FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W2794135051> ?p ?o ?g. }

• W2794135051 endingPage "331" @default.
• W2794135051 startingPage "329" @default.
• W2794135051 abstract "Reviewed by: Post-Beur Cinema: North African Émigré and Maghrebi-French Filmmakers in France since 2000 by Will Higbee Mouna Benbouazza Will Higbee. Post-Beur Cinema: North African Émigré and Maghrebi-French Filmmakers in France since 2000. Edinburgh: Edinburgh University Press, 2013. 204pp., illus. Will Higbee’s Post-Beur Cinema: North African Émigré and Maghrebi-French Filmmaking in France since 2000 is a thorough and captivating study of Maghrebi filmmaking in France. Throughout the book’s seven chapters, Higbee investigates the new and regular presence of Maghrebi films among top-grossing productions as well as in the context of other developments taking place in the 2000s. The strength of the book is to assemble films and filmmakers according to their trajectories, genres, or themes, which enables Higbee to relentlessly compare, contrast, and reassess them. Impeccably organized, Post-Beur Cinema is a powerful invitation to understand the vibrancy and diversity of contemporary Maghrebi filmmaking. The first step to recognizing the diversity of post-beur cinema, Higbee claims, is to consider the diverse origins, traditions, and histories that inevitably influence it. Higbee laments the fact that current language practices commonly disregard differences within the French Maghrebi community. The scholar, therefore, cautiously designates an individual who was born in France as a “Maghrebi-French” and an individual who only moved there later as an “North African émigré.” Higbee’s ingenious and (at first) intriguing term “post-beur” also conveys multiple implications. Most evidently, it contrasts Maghrebi filmmaking in the 2000s with the beur cinema of the 1970s and 1980s, which Higbee defines and surveys in the introduction “From Immigrant Cinema to National Cinema.” Because they critically portrayed life in the working class and neglected suburbs (the banlieue), beur films evoke to this day “integration, racism, delinquency, identity and belonging in France” (9). In the 1990s directors sought to move away from the restrictive, but strategic, essentialism of beur cinema and filmmakers and actors of the next decade [End Page 329] will further break away with “immigrant cinema” by exploring new genres and motives. Chapter Two, “The (Maghrebi-)French Connection: Diaspora goes Mainstream,” examines the advancement of Maghrebi filmmaking into the French mainstream. Box-office results show that the commercial break-through of Djamel Bensalah’s first comedy Le Ciel, les oiseaux et . . . ta mère! (1995) would not only launch the career of star actor Jamel Debouzze but also generate a growing demand for top-grossing comedies. While the low-budget Le Ciel did not pioneer the use of humor in Maghrebi filmmaking, it creatively challenged stereotypes about the Maghrebi youth by eschewing the traditional setting of the banlieue. The subsequent analyses of Bensalah’s big-budget Neuilly sa mère! (2009) and Beur sur la ville (2011) convincingly show how the potential for challenging stereotypes decreases when Maghrebi filmmaking falls back on formulae imposed by “other mainstream, majority-ethnic-authored comedies dealing with issues of exclusion, difference and multiculturalism” (60). Moving beyond comedy, Chapter Three focuses on the counter-heritage genre, which Higbee sees as a “reaction” to heritage films, “the most conservative, middlebrow and hegemonic of representational trends in French cinema” (66). Relying on French historian Pierre Nora’s concept of the “lieux de mémoires,” Higbee discusses the films he considers to have challenged the official history of France with its former North African colonies in particular, Algeria. Here, he includes the lesser-seen films of one female filmmaker Yamina Benguigui (Inch’allah dimanche) and Mehdi Chareb’s Cartouches gauloises, as well as Rachid Bouchareb’s big-budget productions Indigènes (2006) and Hors-la-loi (2010). Higbee’s glowing reviews of Bouchareb’s movies reveal that the antagonistic receptions were largely due to the narratives the films chose to tell rather than a lack of technical mastery. For example, the conciliatory portrayal of Maghrebi troops participating in the liberation of Nazi-occupied France in Indigènes earned the movie its institutional recognition and mass success. For Higbee, there is no doubt that the confrontational depiction of the violence perpetrated by the French army during the Algerian war caused the hostility surrounding Hors-la-loi before, during, and after its screening at the Cannes Festival. Chapter Four, entitled “Of Spaces..." @default.
