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Transnational Moroccan Cinema

跨国摩洛哥电影

基本信息

批准号：
AH/M00970X/1
负责人：
William Higbee
金额：
$ 50.55万
依托单位：
UNIVERSITY OF EXETER
依托单位国家：
英国
项目类别：
Research Grant
财政年份：
2015
资助国家：
英国
起止时间：
2015 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FM00970X%2F1
关键词：
Transnational Moroccan Cinema

项目摘要

This project explores the emergence of Moroccan cinema over the past two decades as one of the most significant national cinemas in Africa and the Arab world. It will be argued that a transnational perspective is required to fully appreciate the reasons behind the recent, unprecedented rise of Moroccan cinema (from a handful of films per year in the 1970s to 25 feature films annually since 2000), as well as developing a broader understanding of Moroccan cinema's increasingly significant contribution to world cinema. The project will bring together academics and filmmakers to analyse four key areas that have shaped contemporary Moroccan cinema as they relate to this national/transnational dynamic:1.The contribution of filmmakers from the Moroccan diaspora to the rise of Moroccan cinema since the 1990s. These filmmakers, working for the most part between Europe and the Maghreb are at once inside and outside of the configuration of 'national' cinema as it is traditionally understood - forcing us to re-think what constitutes Moroccan 'national' cinema, where it is located, created and disseminated. 2. The pivotal function of film festivals in Morocco (and abroad) as a means of promoting transnational investment, creative and institutional collaboration in the Moroccan film industry. International film festivals are now central to the construction of cinema knowledge as well as the behind-the-scene mechanics of finance, distribution, and exhibition. Field trips to Moroccan and European festivals by the research team will thus form a vital part of the research project, allowing for an assessment of the current state of Moroccan (trans-)national cinema as art and business. 3. The increasing presence of Moroccan women filmmakers since the late-1990s. Moroccan women's cinema is concerned with the local and the trans-local in terms of the themes addressed in these films, as well as in the financial packages employed by these filmmakers to produce and distribute their work. Research in this strand of the project will therefore focus on the intersection of gender and trans-locality (as a subset of transnationalism) in Moroccan women's filmmaking. 4. Moroccan cinema's response to the challenges and opportunities of digital cinema. Will the greater accessibility of digital filmmaking technology and multiple platform exhibition channels allow a more diverse 'national' cinema to emerge? Can such modes of digital production, distribution and exhibition build on the critical and commercial success enjoyed by Moroccan filmmakers since the late 1990s, while allowing for a cinema that is more widely viewed both nationally and internationally? This research strand will place a particular emphasis on strategies and trends in distribution - traditionally seen as the weak link in Moroccan cinema. In an age of multi-platform, transnational distribution and the increasing threat to the film industry of digital piracy, what will be the effect on Moroccan cinema of emerging formal and informal digital distribution networks? A key objective of this project is to link academic researchers with the filmmakers, critics, policy makers, festival programmers and audiences who are shaping the future of Moroccan cinema. The project will therefore involve field trips to archives in Morocco and Paris, as well as to major Moroccan film festivals. This engagement with the industry and artists will lead to the publication (online and in print) of a comprehensive set of data relating to production, distribution and exhibition in Morocco since the late 1990s, as well as extensive interviews with key figures in the Moroccan film industry and a major, co-authored book on Transnational Moroccan Cinema. Finally, two bursaries linked to the project will allow two Moroccan filmmakers to spend three months in residence at the world-renowned London Film School, with the work they produce being premiered at the Africa in Motion Film Festival (Edinburgh).

该项目探讨了摩洛哥电影在过去二十年中作为非洲和阿拉伯世界最重要的国家电影院之一的出现。有人认为，需要跨国视角才能充分理解摩洛哥电影最近前所未有的崛起背后的原因（从20世纪70年代每年几部电影到2000年以来每年25部故事片），并对摩洛哥电影有更广泛的了解电影对世界电影日益重要的贡献。该项目将汇集学者和电影制片人，分析塑造当代摩洛哥电影的四个关键领域，因为它们与这种国家/跨国动态有关：1.自20世纪90年代以来，摩洛哥侨民电影制片人对摩洛哥电影崛起的贡献。这些电影制片人，在欧洲和马格里布之间的大部分工作，是在一次内部和外部的配置“民族”电影，因为它是传统上理解-迫使我们重新思考什么构成摩洛哥“民族”电影，它的位置，创建和传播。2.摩洛哥（和国外）电影节作为促进摩洛哥电影业的跨国投资、创造性和机构合作的一种手段的关键作用。国际电影节现在是构建电影知识以及幕后金融，发行和展览机制的中心。因此，研究小组对摩洛哥和欧洲电影节的实地考察将成为研究项目的重要组成部分，从而可以评估摩洛哥（跨）国家电影作为艺术和商业的现状。3.自1990年代后期以来，摩洛哥女电影制片人的人数不断增加。摩洛哥妇女电影关注的是当地和跨当地的电影主题，以及这些电影制片人为制作和发行其作品所使用的财务一揽子计划。因此，该项目这一部分的研究将侧重于摩洛哥妇女电影制作中性别和跨地区（作为跨国主义的一个子集）的交叉点。4.摩洛哥电影对数字电影挑战和机遇的回应。数字电影制作技术和多平台展览渠道的更大可及性是否会让一个更多样化的“国家”电影院出现？这种数字制作、发行和展览模式能否建立在摩洛哥电影制片人自1990年代末以来所享有的关键和商业成功的基础上，同时允许电影在国内和国际上得到更广泛的观看？这一研究链将特别强调分销战略和趋势-传统上被视为摩洛哥电影的薄弱环节。在一个多平台、跨国发行的时代，数字盗版对电影业的威胁越来越大，新兴的正式和非正式数字发行网络将对摩洛哥电影产生什么影响？该项目的一个关键目标是将学术研究人员与电影制片人，评论家，政策制定者，电影节节目制作人和正在塑造摩洛哥电影未来的观众联系起来。因此，该项目将包括实地考察摩洛哥和巴黎的档案馆以及摩洛哥的主要电影节。通过与电影业和艺术家的接触，将出版（在线和印刷）一套有关摩洛哥自1990年代末以来制作、发行和展览的全面数据，以及对摩洛哥电影业关键人物的广泛采访和一本关于跨国摩洛哥电影的重要合著书。最后，与该项目有关的两项奖学金将使两名摩洛哥电影制片人能够在世界著名的伦敦电影学院居住三个月，他们制作的作品将在非洲电影节（爱丁堡）首映。