Towards an intelligent cinema in Morocco by Siham El Alaoui

written  by Siham El Alaoui

 it is still that Moroccan film industry is entirely governemental .That is to say , the state in Morocco funds movies and its developements .Yet, its mechanism remains unfixed . The Executive Office of the National Chamber of Film Producers (CNPF) spearheaded by Latif lahou has handsome visions on how to handle and improve Moroccan cinema .Therefore, these CNPF members meet Mr. Mohamed Laaraj ,the miniter of culture and communication in Morocco in order to introduce a memorandum already drafted to  recent cinematic center, CCM and former culturel ministers by  CNPF .

"On 19 April 2019, the Minister of Culture and Communication, Mr. Mohamed Laaraj, received a delegation from the Executive Office of the National Chamber of Film Producers, including directors / producers Latif Lahlou (President), Driss Chouika (general writer)  and Abdelkrim Darkqoui (money manager )  .

The minister welcomed the delegation, stressing that the efforts exerted by the ministry, which is represented by the governance and development of the support system for productions and film festivals, have enabled Morocco to assume advanced positions and make it one of the largest producers in the Arab world. The delegation then presented to the Minister a detailed and frank report on the current characteristics of the film and audiovisual sector in general and the continuation of the professional exclusion and mismanagement practices that have plagued him in recent years.

In his steadfastness, the Minister received the objective observations contained in the report in a welcoming and well-prepared manner. He promised to work towards finding solutions to all the outstanding problems and removing all impediments to the development of national cinema in the light of creating the components of a true national film industry and ensuring democratic management of the institutions of the sector in full respect for the foundations of governance.

In the framework of the open consultation policy, the delegation presented to the Minister a memorandum containing an analytical study of the reality of the sector accompanied by practical proposals for restructuring the sector in order to promote the national film industry and keep abreast of the global developments which are accelerating production, distribution and exploitation.

The Minister welcomed the idea of ​​the restructuring project in its holistic perspective aimed at achieving a new horizon for the film industry in our country, in accordance with the relevant legal and legislative requirements, as well as a participatory and democratic, transparent and equitable approach in cooperation with all professionals.

At the end of the meeting, it was agreed to establish a joint committee between the Ministry and the Chamber to follow-up consultations and download proposals to develop the national film industry and ensure its compatibility with the global development in this vital field.

memoramdom by CNPF structuration of the Cinema and Audiovisual in Morocco )

For a structuration of the Cinema

and Audiovisual

In accordance with the aspirations of the Kingdom

and the expectations of the populations

Presented by Latif Lahlou

President of the CNPF

March 2017

Prologue :

Each people is led to forge and structure an identity that derives from their practices and values. This allows him to apprehend the real with intellectual tools and appropriate modes of expression.
Currently, thanks to the will of His Majesty the King to endow the country with advanced democratic and social institutions, Morocco is experiencing a period of multidimensional development designed to meet the needs and aspirations of its population as well as the demands of modernity.
The filmmakers, in view of this stimulating context, can only be part of this process by affirming their determination to contribute at their level to the renewal of a cultural and artistic creation worthy of the millennial civilization of the country, in particular through the cinema which remains the most popular art of our time.
In this context, film and audiovisual fiction is the most appropriate expression for us to accompany and question the mutations that work in our society, by offering viewers new insights into the evolution of social practices and mentalities, as well as citizens' visions of modernity, democracy and living together. Also, we hope that our production can contribute to enrich the reflection of the spectators and their imagination and, at the same time, to encourage them to develop their critical spirit to better apprehend the reality of the country and the world.
In our humble opinion, it goes without saying that this fiction can only be deployed in a context of freedom of expression favorable to the artistic creation and worthy of our democracy so that it can clear new themes and new spaces and have the opportunity to participate in the collective aspiration for a better world.
We are well aware that the efforts made in favor of the cinema have already succeeded in making our country one of the largest producers of the Arab and African World, of which we are full of gratitude. However, we note that national television channels do not quite fit the overall effort and fall short of our aspirations and those of society in general.
Indeed, today we are witnessing a phenomenon that develops like gangrene and that is manifested by an obsessive search for financial profitability and an unconditional submission to the ratings, an attitude that seems to us inconsistent with respect to political and cultural orientations. from the country.
It is enough for everyone to look closely at our small screen to see that the fiction programs that are provided there are scarcely shine either by their originality, or by their daring, nor by their finesse, both in terms of content and at the form level. On the contrary, whether it is TV movies, series or sitcoms, most of the programs broadcast focus on tasteless and conventional melodrama or the comic trooper who does not bother with prejudices hacked mainly on women and farmers.
When we take into account the enormous influence that television exerts on the public, we are perfectly entitled to be concerned about the damage of the small screen on the discernment of this public as well as on the psychological and emotional evolution of our children.
That said, the problems related to Moroccan cinema and audiovisual have not ceased for a long time to be debated without adapted solutions being brought to them by the authorities of supervision. These seem to lack a coherent vision that can contribute to the development and defense of the national culture. Instead of listening to professionals in the sector, they arrogate to themselves the right to regulate and legislate without real consultation with them, which has led to the introduction of excessive bureaucracy and atmosphere of delusional suspicion.

