5th Edition 2008

5th Edition 2008

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The 5th edition of the film meeting ended on Sunday eveningNovember 9, 2008 with the screening of two films: Moroccan and Mauritanian. The projection of these productions offered the public the opportunity to discover the life of the people of Africa, caught in the grip of debt and structural adjustment, particularly through the Mauritanian famous film ‘Bamako’ directed by Abdrehmane Sissako. In the program there was also an overview of  Amzigh film in Morocco and Algeria, the screening of films from Mauritania, Canada and the Democratic Republic of Congo, and  the organization of a national symposium on ‘Film Criticism in Morocco.’

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The platform of the conference

Criticism is usually recognized by what has distinguished the work and theory, known by its objectives which are reading, dissolution and synthesis based on specific methodological tools. Most criticism is meant to be a diagnosis, adjustment of components of the work, the definition of its size and importance, the elucidation of its knowledge base and general references.

When we come to the Moroccan film critic we remember everything that characterizes its criticism in the broadest sense. But we should also remember the contextual features in this area for its birth, emergence and attempts to identify that its historical place in a climate different from that which produced the film critic in the leading companies in the film production and its culture.

Moroccan film critics saw its birth in a condition where the historic Moroccan cinema has not yet built its legal basis. This criticism would be the defender of the legality of cinema and culture on the one hand, as it  still wanted to mark its membership at that time. This is when it is characterized by a combination of the political dimension of its identity. But the thing that differentiates the most was its oral nature, because its genesis is made during the discussions around the films in the space of film clubs.

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All these intrinsic characteristics have been shrinking with the progression of the exercise of criticism and openness to cultural references and embellished methodology.

Unfortunately, this criticism has other faces , it is seen without its actual function after the holding of the Moroccan culture by a handful of elites robbed by the new changes in their historic mission ‘in action and reality orientation ‘

On the other hand criticism is seen as a burden of the work and its creator by those who made the film a solution to the accumulation of symbolic and material capital gains. To  them  film criticism is something unimportant unless it diagnoses tricks and imbalances inherent to the field and its relationships.

But despite all this criticism some Moroccan contributions  participated in the exercise of this critical opening on vast horizons and his impulse to draw  historical, sociological, literary, semantic, and physical reference  search of the now importance, structure, cultural patterns, singularities in the stories, the characteristics of film languages ​​has become one of the main entrances to the solidification of the cultural platform and methodology of this film critic.

A relative accumulation occurred in this area led us to propose the approach ‘references and functions of Film Critics in Morocco’ t, the second reason is to clarify an area that was previously marginalized in the culture, a third reason is no less important in the choice of this axis is a tribute voice of Film Critics in Morocco: Moulay Doris Jaidi

To approach the topic of this conference we propose the following points:

- The Moroccan film critic attempts to identify differentiation

- References to the Moroccan film critic

- The static and mobile services in the exercise of Moroccan film critic

- The methodological foundations of the Moroccan film critic

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