Friday, December 08, 2017

joseph campbell hero with a thousand faces


Since its release in 1949, The Hero with a Thousand Faces has influenced millions of readers by combining the insights of modern psychology with Joseph Campbell’s revolutionary understanding of comparative mythology. In these pages, Campbell outlines the Hero’s Journey, a universal motif of adventure and transformation that runs through virtually all of the world’s mythic traditions. He also explores the Cosmogonic Cycle, the mythic pattern of world creation and destruction.

As part of the Joseph Campbell Foundation’s Collected Works of Joseph Campbell, this third edition features expanded illustrations, a comprehensive bibliography, and more accessible sidebars. 

Khadijatoo Aadi, the Guelmim filmmaker on the spot light .

                                                                       Khadijatoo Aadi

                                  Khadijatoo Aadi is a Moroccan young media girl trudging along to the world of  filmmaking .Miss Aadi has a certain vision in life and she is coming with certain steps to the light of entertainment especially movies .Her first move was her adaptation of Najid El Mahfood trilogy El Ayam to a short film  called Secret of a journey . Her style of work is classic and astonishing and is using slow rhythm in montage and great pacing to depict her protagonists .

                                       Now, Khadijatoo is preparing her second short film called Abraz  written by Noureddine Boukhsbi  and produced by Allal El Alaoui via his film company called Cinema and Movies .The idea of this short film is inspired by her Saharian culture, namely Guelmim , her beloved town she has been growing . Miss Aadi is 32 years  old and is now studing at Ibn Zohr University in Agadir, Morocco  where she gets her professional license in cinematic analysis and media in which she is hoping to get her master. Khadijatoo has worked in a film documentary called Semmara with Said Azar.

   أبراز سيناريو by allal on Scribd

Sunday, November 26, 2017

Feminist Films between Theory and Practice by Rabii El Jawhari

More link of El Jawhari :

The cask of Amontillado by Allen Poe

by Sanaa El  Alaoui

            This short story is  about revenge and murder and written with great art as it contains
narration ) the voice of Allen Poe (  , precision ) related literary words(   pace ) continuous rhythm in
telling this brilliant story (  and conflict with two everlasting protagonists .

            Surely , this story is narrated by Poe without giving us  a clue why Montresor wants to kill
Fortunato , two symbolic names carefully chosen by the writer art of telling his story . Fortunato is
an  ironic name that stands for fortune and luck   . In the contrary, Fortunato has no chance to escape
from a terrible death already plotted by Montresor . Montresor is also an ironic name, which means
secret treasure and surely Montresor is too much secretive and an inner person motivated by
revenge and murder and this is revealed by him in this confusing sentence “ The Thousand of
Fortunato I has borne as best I could ; but he ventured upon consult , I vowed revenge “ it means
that Montresor is a well educated person, positioned in good stature , I am injured many times by
Fortunto . Although in filmic adaptations, some filmmakers depicts Fortunato as a slave or valet ) see this link ( . 

            It really depends on how one reads this powerful story .Filmmakers or screenwriters write and
rewrite Allen Poe story according to their own imagination and of course, styles vary in treating the
theme, the structure and the plot of the story.

             In the structure of the story, Montresor works out a plan very carefully to murder Fortunato ,
he must take him to the vault , already a metaphoric place of darkness and buried death of the family
In my point of view , this is the major inciting incident that motivates the writer to lead the
protagonist to the vault . By the way, Montresor is an evil man , an opponent and an antagonist in
the story .

              We have conflict between two characters .One is very drunk, fortunato , and Montrsor  is the master mind of plotting the death of his mate . The mysterious journey takes awhile as Montrsor
tries to convince Fortunato to taste the wine of Amontilado . Fortunado is a man of vanity and pride it is his secret weakness , while Fortunato is a rich man who believes in himself . He knows that his  deed will succeed .He suggests that there is a much better connoisseur for tasting wine and of course  Fortunato , because of his pride, he says that he is the best  connoisseur to taste wine , and  this is  exactly what Montresor wants to hear from his enemy, choosing his own death .


Saturday, November 25, 2017

Hug by Siham El Alaoui

In Collaboration with Eddy Lovaglio and Il Maestro Riccardo Moretti, Cinema And Movies , a production company based in Rabat Sale and the Parma international Music and film Fetival  have produced a short film called Hug directed by Siham EL Alaoui and produced by Allal El Alaoui .

This shortfilm will be released on the first january 2018  and it is shot in Kenitra in which too many institions have supported the idea just like CCM , National Security of police and Council of Kenitra .