Memorandum by CNPF.( Cinema Code )

Cinema Code :

In order to remedy this pernicious situation, the filmmakers propose below a comprehensive program aiming, on the one hand, to safeguard and protect existing achievements and, on the other hand, to create an attractive environment favorable both to the creation and than its financing. It is a restructuring plan, dedicated in particular to the cinema, which will be articulated around bold legislative and financial provisions to achieve a global and harmonious development which can thus concern the whole sector, which it production, operation and distribution, or the training of managers and technicians, infrastructure, without forgetting the dissemination of cinematographic culture to the public, the ultimate recipient of the operation.
For this purpose, and to proceed to a complete reorganization of the film sector with all its components, it seems appropriate and salutary to develop and implement a film code and make it the spearhead both legal and economic to ensure the sector a continuous evolution allowing cinematographic creation to unfold freely under innovative and harmonized economic and financial incentive structures.
This code will consist of a series of laws and regulations translated with the rigor and coherence necessary to provide the sector with legal provisions allowing it to perpetuate itself by developing to create employment and economic and cultural wealth.
We give below the outline of the chapters with their content which should constitute the backbone of the code of the Moroccan cinema.

Memorandum by CNPF.( Help Fund )

Help Fund

Here a historical reminder is needed: The film production of fiction goes back to the 1960s with the production of some films produced by the State. Independent production only started in the late 1970s, thanks in particular to the creation of an incentive formula called the "Support Fund". This relative progress was the result of the mobilization of the professional association of filmmakers, created in 1967, which convinced the authorities of this need.
While this support fund, governed at the time by a commission appointed by the director of the Moroccan Film Center, allowed the production of some 25 feature films, but the experience quickly demonstrated its inadequacy in relation to professional requirements. Indeed, the aid granted was very insufficient and could not guarantee the minimum of artistic quality desired. This is the reason why it has aroused many criticisms, more or less well-founded, although sometimes malicious, especially from uninformed voices.
Faced with this observation, the filmmakers were quick to demand the recasting of the fund and the increase of its resources to cope with the rapid evolution of production costs, which resulted in the mid-1980s to replace it a new mechanism called "Assistance Fund", the distribution of which was entrusted to an independent commission this time of the Moroccan Film Center and composed exclusively of representatives of the professional cinematographic chambers.
Whatever one may say, this reform has allowed the emergence of a certain number of works that have succeeded for the first time in "reconciling" the public with its cinema. As proof, it is enough to recall that the number of the spectators knew during this period a spectacular increase, exceeding the 40 million per year.
However, as expected, the liberation of filmmakers' energies gradually came up against the fund's lack of dynamism. Indeed, the limited resources of the latter could not accompany the evolution of the costs become increasingly important and which ended up constituting an insurmountable handicap against the legitimate ambitions of the professionals.
Again, we had to review the copy and make the necessary adjustments. Thus, in the mid-1990s, and after many consultations with the supervisory authorities, a new reform succeeded in substantially increasing the fund's resources, but at the same time it changed the composition of the commission. granting of aid. The latter, formerly composed exclusively of representatives of the professional chambers, is now composed only of what has been called "civil society", which has been considered as a lame solution in that its new members can not all claim to the quality of experts in this specific technical-artistic field. It must be remembered that elsewhere, especially in Europe, it is the cinema professionals who sit in such committees, without this raising the least opposition or suspicion?
Then, in an additional concern for transparency, the filmmakers proposed the transformation of the aid granted to lost funds, as before, in a Advance on recipes to give place, in case of public success of a film, to the refund at least part of the advance granted.
However, this measure supposedly gradually feed the pool of the pool so that a movie's earnings can also benefit others, as is the case in France, for example, but its application was misleading because it does not take into account the depreciation in advance of the investment of the producer, as in France, which we are inspired by, especially as the operating circuit is reduced more and more because our films can no longer find places of exploitation and the public is deprived of theaters.
In the end, if the fund, established since the late 1970s has partially fulfilled its role of incentive for 40 years, we must recognize today that it has shrunk down and began to become a the development of national cinematography as it is now confronted with the following difficulties:
1- The allocated envelope has not changed in 15 years, despite the significant increase in production costs.
2- Since the new era, the arrival of a new generation of filmmakers who legitimately seek the same support, which makes the distribution of the fund extremely tense and demonstrates the inadequacy of its resources.
3- The lack of artistic criteria in the choice of film projects submitted to the commission of advance on receipts, projects whose diversity and number increase the difficulties of this commission which, instead of being