• W2794135051 created "2018-03-29" @default.
• W2794135051 creator A5021665006 @default.
• W2794135051 date "2017-01-01" @default.
• W2794135051 modified "2023-10-17" @default.
• W2794135051 title "Post-Beur Cinema: North African Émigré and Maghrebi-French Filmmakers in France since 2000 by Will Higbee" @default.
• W2794135051 doi "https://doi.org/10.1353/frf.2017.0032" @default.
• W2794135051 hasPublicationYear "2017" @default.
• W2794135051 type Work @default.
• W2794135051 sameAs 2794135051 @default.
• W2794135051 citedByCount "0" @default.
• W2794135051 crossrefType "journal-article" @default.
• W2794135051 hasAuthorship W2794135051A5021665006 @default.
• W2794135051 hasConcept C142362112 @default.
• W2794135051 hasConcept C144024400 @default.
• W2794135051 hasConcept C166957645 @default.
• W2794135051 hasConcept C17744445 @default.
• W2794135051 hasConcept C199539241 @default.
• W2794135051 hasConcept C205649164 @default.
• W2794135051 hasConcept C2776041537 @default.
• W2794135051 hasConcept C2778305142 @default.
• W2794135051 hasConcept C2779343474 @default.
• W2794135051 hasConcept C29595303 @default.
• W2794135051 hasConcept C519580073 @default.
• W2794135051 hasConcept C52119013 @default.
• W2794135051 hasConcept C68389820 @default.
• W2794135051 hasConcept C94625758 @default.
• W2794135051 hasConcept C95457728 @default.
• W2794135051 hasConceptScore W2794135051C142362112 @default.
• W2794135051 hasConceptScore W2794135051C144024400 @default.
• W2794135051 hasConceptScore W2794135051C166957645 @default.
• W2794135051 hasConceptScore W2794135051C17744445 @default.
• W2794135051 hasConceptScore W2794135051C199539241 @default.
• W2794135051 hasConceptScore W2794135051C205649164 @default.
• W2794135051 hasConceptScore W2794135051C2776041537 @default.
• W2794135051 hasConceptScore W2794135051C2778305142 @default.
• W2794135051 hasConceptScore W2794135051C2779343474 @default.
• W2794135051 hasConceptScore W2794135051C29595303 @default.
• W2794135051 hasConceptScore W2794135051C519580073 @default.
• W2794135051 hasConceptScore W2794135051C52119013 @default.
• W2794135051 hasConceptScore W2794135051C68389820 @default.
• W2794135051 hasConceptScore W2794135051C94625758 @default.
• W2794135051 hasConceptScore W2794135051C95457728 @default.
• W2794135051 hasIssue "2" @default.
• W2794135051 hasLocation W27941350511 @default.
• W2794135051 hasOpenAccess W2794135051 @default.
• W2794135051 hasPrimaryLocation W27941350511 @default.
• W2794135051 hasRelatedWork W1508514209 @default.
• W2794135051 hasRelatedWork W2325021520 @default.
• W2794135051 hasRelatedWork W237587127 @default.
• W2794135051 hasRelatedWork W2621101912 @default.
• W2794135051 hasRelatedWork W2767483380 @default.
• W2794135051 hasRelatedWork W2794135051 @default.
• W2794135051 hasRelatedWork W2910268695 @default.
• W2794135051 hasRelatedWork W2971268800 @default.
• W2794135051 hasRelatedWork W4247829554 @default.
• W2794135051 hasRelatedWork W645727439 @default.
• W2794135051 hasVolume "42" @default.
• W2794135051 isParatext "false" @default.
• W2794135051 isRetracted "false" @default.
• W2794135051 magId "2794135051" @default.
• W2794135051 workType "article" @default.