Moroccan Cinema Uncut

Will Higbee is a Professor of Film Studies at the University of Exeter. He has published widely on cinemas of the Maghreb and their diasporas, as well as questions of national and transnational cinema. He is the author of Post-Beur Cinema (2013) and co-editor of De-Westernizing Film Studies (2012). Florence Martin is the Van Meter Professor of French Transnational Studies at Goucher College (US). She has published internationally on Maghrebi cinema and women’s cinema. Her international publications on Maghrebi and women’s cinema include Screens and Veils: Maghrebi Women’s Cinema (IUP, 2011) and her co-edition of Les Cinémas du Maghreb et leurs publics (Africultures, 2013). Dr Jamal Bahmad is Lecturer in the English Department at Mohammed V University at Agdal, Morocco.

Moroccan Cinema Uncut is a substantial contribution and a timely publication for those who want to fully understand the implicit and explicit dynamics of filmmaking in the country. It opens up new theoretical ways of reading Moroccan films and of thinking transnationally about them. In short, this is a well-researched/documented book, enriched more by various case studies and interviews with key figures, which will be of great interest to anyone working on or teaching film, media and gender studies in the kingdom. It offers the reader fascinating insights into the changing patterns of Moroccan cinema and society alike.

• Table of ContentsAcknowledgementsIntroductionMoroccan Cinema: A Story of Transnational AdaptationPart I - Production From Above: Formal NetworksChapter 1: Established Sites of Production At Home1.1: Rabat and The CCM: The Institutional Centre1.2: Ouarzazate: The Cinematic City1.3: Tangier: The Artisanal Hub1.4: Casablanca: The Industrial and Media HubChapter 2: Transnational Crossings2.1: The Politics of International Co-Production2.2: The Rooted Transnationalism of Diasporic Filmmakers2.3: Non-Western Production Networks2.4: Co-Production Networks Between North Africa and Sub-Saharan AfricaPart II - Production From Below: Emerging SitesChapter 3: Alternative and Emerging Networks3.1: Film Schools, Education and Training3.2: Alternative Training Networks: Sahara Lab3.3: Playing Around the System: Hicham Laari3.4: Guerilla Filmmaking and Political Activism: Nadir BouhmouchChapter 4: Diverse Voices4.1: Amazigh Cinema: The Global Flow of Local Images4.2: Transnational Contestations: Tala Hadid and Jawad Rhalib4.3: Women’s Cinema, Take One: Negotiating With the Establishment4.4: Women’s Cinema, Take Two: Circumventing the EstablishmentPart III - Distribution Networks: Festivals Audiences and MarketsChapter 5: Distribution and Exhibition Networks In Morocco5.1: Festivals in the Kingdom5.2: Piracy and the Crisis of Moroccan Distribution5.3: Exhibition - The Trouble with Movie Theatres5.4: Pan-Arab Transnational Exhibition: The Cinémathèque de TangerChapter 6: The Transnational Moroccan Festival Network6.1: The Transnational Festival Network6.2: Europe: A-List Festivals, Markets and Film Funds6.3: International Festivals Beyond Europe: the Gulf and Africa6.4: Niche Festivals in Europe and Northern AmericaChapter 7: Sales, Distribution and Digital Disruption – the Unrealised Transnational Reach of Moroccan Cinema?7.1: Sales and Distribution Outside of Morocco7.2: Selling Moroccan Cinema to a European Audience: Much Loved7.3 Brave New World Or The Same Old Problems? Moroccan Cinema, Online Distribution and Digital DisruptionConclusionTransnational Moroccan Cinema: Of Bumblebees And ButterfliesReferencesBibliographyFilmography.