenges the stereotypes and misrepresentation of Arab and Muslim women. Her style is always marked by humor, sarcasm, anger and confrontation. “The Marvelous Women,” “The Woman Dear to Herself,” “Hijab Scene #7” and “Hijab Scene #5” are examples of Kahf’s anger of stereotypes about Muslim women and her attempts to fight in order to eradicate them, in addition to her encouragement to women who help her and fight for their rights.