6th Edition 2009

6th Edition 2009


The Sixth Annual Film Meeting in Imouzzer kander that from this year will be called ‘ Peoples’Film Meeting’ was held from 05 to 08 November 2009. Thus, responding to the spirit of the theme, films reflecting the cultural richness of the Maghreb countries have been programmed : ‘My Horse’ by Abdeltef Fdel, ‘Memory’ by Ahmed Baidou ,  ‘Tamazirht Oufla’ by Mohamed Mernich ,’ the Citadel’ by Mohamed Chouikh, ‘ Accident ‘ by Frchoui  and’ ‘Waiting for Happiness’ by Sissako … On the other hand the  youth of Imouzzer benefited from a workshop on the theme ‘Window on the American Film’ led by  the American professor: Merith Saucier.

As usual a conference was held under the theme ‘Popular Culture in Moroccan Cinema’ hosted by critic Amer Cherqui and attended by researchers and critics: Hamid Tbatou, My Driss Jaidi, Mohmmed Chouika, Bouchta Farq Zaid, Azdine Khatabi and Brahim Zerkani. The newly born in the sixth meeting organized by the  Imouzzer Fm Club  in the city’s  cultural complex with the collaboration and support of the Moroccan Cinematographic Center, City Council, the Royal Institute of Amazigh Culture, the Prefecture of Sefrou and the Embassy  of the United States and others is the short Amazigh   film competition for amateurs whose grand prize was awarded to the young director   Amine El Bissori for his film ‘Alibaba @msn.com’.



The platform of the conference

The axis of ‘popular culture in Moroccan cinema’ appears as a subject in its usual appearance apparent by the many debates around its essential components which are popular culture and Moroccan cinema. But the density of the debates, then there is a lot of scrambling solidification and the misunderstanding of the relationship that unites the two components and their conceptualization of the fact that the main axis is” popular culture” has apparently confused by the historical confusion about the concept of” culture” which becomes ambiguous when it is linked to the people.

Culture as a global field of knowledge, rituals, art, morals, and all the capabilities that a person can engage in a community. And more can be regarded as a model of human behaviour and total earnings realized by words and gestures, and handmade creation. Culture depends on what makes the educational human capacity and its transmission to future generations. It can also be seen as an everyday lifestyle of a person from birth to death.

Based on these definitions the meaning of popular culture is the accumulation of  handmade creation , oral, visual, mental, and ritual values ​​…. etc  produced by people who are determined in conjunction with other cultural fields that is high culture.

Yet, when determining the concept of popular culture in this way, it may intensify our courage beyond reality because reflection on popular culture in this view would be a mere aberration based on a theoretical hypothesis and  not on a reality because popular culture could be anti-popular even anti-culture of the same people. Especially as our dominant vision is often based on the imagination erroneous theory that popular culture promotes a level of dominance against the culture that idealizes the center as a production of the expression of the people. This could be true. But culture is really popular when it was aware of its function in the social struggle. Consciousness could be achieved through the formulation of a new entity. But popular culture cannot be regarded as a new entrant in its fight archaic and innovative designs and the basis for a new design and implementation of an embargo in respect of the dominant culture in the entity and also across the cultural field in an explicit and clear in order to cope with this dominant culture that continues to reproduce dominance in the culture and also among the people.


The delimitation of the field of popular culture based on its function distinguishes it from another key concept is that of national culture and popular culture is measured by the latitude of its welding to the national culture and its cling has its challenges.

And because the true Moroccan cinema is one who cares to build national identity its true intellectual concern is the appearance of popular culture as essential formula of the relationship with the memory of national culture on the one hand and its verification as a true memory of popular culture on the other, and finally as a bridge that would lead to the central roots of nationalism of the same film.

Moroccan cinema has always claimed his commitment to nationalism, it proposed different answers to the realization of this nationalism through its support of national culture national in scope universal, and among the axes on which it is based, the component of popular culture, and the director Morocco has called for a popular expression in the building cinematic fantasy, embellish his work and his intellectual discourse. In this sense, dance, music, song, clothing, storytelling, sets everyday space, textile, manufacturing, handicraft production, and many other popular components were the foundations of creativity Moroccan cinema. Only by using a whole does not mean its liability has a clear vision and a positive perception, as it does not mean that this was done in order to produce knowledge from the real or from culture through the film industry and more does not mean that it has not been used to falsify the awareness of reality and confuse the meaning of its components so that

What we propose to approach the subject are the following lines:

- The Moroccan cinema and popular culture what relationship?

- The meanings of how popular culture in Moroccan cinema?

- The local and the universal operation of Moroccan cinema on the popular culture?

- The concept of popular culture theory to practice creativity of Moroccan cinema?

- The unspoken operation of popular culture in Moroccan cinema?

- The Moroccan cinema and popular culture: a clear Confusion?

- Popular culture in Moroccan cinema knowledge of real anchorage failure?

- Popular culture and ripening embellished that Moroccan cinema?


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