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- W2334500399 abstract "head of the Tunisian Office of the Family and Women, explains that women in Tunisia enjoy many rights, including family planning and education. A succession of progressive presidents and governments have put in place policies which have enabled women to have access to professions traditionally reserved for men, such as judge, policeman, or pilot.' Moufida Tlatli is the product of this society. After she graduated in 1968 from the Institut des hautes etudes du cinema (IDHEC, the Paris film school), she became a script supervisor, then film editor, and finally was able to make her own film. This was possible not only because of her training and experience, but also because the Tunisian film industry is very active and successful. Directors such as Ali Alidy, Fdrid Boughedri, and Nouri Nouzid are respected and admired; Moufida Tlatli is part of this dynamic Tunisian cinematic scene.' Les Silences du palais (Silences of the Palace, 1994) was awarded Special Mention by the Jury at the Cannes Festival in 1994. Given Tlatli's identity and gender a number of interconnected questions come to mind. What are the messages that Tlatli, as a post-colonial subject from North Africa, conveys in her film? In what ways does her Arabness have an impact on the film? To whom is she addressing her film? How does she position her spectators? I will argue that in exploring the intersection of class, gender, and history in 1950s and 1960s Tunisia, Tlatli addresses men and women in both the Arab world and the Western world in 1994; and her message is still relevant today. In other words, Tlatli re-presents the past in order to create awareness about the present." @default.
- W2334500399 created "2016-06-24" @default.
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- W2334500399 date "2000-01-01" @default.
- W2334500399 modified "2023-10-17" @default.
- W2334500399 title "Remembrance of Things Past: Les Silences du palais by Moufida Tlatli" @default.
- W2334500399 doi "https://doi.org/10.2307/3190092" @default.
- W2334500399 hasPublicationYear "2000" @default.
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