By Florence Martin
Tested inside of their fiscal, cultural, and political context, the paintings of girls Maghrebi filmmakers types a cohesive physique of labor. Florence Martin examines the intersections of kingdom and gender in seven motion pictures, exhibiting how administrators flip round the politics of the gaze as they play with some of the meanings of the Arabic time period hijab (veil, curtain, screen). Martin analyzes those movies all alone theoretical phrases, constructing the concept of "transvergence" to ascertain how Maghrebi women's cinema is versatile, playful, and transgressive in its topics, aesthetics, narratives, and modes of tackle. those are designated motion pictures that traverse a number of cultures, either borrowing from and resisting the discourses those cultures suggest.
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Extra resources for Screens and Veils: Maghrebi Women's Cinema
This work articulates and explores the realization that we are not only witnessing the “convergence” and “divergence” of media, disciplines, institutions, and so on, but a much more radical “transvergence” leading to widespread epistemic speciation in practically all areas of knowledge and expression, and to the continuous emergence of entirely new fields. On a global scale, the projects we are most captivated by, and often most highly invested in, are projects that no longer progress along expected lines of development, but that are instead jumping across diverse and initially mutually alien territories.
In that, they follow their own “transcultural” vision, in the sense defined by Fethi Triki: Culture is the possibility afforded to an individual or a group of individuals to create, judge, critique, think, and communicate. The transcultural retrieves the critical aspect of each culture to determine both transversally and transcendentally what can be universal in it, and constitute thereby a corpus of values shared by mankind that is at once critical and always renewable. . Cultures do not enter a dialogue, thus looking for and finding a dialogical order among cultures is pointless.
The film proposes two competing perspectives to tell the emotional (as well as political and historical) journey of a Tunisian woman from addiction (or dependence) to independence. Making sense of the various semantic layers of the film also requires some elements of transvergent critique from its alert extra-diegetic audience. Act I Transnational Feminist Storytellers: Shahrazad, Assia, and Farida 1 Assia Djebar’s Transvergent Nuba: The Nuba of the Women of Mount Chenoua (Algeria, 1978) Pr e lu de Shahrazad’s tales included other tales in a mise en abyme that deepened as the Nights unfolded.