Memorandum by CNPF.( Redevelopment of the assistance fund: )

Redevelopment of the assistance fund:

It is therefore essential to increase the envelope allocated to film production to bring it in stages to 100,000,000 dirhams, an additional 30 million per year by the year 2022 to produce at least:

- 25 to 30 fiction feature films a year.

- 15 to 20 documentary films a year.

- 20 to 25 fiction and documentary shorts per year.

This volume of production is expected to grow because it is certain that the vitality of production depends totally on the national market of exploitation, supposed to cover the whole national territory, and especially of the return of the spectators towards the cinemas, back which depends in particular on the capacity of public authorities to consider public training procedures and to fight effectively and permanently against the piracy of DVDs and other illegal practices.

That being said, and in order to respond effectively to these estimates, we propose that the grant commission allocate the following funds:

a) 20% of the overall budget of the fund will be reserved for 1st and 2nd works of fiction to encourage the creation and initiatives of beginners.

b) 40% of the fund's budget reserved for fiction films by confirmed directors.

c) 20% of the fund's budget for short and feature film documentaries.

(d) 15% of the budget of the fund for advances after production.

e) 2.5% of the fund budget earmarked for rewriting assistance.

f) 2.5% of the fund's budget reserved for fund management

Furthermore, we recommend the publication at the beginning of each fiscal year of the budgets allocated during the corresponding financial year in order to allow a better visibility of the evolution accomplished and for a good organization and management of the shootings.

With regard to the payment of installments of advances on receipts, it is essential to respect the timetables agreed between the Moroccan Film Center, which is responsible for making these installments available, and the producers who benefit from them, rationally organize their treasuries, and definitely avoid the stops of filming or postproductions which have multiplied lately and which thus seriously damage the evolution of our cinema.

To complete the effectiveness of the Advance Receipts, we recommend to establish 2 colleges so that the work of the members of the commissions is clear and meets the criteria of granting ...

1st College: commission reserved for beginners (first and second films whether short or long, documentary or fiction).

2nd college: reserved for experienced directors for short and feature-length documentaries or fiction.

It is clear that each commission is empowered to study and make decisions on the rewriting and granting of advances for films produced by private funds.

Memorandum by CNPF.( Diversification of funding sources )

 Diversification of funding sources:

