"Armes (Middlesex Univ., London) scrutinizes the formation and characteristics of filmmaking in the Maghreb (Morocco, Tunisia, and Algeria), the area of North Africa once colonized by France. The book is the product of years of precise, systematic research, which the author deploys in an effective organization that is almost encyclopedic. Armes divides the contents into two parts: Histories, a chronological, decade—by—decade account of the development of film in all three countries; and Themes and Styles, with ten full—scale analyses of significant films from the region. As a factual history of postcolonial moviemaking in the Maghreb, this book will not soon be superseded, but it is also important for its theory. The author distinguishes among the film cultures of the three nations while allowing their basic similarities, and he also distinguishes the Maghreb movies from French cinema—once again, noting similarities. He concludes that nationalism and colonialism are not simply antagonistic opposites. North Africans become French in the cinema, but they are principally engaged in changing the meaning of the two terms. One of the finest recent studies of national cinemas, this book includes two valuable appendixes: Dictionary of Feature Filmmakers and a complete list of films (1965, 2002). Summing Up: Essential. Lower—division undergraduates and above."
R. D. Sears
Armes (Middlesex Univ., London) scrutinizes the formation and characteristics of filmmaking in the Maghreb (Morocco, Tunisia, and Algeria), the area of North Africa once colonized by France. The book is the product of years of precise, systematic research, which the author deploys in an effective organization that is almost encyclopedic. Armes divides the contents into two parts: Histories, a chronological, decade—by—decade account of the development of film in all three countries; and Themes and Styles, with ten full—scale analyses of significant films from the region. As a factual history of postcolonial moviemaking in the Maghreb, this book will not soon be superseded, but it is also important for its theory. The author distinguishes among the film cultures of the three nations while allowing their basic similarities, and he also distinguishes the Maghreb movies from French cinema—once again, noting similarities. He concludes that nationalism and colonialism are not simply antagonistic opposites. North Africans become French in the cinema, but they are principally engaged in changing the meaning of the two terms. One of the finest recent studies of national cinemas, this book includes two valuable appendixes: Dictionary of Feature Filmmakers and a complete list of films (1965, 2002). Summing Up: Essential. Lower—division undergraduates and above.
R. D. Sears]]>
Armes (Middlesex Univ., London) scrutinizes the formation and characteristics of filmmaking in the Maghreb (Morocco, Tunisia, and Algeria), the area of North Africa once colonized by France. The book is the product of years of precise, systematic research, which the author deploys in an effective organization that is almost encyclopedic. Armes divides the contents into two parts: Histories, a chronological, decade—by—decade account of the development of film in all three countries; and Themes and Styles, with ten full—scale analyses of significant films from the region. As a factual history of postcolonial moviemaking in the Maghreb, this book will not soon be superseded, but it is also important for its theory. The author distinguishes among the film cultures of the three nations while allowing their basic similarities, and he also distinguishes the Maghreb movies from French cinema—once again, noting similarities. He concludes that nationalism and colonialism are not simply antagonistic opposites. North Africans become French in the cinema, but they are principally engaged in changing the meaning of the two terms. One of the finest recent studies of national cinemas, this book includes two valuable appendixes: Dictionary of Feature Filmmakers and a complete list of films (1965, 2002). Summing Up: Essential. Lower—division undergraduates and above.
