In this Book

Screens and Veils
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Examined within their economic, cultural, and political context, the work of women Maghrebi filmmakers forms a cohesive body of work. Florence Martin examines the intersections of nation and gender in seven films, showing how directors turn around the politics of the gaze as they play with the various meanings of the Arabic term hijab (veil, curtain, screen). Martin analyzes these films on their own theoretical terms, developing the notion of "transvergence" to examine how Maghrebi women's cinema is flexible, playful, and transgressive in its themes, aesthetics, narratives, and modes of address. These are distinctive films that traverse multiple cultures, both borrowing from and resisting the discourses these cultures propose.

Table of Contents

  1. Cover
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  1. Contents
  2. pp. vii-viii
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  1. Acknowledgments
  2. pp. ix-x
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  1. Overture Maghrebi Women’s Transvergent Cinema
  2. pp. 1-40
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  1. Act I Transnational Feminist Storytellers
  2. p. 41
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  1. 1 Assia Djebar’s Transvergent Nuba
  2. pp. 43-62
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  1. 2 Farida Benlyazid’s Initiation Narrative
  2. pp. 63-88
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  1. Act II Transvergent Screens
  2. p. 89
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  1. 3 Yamina Bachir-Chouikh’s Transvergent Echoes
  2. pp. 91-112
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  1. 4 Raja Amari’s Screen of the Haptic
  2. pp. 113-130
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  1. 5 Nadia El Fani’s Multiple Screens
  2. pp. 131-158
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  1. Act III From Dunyazad to Transvergent Audiences
  2. p. 159
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  1. 6 Yasmine Kassari’s “Burning” Screens
  2. pp. 161-182
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  1. 7 Selma Baccar’s Transvergent Spectatorship
  2. pp. 183-209
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  1. Coda
  2. pp. 210-216
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  1. Appendix A: Political and Cinematic Chronology
  2. pp. 217-222
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  1. Appendix B: Primary Filmography
  2. pp. 223-236
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  1. Appendix C: Selected Filmography of Hiam Abbas
  2. pp. 237-238
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  1. Notes
  2. pp. 239-256
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  1. Bibliography
  2. pp. 257-266
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  1. Index
  2. pp. 267-271
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