This is a comparative analysis of Maghrebi-French and North African
emigre cinema in France. Since the early 1980s, the arrival of Beur
cinema filmmakers of Maghrebi origin have made a key contribution
to French cinema's representation of issues such as immigration,
integration and national identity. However, they have done so
mostly from a position on the margins of the industry. In contrast,
since the early 2000s, Maghrebi-French and North African emigre
filmmakers have occupied an increasingly prominent position on both
sides of the camera, announcing their presence on French screens in
a wider range of genres and styles than ever before. This greater
visibility and move to the mainstream has not, however,
automatically meant that these films have lost any of their social
or political relevance. Through a detailed study of this
transformative decade for Maghrebi-French and North African emigre
filmmaking in France, this book argues for the emergence of a
'Post-Beur' cinema in the 2000s that is simultaneously global and
local in its outlook. It provides a comprehensive overview of the
key developments in Maghrebi-French and North African emigre
filmmaking in France since the 2000s. It includes detailed case
studies of key films from the 2000s that have yet to receive
scholarly attention, such as La Graine et le mulet (Kechiche,
2007), Indigenes (Bouchareb, 2006), Cartouches gauloises (Charef,
2007), Le Grand voyage (Ferroukhi, 2004) and Dernier Maquis
(Ameur-Zaimeche, 2008). It analyses trends in production,
distribution and exhibition as they relate to Maghrebi-French and
North African emigre filmmakers in the 2000s.
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