1999-03-15T23:59:59Z
2021-01-19T18:40:23Z
La marginalite dans l'ecriture cinematographique et dans l'espace du film marocain
1988
1988-01-01
Le c. C. M. (centre cinematogarphique marocain), herite du protectorat francais, etait le principal commanditaire et l'unique producteur de la plupart des realisations en court-metrage, que l'on peut denombrer jusqu'en 1967; date du premier long-metrage de fiction. L'exotisme et la progande touristique qui ont accompagne le court-metrage apres l'independance, ont influence les premiers long-metrages. Ces derniers ont vu le jour non comme un travail de creation et d'expression, mais en tant que commande officielle, avec tout ce que cela signifie en termes de dependance et d'influence. Il n'est donc pas surprenant de. . . Carcan du c. C. M, etaient des initiatives privees. La concurrence des cinemas occidentaux et des moyen-orientaux, le marginalise non seulement sur le marche international -ce qui n'est pas propre au seul cinema marocain-, mais aussi sur son terain national -ce qui est plus grave encore-. Cette situation a debouche sur une ecriture hermetique, ou le film se transforme souvent en une quete de l'esthetisme, visant a se demarquer des cinemas commerciaux, et a dejouer les handicaps de la censure, qui jalonnent tous le processus de la creation. Cette marginalite dans l'ecriture s'est toujours accompagnee de celle des personnages: fous, condition des femmes, desespoir, transe, magie, errance. . . Etc. Traitant de differentes marginalites sociales, le cinema marocain se trouve etre a son tour marginal et dans son ecriture, si dans son positionnement sur la scene internationale.
Since his appointement during the years 60, the marocan cinema confined himself to short pictures. The marocan cinematographic center, legacy from the french protectorate, was his first silent partner and only producer, down to 1967: date of the first full length film, about fiction. Exoticism and tourist propaganda were characteristic of the sovereign morocco. They had an influence on the full length film, during the end of the years 70. This one didn't born like a creative expression, out like a work commissioned by the publisher. So, the first full length films that trayed to escape from the marocan cinematographic center were private enterprises. Competition with pictures from the west and the middle east keeps the marocan cinema out of the way from the international place, and more over from his own national place. Because of this situation the marocan cinema is a closed one, ceaselessly in search of aesthetics. Thus, he wants to keep aloof from commercial pictures, and to bault the censorship's intentions. Marginality in the writing goos in a parallel direction to marginality in the characters (mad men, women, desponent young peaples. . . ) and the practices (trance, magic, wandering. . . ). They are basic to understand this cinema, especially about expression and creativity. Dealing with social marginalities the marocan cinema is marginal too, about his writing and his place on the international stage.
INTIDAM, SAID
Agel, Henri
Montpellier 3