First of all, we would like to remind you that a film producer is not a financial institution, nor is it a rich heir with staggering capital that allows him to speculate on the stock market or on any land or other market.
On the contrary, the film producer is first and foremost a senior film technician. As such, it is culturally and artistically equipped enough to support the blossoming of a cinematographic work, from the writing of the screenplay to the final copy of the finished product and its presentation to the public, via all the stages of film making, such as the search for financing, the rational management of production and the organization of filming and post-production.
That being said, it is necessary, in order to advance in the reflection, to look now at the present and possible possibilities that may provide him with the means to invest more in national production.
Already, we can see that it has only one window in our country, in this case that of the aid fund, which significantly reduces the scope of its intervention because it must be remembered that a film project that does not receive funding from this fund is virtually buried, regardless of the efforts invested in its design and writing.
Of course, there is another funding window, that of one or other of the national television channels. The practice of production has shown, however, that this window has become increasingly random to the point of no longer constituting any guarantee for the producer. However, it must be reactivated by instituting it once and for all.
For all these reasons, we want to quickly engage in a global and without taboos with the public authorities in order to put an end to this situation of precariousness by imagining to invent the solutions adapted to our will to go resolutely towards the before.
By thinking aloud, we can already identify two types of solutions: those that depend directly on the will of the public authorities and those, including the municipal or private sector and which, they require consultation prior to the adaptation necessary.
With regard to the efforts requested from the public authorities, we strongly hope that the following measures will be taken:
1) The reduction of tax burdens that dramatically affect the financing of production, such as VAT, IS or IR, for example. However, we are fully aware that this deletion can only be temporary. We therefore propose to limit it to around ten years, for example, a period likely to allow our sector to be sufficiently consolidated and to no longer need an exceptional tax system.
2) The intervention of the Guarantee Fund to guarantee the payment of advance installments on receipts and co-productions in order to facilitate our cash during filming which can not in any case suffer delays at risk of interruptions with dramatic consequences.
3) The obligation for the 2 national television channels to co-produce all feature film films that have previously benefited from the aid fund and to consider pre-purchases for films produced entirely by their authors.
With regard to other solutions involving the municipal sector and the private sector, we recommend the following measures:
1) As far as the regions are concerned, we believe that it is perfectly logical and beneficial for both parties for the regions to contribute to the financing of films that turn totally or partly in their territories. The amount of the participation in question would be proportional to the number or importance of the scenes shot in one of its territories. These contributions can be made in industry or in cash
2) With regard to the distribution and exploitation networks - our natural partners - it would be just as natural to see them involved in the production by means of loans or guaranteed minimums on the exploitation of the films.
This practice practiced worldwide ensures a pre-financing of the production and an assured marketing of the film, because the distributing operator having invested in the production, will strive to assure him a good marketing to recover his investment and to make profits.
3) Regarding the private sector in general, it would be advisable to encourage sponsorship by granting defiscalisation to the capital invested by this means in the production of films.

Memorandum by CNPF.( National film exploitation market )

 National film exploitation market:

Nevertheless, the measures listed above can only be effective if they are accompanied by an efficient and personalized marketing, according to the specific strengths of each film, throughout the national territory.
This requires, of course, to put an end to the closure of cinemas, to rehabilitate the ones that have for the moment stopped working and to create new ones, so that all inhabitants have all the same access to the cinematographic show. .
With this in mind, for agglomerations that currently do not have cinemas, we suggest the development of an economic framework favorable to investment in this area. This could take the form of joint funding bringing together the regions concerned and private investors in order to build multifunctional cinemas that can simultaneously serve as film projection venues, theatrical performances, musical concerts or conferences, activities that are expected to correspond to the expectations and needs of the populations concerned, as follows:
1) All agglomerations with a population of around 20,000 will have to have such a multifunctional room with a capacity of 250 to 500 seats.
2) The urban or rural commune concerned will make available to private investors, with sufficient professional and financial guarantees, the ground necessary for the construction of the room in question, according to the importance of the municipality and according to a booklet of adequate loads.
3) The land is rented at an affordable price for a period of 30 years and returned at the end of this period, with all its development, the municipality that can renegotiate with the investor a new lease.
4) The investor, on his own funds or with a loan from his bank (with a minimal rate of 3 to 4%, guaranteed by the State), takes care of the construction of the premises from an urban plan set to provided by the concerned ministry, in accordance with the specifications and the need to integrate the said room into its architectural environment.
5) Technical equipment not available on the national market, and which is eligible for full or partial support by the operating aid fund for digital equipment under the segregated fund for this purpose, they may also be the subject of a bulk import to achieve economies of scale. On the other hand, other equipment, such as furniture for example, will be manufactured locally to support existing businesses and thus help to create employment.
6) The staff responsible for the operation of these rooms will be trained using specific sessions both for the OFPPT, for projectionists and maintenance staff or other related tasks, as for ISADAC, for programmers and the animators.
7) It goes without saying that the success of these efforts will also depend on the mobilization of the concerned public who remains the final recipient that will have to find a way to bring back to theaters. To this end, various steps must be taken to stop the piracy of DVDs and other similar illegal practices. Then, it will strengthen the activities of film clubs by rethinking their action and revitalizing to better disseminate the film culture, while mobilizing at the same time professionals in the sector, such as directors, actors or screenwriters, for example, to accompany the projection of the films and open debates and exchanges with the public to make him aware of the need to see the films in the cinemas to better identify and appreciate their artistic qualities, to help him also to understand that these films can help to enrich his thinking, his culture and his imagination and also to lead him to stop being a passive spectator and to dare to express his point of view, his aspirations and his needs in the matter.
In addition, one of the safest and most effective means is the training of young spectators in middle and high schools. The aim is to organize with the Ministry of National Education cycles of national film screenings with the participation of their authors and classics of international cinema with the participation of critics and film historians to communicate the general history. cinema, its different schools and its aesthetics, in order to teach young people who will constitute our audience tomorrow, the appreciation of the cinematographic language and the jubilation it creates when it is understood and appreciated appropriately.

