Casablanca

Curtiz, Michael

doi:10.1007/978-1-84457-571-8_20

Cited by 3 publications

(3 citation statements)

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“…For instance, Chapter 5 in Contacts: Langue et culture françaises (Valette & Valette, 2001) obstructs rather than facilitates knowledge of the francophone Maghreb as it reduces the complexity of postcolonial North African politics to a simplistic division between pro‐Western and therefore moderate Muslim countries (Tunisia and Morocco) and anti‐Western and therefore fundamentalist countries (Algeria). Reading Moroccan culture through Curtiz's classic film Casablanca (1943), Valette and Valette present for American students a fetishistic Morocco that is closer to a tourist brochure than to the 21st‐century Morocco. Because the authors imagine the latter to be a primitive Muslim society that oppresses women, the pictures included in the chapter show only Moroccan men: They alone go to the market, and they alone can begin a meal.…”

Section: Through the Narrow Prism Of Islammentioning

confidence: 99%

Teaching About Women and Islam in North Africa: Integrating Postcolonial Feminist Theory in the Classroom

Zayzafoon

2011

Foreign Language Annals

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Using postcolonial feminist theory, the researcher attempts in this article to redefine the interpretive framework through which courses on Islam and North African women are being taught in American undergraduate classes. Several conceptual limitations have been identified: inadequate knowledge of the geography and history of North Africa; the discursive dichotomy between East and West; the production of the Muslim woman as a single category; the tendency to de‐historicize Islam and Eastern cultures in general into unchanging and closed systems of religious practices and beliefs; the uncritical adoption of Islamic exegesis as an explanatory prism to understand all the woes of the Islamic world; and the cultural essentialism underlying the discourse of multiculturalism in American textbooks. To each one of these limitations, the author proposes alternative teaching strategies such as the historicization of all discourses on Muslim women; inclusion of the scholarship of Maghrebian women scholars in the classroom; role‐playing; cross‐cultural comparisons; and the integration of medieval maps and Renaissance drawings as well as audiovisual materials produced in North Africa and the Middle East ranging from political cartoons and commercials to youth programs like “Star Academy.”

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Section: Through the Narrow Prism Of Islammentioning

confidence: 99%

Teaching About Women and Islam in North Africa: Integrating Postcolonial Feminist Theory in the Classroom

Zayzafoon

2011

Foreign Language Annals

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“…That is until Shot 15, when a noise somewhere between thunder and a gunshot abruptly cuts the music and the slanted title is flashed across the screen, momentarily obscuring the passionate embrace of wife/femme fatale-elect Mylène and husband, Werner, who is wearing a tuxedo reminiscent of Humphrey Bogart's Rick in Casablanca (Curtiz, 1942) -thus shifting the film into film noir territory. That it is shot in black and white, frequently emphasizes angles and lines, and employs chiaroscuro lighting throughout is typical of the genre's aesthetic, and when the character of Sam enters in Shot 20, dressed in typical private eye raincoat, audience expectations of a dark and mysterious plot, with a shocking twist and an often unhappy ending, are set.…”

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confidence: 99%

‘Play it Again, Sam’ – intertextuality, authorship and expectations in The Bloody Olive

Shaw

2014

Short Film Studies

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Play it Again, sam' -intertextuality, authorship and expectations inThe Bloody Olive abstract Whether early literary adaptations or postmodern, pop culture stuffed millennium movies, cinema has continually showcased its penchant for intertextuality. Simultaneously, genre films have constructed a network of paradigms allowing discerning audiences to expect the previously unexpected. These interconnecting elements are prevalent, and toyed with, throughout short film noir pastiche The Bloody Olive. coNtributor detailsNathan Shaw completed his M.A. with a distinction in European Film Studies at Swansea University, after previously completing a B.A. in World Film Studies with a dissertation focused on the evolution of film noir. His M.A. dissertation focused on the emergence of a contemporary European cinema that exhibits physical suffering, torture and a related crisis in masculinity, as a means to transcendence. He is currently preparing his doctoral thesis.

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“…Malone is a prolific reviewer, theological and film scholar, and former president of SIGNIS (World Catholic Association for Communication). Malone focuses less on the overtly religious aspects of the film and more on its intertextual relationship with the1942 classic Casablanca (Curtiz, 1942). In doing so, he pays particular attention to the characters and motifs of both films, reminding us of an important episode in the region's film-making history and drawing the diegisis of Far East back to Duigan's own observations about the questioning nature of Christians.…”

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confidence: 99%