By Sharon A. Russell
Meant as a advisor to the filmmakers and flicks of the African cinema, this reference ebook additionally offers the framework for figuring out the historical past and improvement of African movie with admire to its state of affairs in international cinema. The objectives and achievements of African movie are studied with admire to the forces that effect it, equivalent to colonialism and racism. the significance of the artistic efforts of African filmmakers and the variety in their techniques to cinema are explored. tested to boot are the perspectives of Africa awarded by means of ecu colonial filmmakers, perspectives usually contested in modern African movie. The listings contain serious analyses, bio-bibliographies, and filmographies. either Saharan and Sub-Saharan motion pictures are incorporated.
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London: Routledge, 1994. BOUAMARI, MOHAMED (Se´tif, Algeria, 1941). Unlike many of his colleagues in the ONCIC (Office national du commerce et l’industrie cine´ma- BOUAMARI, MOHAMED 37 tographique/The National Office for Cinematic Commerce and Industry). Bouamari had no formal training in film. He gained experience by working as assistant director on such films as Ahmed Rachedi’s* Fajr alMu’adhdhabin/ Dawn of the Damned (1965), Mohamed LakhdarHamina’s* Rih al-Awras/ Wind from the Aure`s (1966), and Jean-Louis Bertucelli’s Remparts de Argile/ Ramparts of Clay* (1970).
These categories might be further developed beyond monetary privilege to such other attributes as the weak and the strong, 18 ABOU SEIF, SALAH the respectable and the disreputable, the just and the unjust. Whichever position he foregrounds in a particular film, Abou Seif remains on the side of the poor. Hennebelle indicates that Abou Seif’s films always have a moral resolution that can often be generated by the cohesiveness of the poor in response to injustice. Abou Seif’s concern for the poor permeates his style as well.
The viewer learns about the FLN and how it operates as Ali rises in the organization. Through identification with Ali and his conversion, the viewer is drawn into sympathy with the revolution. However, by following Ali, the film concentrates on the violence of the movement to gain freedom for Algeria rather than its ideology, which is also an essential component. The next date in the film, April 1956, marks the twenty-fourth communique´ from the FLN directed toward erasing such degrading effects of colonialism as alcoholism, prostitution, and gambling.