In her film, Les Silences du palais Moufida Tlatli depicts a young woman, following her steps of a forgotten past. When the character Alia returns to the palace where she spent her childhood and adolescence, we discover, through her memories, the daily life of the domestic servants in the service of the beys. The film-maker takes her viewers back to the pre-independence era, suggesting an unbroken legacy of women as their masters' slaves since time immemorial. This article explores the different types of violence and suffering that Tlatli evokes as she brings to light this forgotten feminine past, and as she captures Alia's stolen past on camera. This study examines the way in which the eye of the camera displays a feminine history and creates a metalanguage to project onto the screen the silent suffering of these women. It is with the help of the songs and the gaze, which take over the silence, a golden rule in the palace, that the camera unveils what it meant to be a domestic servant. It is this silence that becomes a mode of resistance that Tlatli captures, because between silence and resistance a bond is created allowing women to be reborn.
The earthquake that occurred in Haiti on January 12, 2010, created an immediate international response, and many rushed to Haiti’s aid: states, NGOS, non-profit organizations, and individuals. Among them was Raoul Peck, who returned to help his country as it confronted tragedy. However, Peck elected to bring a different kind of aid, a visual analysis through documentary filmmaking of the humanitarian situation on the island, considered by some as the second-largest disaster after the earthquake. This chapter discusses how to teach the film, investigating solidarity politics and inequality politics as Peck rethinks the meaning of aid on the ground. It follows Peck’s gaze as he records what is invisible as well as what is visible. It also includes a discussion of Peck’s use of silence and epistolary exchanges. Peck reverses the gaze, filming the “aiding” parties looking for answers, challenging the measures taken and enabling the spectator to investigate key issues and questions that haunt post-earthquake relief and recovery work in Haiti.
This chapter explores Marseille as a trading space between major cities along the Mare Nostrum. It notes the struggles of Marseille to achieve the Capital of Culture status alongside Košice in 2013. Due to geography, divisions created a rift between the impoverished and wealthy inhabitants. Thus, Marseille worked as a mediator of exchanges between north and south regions, while Košice focused on bridging the gap between eastern and western regions. A part of Marseille's urban transformation was thanks to the series of buildings designed by renowned architects. The chapter notes how millions-worth of effort was hoped to help the facelift of Marseille despite the rifts and displacements of its citizens.
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