Memorandum by CNPF ( Diffusion of our production abroad: )

 Diffusion of our production abroad:

For many years, we have observed that Moroccan films are winning awards in several world festivals. Such undeniable recognition should logically qualify them to be distributed abroad. If this is not the case, with one or two exceptions, it is because our cinema does not have a specific organization dedicated to this marketing. Indeed, we are increasingly in need of such an organization to promote our cinema, by exposing our films in the markets of the most important foreign festivals and by conducting aggressive campaigns adapted to draw attention to our production and all implement to convince the distributors of their acquisition leaves, at least initially, to accompany these distributors, by taking, for example, in charge of the displacement of the director or one of his actors to allow their implication in the campaign of promoting their film abroad.
As such, the example of Iran, whose film production has invaded European theaters and has become virtually unavoidable, could serve as an example of which it would be beneficial to be inspired.
In addition to the weeks of the Moroccan film abroad organized by the Moroccan Cinema Center, we recommend the organization of "Moroccan film festivals" organized by the national associations of RME with the support of the ministry in charge of the RME, the embassies of the Kingdom in the countries concerned and the CCM which will provide technical assistance by providing the necessary documentation on Moroccan cinema and filmmakers in general, and on the films presented in particular.
In parallel with this action which will have a double benefit, cultural and economic, consider small structures of marketing of Moroccan films by the residents in the agglomerations with strong concentration of the RME.
(For example Brussels in Belgium, Saint Denis in France)
Another effective and extremely popular means is to make and broadcast a weekly television program devoted to national film production on each TV channel and to invite authors and actors of our films to interviews at the time of national releases of their films to get the maximum communication of our productions with the public and create the desire to go see these films.

Memorandum by CNPF.( Encouragement of national investment )

E) Encouragement of national investment:

Economists working in the field of forest development, which are more likely to be part of the world's population. In other words, there is an urgent need to bring together, organize and revitalize the cultural sectors to be able to participate in this irreversible movement, especially as everyone knows the importance of this lever for national and regional development.
Intangible capital of paramount importance, the sector of culture, whose cinema is the spearhead, and the expression of the collective imagination, exercises today and will have an impact on the social dimension.
To give a concrete example, it suffices to mention economic analysts who argue that a dirham will be able to, during this period, to report at least 10 times more. This explains and justifies our call for more substantial investments in the field of cinema.
We will give in a prospective study our point of view on how to create and finance a real cultural products industry in Morocco.

Memorandum by CNPF.( Encouragement of foreign investment )

Encouragement of foreign investment:

Currently, foreign film productions benefit in our country from a number of advantages, in this case the exemption from the payment of VAT (20%), the CNSS and the IGR and creates in 2018, a return on investment system 10% by repaying to the foreign investor 10% of the sums in foreign currency that he invests in the production of films. We propose that infrastructures dedicated to film production and maintained on site, infrastructures financed entirely in foreign currency by foreign investors will benefit from the same discount.
This option can help to establish a real film industry whose consequences can only be beneficial for the profession and the country, particularly in terms of foreign exchange earnings, employment and on-the-job training of specialized technicians.
Investment return application measures must be established in such a way as to encourage both the foreign investor and to benefit directly or indirectly the national film production industry through the on-site use of human and technical resources. existing.

