African Filmmaking by Roy Armes

By Roy Armes

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The same year Chikly directed his own first fictional film, Zohra, scripted by and starring his daughter Haydée. This short film tells the story of a young French woman shipwrecked on the coast of Tunisia and rescued by Bedouin tribesmen, with whom she lives for a while. Captured by bandits while travelling in a caravan taking her to a French settlement, she is again rescued, this time by a dashing French aviator, and restored to her parents. This simple tale reflects two of Chikly’s passions, Bedouin life and aviation, and Haydée’s performance earned her a part in Rex Ingram’s The Arab (1924), which starred Ramon Navarro.

52. Maquet, Civilisations, p. 171. 53. Oliver, The African Experience, p. 304. 54. , p. 303. 55. Jean François Troin, Maghreb Moyen-Orient: Mutations (Paris: Sedes, 1995), p. 217. 56. Oliver, The African Experience, p. 283. 57. Roland Pourtier, Villes Africaines (Paris: La Documentation Française, 1999), p. 1. 17 AFRICAN FILMMAKING 58. 59. 60. 61. 62. 63. 64. 65. 66. 67. 68. 69. 70. 71. 72. 73. 74. 75. 76. 77. 18 Troin, Maghreb-Moyen Orient, p. 218. Oliver, The African Experience, p. 304. Fanon, The Wretched of the Earth, p.

P. 28. Fuad I. Khuri, Tents and Pyramids: Games and Ideology in Arab Culture from Backgammon to Autocratic Rule (London: Saqi Books, 1990), p. 11. , p. 11. , p. 14. , p. 13. , p. 11. Tahar Cheriaa, ‘Le Groupe et le héros’, in CESCA, Camera nigra: Le Discours du film africain (Brussels: OCIC, 1984), p. 109. PART 1 CONTEXT If we are to address questions of the history and culture of nationhood, the particular form taken by the intersection of contemporary history, culture and politics which manifestly is a crucial question for the recent experiences of most of the world’s population, we ought similarly to consider not what ‘identity’ is .

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