Cover

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Title Page, Copyright Page

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Contents

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Illustrations

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pp. ix-x

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Preface

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pp. xi-xx

Screening Morocco: Contemporary Film in a Changing Society focuses on Moroccan films produced and distributed from 1999 to 2010. Since 1999 and the death of King Hassan II, which ended les années de plomb (the Lead Years, 1963–99), Morocco has transformed, socioculturally and politically. Encouraged by the more openly democratic climate...

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Acknowledgments

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pp. xxi-xxii

I wish to thank the following people and institutions for their support of this project: the American Institute of Maghrebi Studies (AIMS), for a generous grant in the summer of 2009 that allowed me to travel to Morocco and visit with filmmakers and people in the industry; and the University of Maryland’s Office of International Travel, for a...

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Introduction: Moroccan National Cinema: The Making of an Industry

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pp. 1-18

In order to understand the development of Morocco’s cinematographic industry, it is important to acknowledge how the country’s history shaped it. Like many former colonized countries in the postcolonial era, Morocco seeks to revisit its past by reconstructing its history to reflect the voices that have been effaced by violence, human rights abuses, and ...

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1. Theories and Polemics: Moroccan Films as Social-Realist Texts

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pp. 19-36

Moroccan cinema, although conceived as a national cinema, developed quite differently from the cinemas of Algeria and Tunisia due to ideals about nationhood, visions of identity, and a divergent colonial experience. In order to contextualize the role and place of national cinema today in Morocco, it is important to understand its develop-...

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2. Issues, Contexts, and “Culture Wars”: Marocains Résidants à l’Etranger (MREs) versus Filmmakers at Home

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pp. 37-70

Is Moroccan cinema francophone or arabophone? Are films made by Marocains résidents à l’étranger (MREs, Moroccans living abroad) more apt to challenge the sociocultural mores of Morocco than those made by filmmakers who have stayed at home? These are two of the focal questions associated with Moroccan filmmaking and the discourse ...

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3. Bad Boys, Drugs, and Rock ’n’ Roll: The Urban Stories of Morocco

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pp. 71-100

The modern city has been a favorite backdrop to some of the most compelling cinematic works of the twentieth and twenty-first centuries. In the West, the excesses and limits of cities have provided fodder for filmmakers’ scenarios since the first Lumière brothers’ films of the late nineteenth century (Shiel 2001,1). On-screen, the city in the ...

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4. Prison, Torture, and Testimony: Retelling the Memories of the Lead Years

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pp. 101-121

Since 1999, filmmakers have sought to depict the terror of the Lead Years on-screen. Some of these films have been more successful (in terms of style, tightness of screenplay, and filming) than others at conveying to audiences the suffering of victims. Certain films express an urgency as they seek to rectify a past that has not been recounted ...

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5. Women’s Voices: Documenting Morocco through Feminine Lenses

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pp. 122-153

African filmmakers, male and female, particularly in the last fifteen years, have repeatedly given women central roles that “challenge the misrepresentations, preconceptions and stereotypes that abound [in the West] vis-à-vis the position and role of women in Africa” (Thack-way 2003, 147). In order to understand the strength and power of ...

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Conclusion: The Future of Moroccan Cinema?

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pp. 154-161

“The future of Moroccan cinema” is a statement with an inherent question that arises any time one discusses the film industry in the country. On the one hand, the industry does have a future; however, on the other, many filmmakers and people in the business wonder what that future will be. In a special 2008 issue dedicated to celebrating the fiftieth ...

Notes

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pp. 163-174

Selected Filmography

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pp. 175-178

Bibliography

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pp. 179-184

Index

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pp. 185-190