These commissions are indicative and not definitive and the contents of their respective missions and the quality of their members will be specified during their constitutions.

Memorandum by CNPF.( Reorganization of CCM )

 Reorganization of the Moroccan Film Center:

This ambitious package can only be achieved efficiently if the parent body, in this case the Moroccan Film Center, in turn, undergoes in-depth reform to adapt it to the evolution of the sector and to make it a reality. an effective instrument to support our production and distribution, in respect of filmmakers and their legitimate aspirations and without the fussy bureaucracy that grows from year to year within it and which currently subjects professionals to hardship exéssives.
It would therefore be highly desirable to put an end to this drift and to make sure that this Center really puts itself at the service of the filmmakers and the cinema because its presence, it must be remembered, can only be justified by their cinematographic productions, realized still in often painful conditions whereas these productions should, on the contrary, take place in an atmosphere of confidence and benevolence, conducive to creation and experimentation.
We recommend that the attributions of the CCM remain supported by the good execution of the orientations of its board of directors which fixes a program xxxxx xxxxx (administration and professionals) of which we give below an initial list:
+ comission of the update of the legislative texts:
- Film industry
- Statutes of the CCM
- Help Fund
- Reconstitution of the cinematographic
- Dissemination and Public Training
- Festivals (National and International)
- Professional identity card
- Employment Program

Memorandum by CNPF. ( Television)

Television is today incontestably a phenomenon of society and occupies a preponderant place in our daily life with all the psychological, socio-cultural and political repercussions, deep and multidirectional transforming in an insidious way the attitudes and behaviors of the citizen.
Faced with the exponential craze of citizens, national TV channels must properly fulfill the social and cultural role assigned to them.
Today, the citizen has a very high opinion of the affirmation of his social and cultural being and demands answers to his expectations when the criteria of development and development.
We note with regret today that the Moroccan television viewer is threatened with cultural alienation by the fact that he is too often confronted with foreign cultural products that convey attitudes, behaviors, and reasoning far removed from his culture and inclinations.
Openness to other cultures is indispensable, but it can only produce positive effects in relation to self-assertion and it is the confrontation of being endowed with well-assimilated cultural assets and a balanced personality. , that one can make beneficial fruitful the exchanges and the interpenetrations.
But if we remain under the exclusive influence of cultural products foreign to our cultural heritage and our development ambitions, we risk a pernicious acculturation, undermine our social cohesion and reduce to nothing our potential to participate in universal culture.
Television channel reports with audiences today need to be rethought, revalued and expressed in a democratic and scientific way.
It is not by carrying some minor "changes" in programs that we are going to revolutionize the national audiovisual landscape. We must not register in this lure.
It is at the level of program content and visual creations during the image that we can make positive changes to try to meet the expectations of the public and contribute to the affirmation and harmonious development of our national culture.
By modernizing and democratizing the content and forms of TV programs, we will be able to fulfill our duty as a leading cultural actor, participate in the enriching entertainment of the public and develop its critical sense, which are indispensable conditions for development. individual and collective.
In application of the Royal Direction and stipulations of the constitution which recommend governance by participation system, the work to be carried out must be carried out by mixed commissions composed of representatives of the profession and the SNRT.

