Sensing and self: a haptic 'look' at the aesthetics of women's labour in contemporary Maghrebi and Maghrebi-French diasporic cinema.
This article expands on an ongoing dialogue about representations of female protagonists' sensual and embodied experiences in Francophone North African cinema scholarship. It examines the dynamic cinematographic styles of contemporary Maghrebi French filmmakers Abdellatif Kechiche, Nadia El Fani, Le...
| Publicado en: | French Screen Studies Vol. 24; no. 3; pp. 304 - 321 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Jul2024
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=178298617&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 178298617 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 26438941 MBE1 jtl: French Screen Studies issn: 26438941 maglogo: N pubinfo: dt: Jul2024 vid: 24 iid: 3 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 178298617 10.1080/26438941.2023.2278267 ppf: 304 ppct: 17 formats: fmt: – @attributes: type: T – @attributes: type: P size: 2.4MB tig: atl: Sensing and self: a haptic 'look' at the aesthetics of women's labour in contemporary Maghrebi and Maghrebi-French diasporic cinema. aug: au: Sokol, Che affil: Department of English & Comparative Literature, University of North Carolina at Chapel Hill, Chapel Hill, NC, USA su: Kechiche, Abdellatif, 1960- Social participation Self Aesthetics French films Empathy sug: subj: Kechiche, Abdellatif, 1960- Social participation Self Aesthetics French films Empathy keyword: Abdellatif Kechiche Houda Benyamina labour Leila Kilani Maghrebi Nadia El Fani ab: This article expands on an ongoing dialogue about representations of female protagonists' sensual and embodied experiences in Francophone North African cinema scholarship. It examines the dynamic cinematographic styles of contemporary Maghrebi French filmmakers Abdellatif Kechiche, Nadia El Fani, Leila Kilani and Houda Benyamina, asserting that they create a multisensory connection with the viewer that disrupts the underlying unequal power dynamic between film viewer and the Maghrebi woman's body. This article places labour practices as the loci of analysis, as these examples of quotidian life represent a microcosm of protagonists' participation in larger social and economic frameworks. First, it looks at the role of embodied labour in strengthening a protagonist's connection to her community in Kechiche's La Graine et le mulet/The Secret of the Grain (2007) and El Fani's Bedwin Hacker (2003). Then, it turns to labour practices in Kilani's Sur la planche/On the Edge (2011) and Benyamina's Divines (2016) that isolate and disconnect the protagonist from her community and her body. This article concludes that it is the distinctly multisensory style used by all four directors that centres their protagonists' physical, lived experiences while challenging the viewer not to merely watch them passively, but to engage in a dynamic, empathetic relationship with the body onscreen. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of French Screen Studies is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: French Screen Studies holder: Taylor & Francis Ltd dt: @attributes: year: 2024 holdings: @attributes: islocal: N |
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