{"id":38047,"date":"2022-08-29T07:15:07","date_gmt":"2022-08-29T05:15:07","guid":{"rendered":"http:\/\/a-desk.org\/?p=38047"},"modified":"2022-08-26T17:53:55","modified_gmt":"2022-08-26T15:53:55","slug":"el-cine-del-vecino-del-sur","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/el-cine-del-vecino-del-sur\/","title":{"rendered":"El cinema del ve\u00ed del sud"},"content":{"rendered":"

Quan pensem en les imatges, concretament en el cinema que ens arriba del Marroc, aquest pa\u00eds ve\u00ed, tan familiar i desconegut alhora, sovint la nostra condici\u00f3 de “nosaltres europeus” s’interposa.<\/p>\n

Tal com veiem al pa\u00eds i la seva gent, veiem el seu cinema. Des del desconeixement real del territori, afloren a la superf\u00edcie estereotips que reprodueixen sovint aquella vella i arrelada visi\u00f3 colonial, forjada durant segles sobre l\u2019alteritat ve\u00efna.<\/p>\n

Apareix aix\u00ed una alteritat ex\u00f2tica, colorista, aferrada a la tradici\u00f3 i al folklore. Visualitzem un territori replet de dones sotmeses, un lloc on la religi\u00f3 t\u00e9 un pes social que ens sembla arcaic. En la nostra ment continuen vigent aquelles imatges negatives que es van produir i reproduir com a justificant moral al servei de l’acci\u00f3 colonial i \u00a0la seva empresa de dominaci\u00f3.<\/p>\n

\"\"<\/a>

Fotograma del film Mort \u00e0 vendre de Faouzi Bensa\u00efdi<\/p><\/div>\n

Aquest mes, quatre agents culturals marroquins, relacionats amb el cinema des de diferents posicions, reflexionen sobre el medi, la seva influ\u00e8ncia i les seves repercussions. \u00a0No hem pret\u00e8s abastar la totalitat de la tem\u00e0tica, ni oferir una visi\u00f3 compacta i homog\u00e8nia, for\u00e7osament simplificada del que significa el cinema d’: autor\/ independent\/ d’artista en aquest context. \u00a0Hem volgut fer un possible estat de la q\u00fcesti\u00f3 a trav\u00e9s de quatre mirades subjectives que ens aproximen al tema.<\/p>\n

Iniciem el nostre recorregut amb un espl\u00e8ndid article de L\u00e9a Morin<\/strong><\/a>, qui fa anys que investiga sobre el cinema post independ\u00e8ncia. Un cinema propi marroqu\u00ed, en lluita per escapar la mirada colonial que des del cinema s’havia constru\u00eft fins al moment. Part les seves investigacions li han portat a submergir-se en els arxius personals d’Ahmed \u00a0Bouanani, un treball col\u00b7lectiu de recuperaci\u00f3 dels documents personals del cineasta i historiador del cinema, el t\u00edtol p\u00f2stum del qual La Setena Porta<\/em>, \u00e9s el text m\u00e9s complet sobre el cine realitzat al Marroc durant el S. XX. El \u00a0cinema d’A. Bouanani, i el material procedent dels seus arxius, continua avui veient un cinema comprom\u00e8s capa\u00e7 d’imaginar \u00a0i crear altres futurs.<\/p>\n

Mariam El Ajraoui<\/strong> <\/a>ens aproxima al “cinema independent”<\/em>, en un excel\u00b7lent esfor\u00e7 per acotar que significa aquesta ambigua terminologia de quan s’aplica\u00a0 al cinema marroqu\u00ed. Les confusions que aquest terme suscita, i les perverses repercussions que aquesta etiqueta merita sobre el cinema que arriba a Europa, posen de manifest la trampa neocolonial impl\u00edcita i oculta en els processos de finan\u00e7ament i distribuci\u00f3.<\/p>\n

Hem volgut dedicar un episodi al cinema que produeix una mirada femenina. \u00a0Rim Mejdi<\/strong><\/a> lluny de fer un llistat sobre tots els films dirigits per dones, comparteix amb nosaltres alguns que l’han marcat com a cineasta, com a espectadora i com a dona per contravenir la mirada hegem\u00f2nica. La seva an\u00e0lisi mostra tamb\u00e9 la preocupaci\u00f3, que s’ha pogut comprovar durant \u00a0la trobada Purple Meridians, organitzat per OVNI i Streen Cinema, \u00e9s compartida per dones cineastes de diversos contextos: A la dificultat de ser dona en un \u00e0mbit altament mascul\u00ed, s’afegeix una c\u00e9rvola de fer cinema sobre dones.<\/p>\n

Finalment, Abdelaziz Taleb<\/a> <\/strong>ens aproxima als festivals i a les vies existents perqu\u00e8 els films\/ v\u00eddeos d’artistes puguin mostrar-se al p\u00fablic. Ressalta la falta de sincronia existent entre l’alta \u00a0adopci\u00f3 del mitj\u00e0 per part dels artistes i el valor que se li concedeix en l\u2019\u00e0mbit institucional i de mercat. Aquesta situaci\u00f3 no \u00e9s tan distant del que ocorre en el nostre propi context, impulsant als artistes a considerar i buscar oportunitats en un \u00e0mbit regional m\u00e9s ampli.<\/p>\n

Refer\u00e8ncies d’inter\u00e8s:<\/p>\n

ARXIUS A. BOUANANI<\/a><\/p>\n

ARAB MEDIA LAB<\/a><\/p>\n

Centre Cinematogr\u00e0fic marroqu\u00ed<\/a><\/p>\n

Institut Nacional de Belles arts de Tetuan<\/a><\/p>\n

 <\/p>\n

(Imatge destacada: Notre-P\u00e8re des Fleurs de Dalila Ennadre)<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Quan pensem en les imatges, concretament en el cinema que ens arriba del Marroc, aquest pa\u00eds ve\u00ed, tan familiar i desconegut alhora, sovint la nostra condici\u00f3 de “nosaltres europeus” s’interposa….<\/p>\n","protected":false},"author":2776,"featured_media":37907,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","footnotes":""},"categories":[6173],"tags":[],"coauthors":[],"acf":[],"yoast_head":"\nEl cinema del ve\u00ed del sud – A*Desk<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, 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