Memorandum by CNPF

Method of approaching the development of a production :

Here, it must be stressed that the study of projects must focus primarily on the artistic content of the projects and not on the presentation of supporting documents, certificates and administrative certificates that can be requested after acceptance of the artistic dossier which must constitute the master piece of the project
1-Presentation of the project by the producer:
Documents required
a) Exhibition of the theme and a synopsis - 30 to 40 lines.
(b) Note of intent of the producer and the author.
The producer must specify the recommended way to carry out the manufacture of the product and the means to implement for the realization of the work.
The author must explain his motivations and the approach to take (characters - style of writing etc ....).
Each note should not exceed 1 page or 25 lines.
This presentation of the file to the chain must be answered no later than 3 weeks after its presentation.
If the channel shows interest, it must release a development budget to allow the producer to professionally prepare a production record in a "Bible" which, if accepted, must be followed by a writing contract that will define the rights and obligations of each of the parties and determine the amounts of the transfer of rights and the terms of payment.


c) The production contract comes after the completion of the writing.
The production contract must take into account not only the economic aspects but also the copyrights and the conditions, durations of sale and spaces of the diffusion of the work by the chain.
It is recommended to set up 3 commissions to make the evaluations, to fix the orientations of each department and finally to set up the modalities of program selection and the follow-up of the executions.

With respect to the commission designated by "commission of the fiction" this commission must have for mission:
-Develop a specification defining the standards of the different types of fiction to be achieved as well as the technical, artistic, legal and financial framework of the production of these achievements.
-To appoint a reading committee and a technical committee.
-To recommend the follow-up procedures of the selected projects, from the pre-production until the delivery of the finished product, and to propose the measures (and crazy guards), condition likely to ensure the good functioning of the productions:
-To ensure compliance with contracts signed between the channels and production companies whose projects fall within the scope of this agreement.
Reading committee
The reading committee, in charge of the study and the selection of fiction to be produced, is made up of 5 personalities from the world of culture and the arts, enjoying a national reputation in the field of artistic and cultural creation and having demonstrated their interest in film and television production, either through the publication and publishing of literary and audio-visual works, or through the publication of studies and articles on the production of national or international audiovisual works.


From the technical committee :

The technical committee, made up of 3 experts in film and television production and production, is responsible for deciding on the technical and financial feasibility of the projects selected by the reading committee taking into account the criteria defined for this purpose in the specifications.
Conclusion
The specifications and the definitions of the committees are indispensable and integral to the present, which must be regularly adapted to the evolution of the audiovisual landscape society and technology.

Expectations in terms of content :

If TV production of fiction can not be rigidly coded, which would be incompatible with its artistic vocation, it is nevertheless desirable that guidelines inspired by the national socio-cultural environment and its evolution be indicated. to meet the expectations of the public.
As such, the program commission, in collaboration with the professionals, can give clear general guidelines that define both the editorial line of the chain, and the definitions of the types of programs.

The standards of fiction
The fiction productions, referred to below, will be shot in professional digital video by producers, directors, technicians and professional actors, according to the standards accepted in the profession and will comply with the following specifications:
-Telefilm: Televisual equivalent of the movie feature film. Lasting 90 minutes, it is shot in interiors, exteriors and possibly in the studio.
-Series: It includes at least 13 episodes that concern the same protagonists but may be independent (or not) from each other. Each ears.

Cinematographic co-productions:

The involvement of television channels in the production of cinematographic films, which is the program most appreciated by viewers, has become a common practice around the world.
It should be noted that the essential heritage of a chain is constituted by its capital of works of fiction which remains a living capital living during decades; works of fiction can be broadcast several times over several years without suffering from the news or can be broadcast in cinemas, sales or exchanges with other broadcasters around the world.
The resources
Four types of resources have been identified:
A / Own funds of the chain allocated by the state budget.
B / Chain own funds fueled by advertising revenue
C / National Private or Institutional Sponsors.
D / Local institutional participation (urban communities, municipalities, prefectures, ministries) in the form of participation in logistics and financial participation.

Memorandum by CNPF ( Reading committee )

Reading committee :

1) Profiles & criteria for selecting members

- Confirmed directors who have directed at least 2 fiction feature films that have been recognized for their artistic quality over the past 10 years.

-Scenarists with at least 3 scenarios of long-fiction feature or 3 telefilms shown on the screen during the last 10 years;

- novelists and novelists who have published at least 3 novels or collections of short stories in the last 10 years;

- University professors who have published at least one essay on aesthetics and cinematographic language in relation to film or television narrative in the last 5 years.
-Critical criticism ensuring a regular section in a national newspaper or periodical for at least 3 years and whose writings are distinguished by their quality.

2) Function of the Committee

-Studies and selects projects of TV movies, series and serials presented in the form of dialogue continuity.
- Study and select projects of sitcoms and novellas presented in the form of synopsis accompanied by scenarios of at least 3 episodes.