On a grassy side near an ancient cemetery, a huge tree descended on a moldy house, filled with filthy scavengers dumped on the filthyly images of the adjacent neighborhood. In the deep, this road leads directly to a tomb with a green dome, a lonely old man, homeless, appears among filthy sacks, we do not know his past and he seems to have no one to hug him.,

 All passing by him are indifferent whenever someone passes  in front of him and hug someone else, this escaltes  his grief . But the surprise is that this old man and after passing  some police men ,we happen to know that he has made several immigrants come out of the shabby house who apparently have been hiding , Syrians and Africans who surprise the old man with a beautiful  and passionate hug.

Wednesday, November 22, 2017

Noise and fury by Abdellah Zerouali

Noise and fury

by Abdellah Zerouali

The current Moroccan cinema is like a baby who cries all the time and starts screaming for no specific reason. We do not know if it's because of his teeth starting to grow, or if he's just hungry. Because in our country, babies are as greedy as adults. At home, there is food and drink, as long as you know how to do it. But those who chose the profession of filmmaker, by vocation, did not know in what galley they were going to sail. Arrivism, favoritism and unfair competition are now commonplace. To situate the phenomenon of cinema in space and time, it seems to me necessary to appeal to historical considerations.

1 / In the middle of the last century (1956) France and Spain renounced their respective protectorates over the Kingdom of Morocco. Popular resistance was for something, but it was not just for that reason. France wanted to devote itself to the Algerian war and Spain wanted to keep the Moroccan Sahara known as "Western Sahara". It was at this time that it was necessary to create a Moroccan cinema, given the popular enthusiasm that would have welcomed it. The population of our country was estimated at only 8 million (now 45 million) and yet the national film attendance was going well. Moroccan television did not exist yet but it would not have changed because the cinemas were programming foreign films of popular and high quality nature.

2 / Today we want to recover the cinemas that have closed their doors and even create others. But we do not know how to do it. Yet it is simple and possible. It would be enough to produce popular films, intended primarily for the general public and not only for festival juries. Unfortunately, when you try to "get the cake and eat it" you always end up having neither one nor the other.

Sunday, September 10, 2017

African cinema and the future of a continent

African cinema and the future of a continent

By   Abderrazak Ezzaher 

One of the rare cases in which the continental identity is attributed to an art form without risk of ambiguity is that of African cinema.
African countries, related to modern inventions, have known the same fate and nearly during all periods. Indeed, the 20th century, the era of invention and promotion of cinematographic art, was also the century during which Africa was almost entirely under foreign colonization. During this period, the continent underwent and consumed cinematic products of the colonizer. The latter has used it to assert its policy and ideology.

After the independence movements, we witnessed two main trends:
The first one was about the departure of many young people from African countries freshly liberated from the burden of the colonization to Europe namely France, the Soviet Union and Ukraine in order to pursue their education in cinema, and that is the case of the veteran Souleyman Cissé, Merzak Alouach, Gaston Kaboré…
The second trend was the direct interference of the state in film production and Algeria remains one of the examples illustrating this situation. For years, the Algerian state was the mere African country that produced films. As a result, we witnessed a real emergence of cinema and this lasted until the 90s.

For other countries, a part from South Africa, Egypt and Morocco recently, cinema suffers from problems of production and distribution. African film budgets were too much limited and constrained, therefore, the artists would make concessions sacrificing art. However, certain filmmakers have known, apart from all the difficulties, how to sign works that have marked the receiver either from Africa or elsewhere. We cite examples of films: From Mali/Mauritania; Abderrahman Sissako (Waiting for Happiness, Timbuktu), Mohamed Salah Haroun (Abouna) from Tchad, Haile Gerima (Teza) from Ethiopia.

During the last two decades, we witness a new wave of directors who have chosen to express themselves through the 7th art by taking the same paths of formation as the pioneers and sometimes appearing in the most prestigious festivals of the world: Nabil Ayouch in Cannes, Hicham Lasri in Berlin, etc. At the same time, new practices have emerged, such as low-budget video films, in which the case of Nigeria is known as Nollywood and produces up to 200 films a year, distributed on the local market.
As far as the cooperation of South - South is concerned, speeches abound in this sense and acts are rare and the example to be capitalized and put forward is that of Morocco which opened its laboratories of the CCM to all the African producers to carry out the work of post-production.
To conclude, the difficulties facing African cinema, which are mainly linked to production and distribution, are manifestations of the reality of a continent.