This book project unfolds and analyzes the work of Moroccan director, producer, and scriptwriter Farida Benlyazid, whose career extends from the beginning of cinema in independent Morocco to the present. This study of her work and career provides a unique perspective on an under-represented cinema, the gender politics of cinema in Morocco, and the contribution of Arab women directors to global cinema and to a gendered understanding of Muslim ethics and aesthetics in film. A pioneer in Moroccan cinema, Farida Benlyazid has been successful at negotiating the sometimes abrupt turns of Morocco’s rocky 20th century history: from Morocco under French occupation to the advent of Moroccan independence in 1956; the end of the international status of Tangier, her native city, in 1959; the “years of lead” under the reign of Hassan II; and finally Mohamed VI’s current reign since 1999. As a result, she has a long view of Morocco’s politics of self-representation as well as of the representation of Moroccan women on screen

This book provides a comprehensive overview on the theories, processes, and solutions relevant to effectively creating, using, and managing digital media in a variety of instructional settings. In the first section of the book, the authors provide an overview of the theories, development models, and principles of learning with digital media. In the second section, the authors detail various digital media solutions, including: Instructional Videos, Instructional Simulations and Games, Online Learning, Mobile Learning, and Emerging Learning Technologies. Overall, this book emphasizes the theoretical principles for learning with digital media and processes to design digital media solutions in various instructional settings. The readers are also provided with multiple case studies from real world projects in various instructional settings.

Long repressed following the collapse of empire, memories of the French colonial experience have recently gained unprecedented visibility. In popular culture, scholarly research, personal memoirs, public commemorations, and new ethnicities associated with the settlement of postcolonial immigrant minorities, the legacy of colonialism is now more apparent in France than at any time in the past. How is this upsurge of interest in the colonial past to be explained? Does the commemoration of empire necessarily imply glorification or condemnation? To what extent have previously marginalized voices succeeded in making themselves heard in new narratives of empire? While veils of secrecy have been lifted, what taboos still remain and why? These are among the questions addressed by an international team of leading researchers in this interdisciplinary volume, which will interest scholars in a wide range of disciplines including French studies, history, literature, cultural studies, and anthropology.

Long repressed following the collapse of empire, memories of the French colonial experience have recently gained unprecedented visibility. In popular culture, scholarly research, personal memoirs, public commemorations, and new ethnicities associated with the settlement of postcolonial immigrant minorities, the legacy of colonialism is now more apparent in France than at any time in the past. How is this upsurge of interest in the colonial past to be explained? Does the commemoration of empire necessarily imply glorification or condemnation? To what extent have previously marginalized voices succeeded in making themselves heard in new narratives of empire? While veils of secrecy have been lifted, what taboos still remain and why? These are among the questions addressed by an international team of leading researchers in this interdisciplinary volume, which will interest scholars in a wide range of disciplines including French studies, history, literature, cultural studies, and anthropology.

Francophone African Women Documentary Filmmakers is groundbreaking edited collection which explores the contributions of Francophone African women to the field of documentary filmmaking. Rich in its scope and critical vision it constitutes a timely contribution to cutting-edge scholarly debates on African cinemas. Featuring 10 chapters from prominent film scholars, it explores the distinctive documentary work and contributions of Francophone African women filmmakers since the 1960s. It focuses documentaries by North African and Sub-Saharan women filmmakers, including the pioneering work of Safi Faye in Kaddu Beykat, Rama Thiaw's The Revolution Will Not be Televised, Katy Lena Ndiaye's Le Cercle des noyes and En attendant les hommes, Dalila Ennadre's Fama: Heroism Without Glory and Leila Kitani's Nos lieux interdits. Shunned from costly fictional- 35mm-filmmaking, Francophone African Women Documentary Filmmakers examines how these women engaged and experimented with documentary filmmaking in personal, evocative ways that countered the officially sanctioned, nationalist practice of show and teach/promote.

Francophone African Women Documentary Filmmakers is groundbreaking edited collection which explores the contributions of Francophone African women to the field of documentary filmmaking. Rich in its scope and critical vision it constitutes a timely contribution to cutting-edge scholarly debates on African cinemas. Featuring 10 chapters from prominent film scholars, it explores the distinctive documentary work and contributions of Francophone African women filmmakers since the 1960s. It focuses documentaries by North African and Sub-Saharan women filmmakers, including the pioneering work of Safi Faye in Kaddu Beykat, Rama Thiaw's The Revolution Will Not be Televised, Katy Lena Ndiaye's Le Cercle des noyes and En attendant les hommes, Dalila Ennadre's Fama: Heroism Without Glory and Leila Kitani's Nos lieux interdits. Shunned from costly fictional- 35mm-filmmaking, Francophone African Women Documentary Filmmakers examines how these women engaged and experimented with documentary filmmaking in personal, evocative ways that countered the officially sanctioned, nationalist practice of show and teach/promote.

This book provides a comprehensive overview on the theories, processes, and solutions relevant to effectively creating, using, and managing digital media in a variety of instructional settings. In the first section of the book, the authors provide an overview of the theories, development models, and principles of learning with digital media. In the second section, the authors detail various digital media solutions, including: Instructional Videos, Instructional Simulations and Games, Online Learning, Mobile Learning, and Emerging Learning Technologies. Overall, this book emphasizes the theoretical principles for learning with digital media and processes to design digital media solutions in various instructional settings. The readers are also provided with multiple case studies from real world projects in various instructional settings.

An Author And Subject Index To Selected Material On Library Science And Librarianship, With Occasional Abstracts.

An Author And Subject Index To Selected Material On Library Science And Librarianship, With Occasional Abstracts.

Examined within their economic, cultural, and political context, the work of women Maghrebi filmmakers forms a cohesive body of work. Florence Martin examines the intersections of nation and gender in seven films, showing how directors turn around the politics of the gaze as they play with the various meanings of the Arabic term hijab (veil, curtain, screen). Martin analyzes these films on their own theoretical terms, developing the notion of "transvergence" to examine how Maghrebi women s cinema is flexible, playful, and transgressive in its themes, aesthetics, narratives, and modes of address. These are distinctive films that traverse multiple cultures, both borrowing from and resisting the discourses these cultures propose."