-Annual classification of the projects to be produced according to the criteria

3) Composition & term of office of the committee

- 2 members appointed by the professional organizations, according to the criteria listed below.
- 2 members designated by the chain according to the criteria listed below and possibly in harmony with the programmed objectives and specifications of the chain.
- The term of office of the committee is two years, renewable for two of its members each yea

Memorandum by CNPF ( Functioning of the committee )

1) Functioning of the committee :

- The committee sessions are monthly.
- The committee elects a chair for each session.
- Decisions are taken by a majority of votes. In the event of a tie vote, the chairman has the casting vote.
2) Criteria for project selections
According to the guidelines provided for this purpose in the specifications, the Committee must take into account the following criteria:
-The narrative coherence of the scenarios;
-The quality of their dramaturgical construction;
-Their originality and relevance of their subject;
-Their accessibility to the majority of television viewers;

-And at the same time the professional competence of their directors who must be expander of the Professional Identity Card (CIP) of directors, delivered by the Moroccan Cinema Center. Access to the realization of television fiction is also open to directors of Television holders of the rank of director of one of the national channels and having already made at least 2 television films broadcast by one of these channels as well as the regulators of the CIP, first-assistants to the realization having already realized at least 2 short film fiction programs, provided that the Orientation and Monitoring Commission, or a Jury appointed by it, has decided on the quality of these productions .

Technical and Financial Committee :

1) Membership selection profiles and criteria
-Producers having already produced at least 2 feature films in recent years;
- Directors of productions who have already directed the production of at least 3 feature-length films in the last 10 years;
-Directors of TV programs having provided this function for at least 3 years.
Directors of TV productions who have already directed the production of at least 3 TV movies or 2 series or 2 serials in the last 3 years;
-Directors of the cinema or TV picture having already provided this function in at least 3 long-films of fiction film or 5 telefilms or 3 series or serials in the last 5 years.

The members of the committee must have no involvement of any kind in the projects studied and must in no case collaborate with them if they are selected under penalty of being deprived of the right to submit projects and to participate in the committee for a period of time. 5 years old.

2) Functions of the committee
- Study the budgets of projects selected by the reading committee.
- Decide on the technical and financial feasibility of these projects.
- In case of necessity, consultation with the producers of the projects.
- Classification of the projects to be produced according to the basic criteria retained.
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3) Composition and duration of the committee's mandate
- 3Members appointed by the guidance and monitoring committee.
- The term of office of the committee is one year renewable for one third of its members.

4) Operation of the committee
- The committee meets in monthly sessions and as many times as necessary.
- The committee elects a chairman for each monthly assignment and as many times as necessary.
- Decisions are taken by majority vote. In the event of a tie, the President has the casting vote.

Memorandum by CNPF( Epilogue )

Epilogue:

Our society suffers a considerable and incessant flow of images of all kinds, as everywhere else, which can not leave us indifferent. To us, professionals, to take up the challenge to decipher this new visual environment and to dialogue with him, each according to his concerns and his vision of the world, through original and innovative creations, in order to share with every Moroccan and every Moroccan ideas, benchmarks and approaches in constant renewal, able to allow us all to have the necessary perspective with respect to all these images to better understand reality and the world, while remaining open to artistic and cultural expressions in all their diversity, regardless of their origin.
Our approach must be outside the mimicry of the West and the atavism of tradition.
That is why we are convinced of the need to sustain our national production and make it constantly evolve, according to the changes that this production is experiencing now and that it will certainly be known in the future. In this way, we can transpose our history and our civilization and express our multiple and open cultural identity. In doing so, we will be able to continue a mutually enriching dialogue with other cultures, without prejudices or taboos, and thus contribute at our level to universal civilization.
To us, therefore, State, nation, people, individuals, to give us every means so that our artistic and cultural contribution is and remains at the height of our needs and our aspirations.

Latif Lahlou
President of the CNPF

Mille mains et une mains by Souheil Ben Barka

INFORMATIONS-NEWS . أخبار

Octobre –November 1973

           Souheil Ben Barka : The solution lies in the pressure that filmmakers can put on their government .