These are distinctive films that traverse multiple cultures, both borrowing from and resisting the discourses these cultures propose.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Overture: Maghrebi Women's Transvergent Cinema Act I: Transnational Feminist Storytellers: Shahrazad, Assia, and Farida 1. Assia Djebar's Transvergent Narrative in The Nuba of the Women of Mount Chenoua (Algeria, 1978) 2. Farida Benlyazid's Initiated Audiences in A Door to the Sky (Morocco, 1998) Act II: Screens & Veils 3. Yamina Bachir-Chouikh's Transvergent Echoes in Rachida (Algeria, 2002) 4. Raja Amari's Screen of the Haptic in Red Satin (Tunisia, 2002) 5. Nadia El Fani's Multiple Screens and Veils in Bedwin Hacker (Tunisia, 2002) Act III: From Dunyazad to Transvergent Audiences 6. Yasmina Kassari's "Burning" Screens in The Sleeping Child (Morocco, 2004) 7. Selma Baccar's Transvergent Spectatorship in Khochkhach (Tunisia, 2006) Coda Appendix A: Political and Cinematic Chronology Appendix B: Primary Filmography Bibliography
Overture: Maghrebi Women's Transvergent Cinema Act I: Transnational Feminist Storytellers: Shahrazad, Assia, and Farida 1. Assia Djebar's Transvergent Narrative in The Nuba of the Women of Mount Chenoua (Algeria, 1978) 2. Farida Benlyazid's Initiated Audiences in A Door to the Sky (Morocco, 1998) Act II: Screens & Veils 3. Yamina Bachir-Chouikh's Transvergent Echoes in Rachida (Algeria, 2002) 4. Raja Amari's Screen of the Haptic in Red Satin (Tunisia, 2002) 5. Nadia El Fani's Multiple Screens and Veils in Bedwin Hacker (Tunisia, 2002) Act III: From Dunyazad to Transvergent Audiences 6. Yasmina Kassari's "Burning" Screens in The Sleeping Child (Morocco, 2004) 7. Selma Baccar's Transvergent Spectatorship in Khochkhach (Tunisia, 2006) Coda Appendix A: Political and Cinematic Chronology Appendix B: Primary Filmography Bibliography
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