cinema : a science, an industrie and a spectacle.

                                                                   Abdellah Zeroulai





Written by Abdellah Zeroulai

The cinema: a science, an industry and a show.
My purpose is to answer a very simple question: what is the nature of this phenomenon called cinema and nicknamed the 7th Art? Several definitions are possible but they remain fragmentary. To say that it is an art is not enough. Because it is also a scientific discovery, a contemporary industry, a business that involves the distribution and exploitation of films and, above all, a show of collective entertainment. Cinema is a science insofar as scientists have discovered the laws of visual and auditory perception and applied them to the manufacture of recording and reproducing apparatus for image and sound. The camera and the microphone are nothing but the imitation of two human organs: the eye and the ear. But if the power of human organs is limited in space and time, the power of sound recording and recording devices is constantly changing thanks to advances in technology. The same applies to reproduction equipment and projection screens. It is precisely thanks to technical and technological progress that cinema has moved beyond scientific curiosity to become an artistic industry. That is to say a phenomenon which implements means of production, both material and human, to make cinematographic films.
 Before arriving in cinemas, these films pass through distributors who are service providers. They are the ones who promote the films, that is their advertising, before and during their exploitation in the movie theaters. It is also at this stage that writers called "the critics" come in because they analyze the films to make sense of them. From all the foregoing, it can be concluded that cinema is a human activity that makes use of intellectual, economic and social resources. From this perspective, cinema is a means of communication. The ministry of guardianship bears precisely this name in addition to that of culture. In our country, it's not the vests but the laughs that are yellow. In other words, a cinema financed by the public treasury is like the most beautiful woman in the world who can give only what she can have. I am speaking to those who do not know and not to those who know or who think they know. A POING that's all!
It is an art not enough. Because it is also a scientific discovery, a contemporary industry, a business that involves the distribution and exploitation of films and, above all, a show of collective entertainment. Cinema is a science insofar as scientists have discovered the laws of visual and auditory perception and applied them to the manufacture of recording and reproducing apparatus for image and sound. The camera and the microphone are nothing but the imitation of two human organs: the eye and the ear. But if the power of human organs is limited in space and time, the power of sound recording and recording devices is constantly changing thanks to advances in technology. The same applies to reproduction equipment and projection screens.
It is precisely thanks to technical and technological progress that cinema has moved beyond scientific curiosity to become an artistic industry. That is to say a phenomenon which implements means of production, both material and human, to make cinematographic films. Before arriving in cinemas, these films pass through distributors who are service providers. They are the ones who promote the films, that is their advertising, before and during their exploitation in the movie theaters. It is also at this stage that writers called "the critics" come in because they analyze the films to make sense of them. From all the foregoing, it can be concluded that cinema is a human activity that makes use of intellectual, economic and social resources.
 From this perspective, cinema is a means of communication. The ministry of guardianship bears precisely this name in addition to that of culture. In our country, it's not the vests but the laughs that are yellow. In other words, a cinema financed by the public treasury is like the most beautiful woman in the world who can give only what she can have. I am speaking to those who do not know and not to those who know or who think they know. A POING that's all

The forbidden by Allal El Alaoui

Network Film Agency is a producton company based in laayoune in Sahara speahead by

Ali Bousouffa Essalek ; filmmaker and producer of the company mentioned above .

Ali has signed with Allal El Alaoui a contract to realize a film documentary called El Mhali or

the forbidden . it talks about the forbidden deeds qnd things  that Sahraoui must not do or practice  in their nowadays life .

The Cinema of the Absurd-converted by sanaa El Alaoui

                                                                  Sanaa El Alaoui

The Cinema of the Absurd-co... by on Scribd

Nadine Labaki is the best Arab prominent female director in the world

Nadine Labaki to Academy Award :

"I am absolutely moved and honored. #Capharnaumhas been shortlisted for an Academy Award for Best Foreign Language Film! Thank you to the Academy for recognizing our film and thank you to each and everyone who was with me on this special journey"

Nadine Labaki to Pedro Almodovar :

"I am absolutely thrilled and honored to see #Capharnaum on the master Pedro Almodovar’s Top Ten Films of the Year list. Thank you Pedro for endorsing the film - it means so much to me. Your films are such an inspiration and I couldn’t be prouder of your support".

Nadine Labaki was compelled to make “Capernaum” after witnessing “children on the streets, either children begging, or children working, or children who are deprived of their most basic rights. It’s something that lots of children around the world are struggling with right now, and I think I’m not the only one being moved by it. I just felt a need to express it.” Watch our exclusive video interview above

The Color of Pomegranates by Sergei Parajanov

Sergei Parajanov

Written by commentators .

The Color of Pomegranates by Sergei Parajanov is a super-stylized, surreal biography of Armenian troubadour Sayat Nova, whose life is depicted through non-narrative amalgamations of poetic images.There is so much rich imagery, allegory and metaphor relevant to a very specific ethnic group that outsiders can only superficially grasp the intensity of this work. This is the diametric opposite of Hollywood and is, therefore, hugely significant. If only there were more examples of such art in our world.This is a representation of what is happening inside my brain when I need to focus for more than one minute on something.

Most hipnotic and mystical film ever created, Tarkovsky got influenced by this for his cinema form change in The Mirror., a full poetic approach. Tarkovsky is the greatest, but this film is the key too

‘Metamorphosis’, ‘the Trial’ and ‘the Castle’ in Soderbergh’s Kafka by Sanaa El Alaoui

   End of Term Essay - PDF Version - El Alaoui Sanaa by allal on Scribd

Metamorfosis (Franz Kafka - short film)

L' Opera, Noureddine Sail and me.

Written By
                   Allal El Alaoui.


       
           Salé, my sweet home town, a millinium city known fot its citadels , Mansouric walls ,pirates blue boats floating on Bou Regreg river and now the marvellous presence of International Film Festival for women .i am very proud of my beloved city ,although it has lost one of the major cinema theatre called L' Opera, already founded by Charkawi Family and one of its member named Mekki was the manager and at the same time projection supervisor . The Slawis (1) have a saying  that states that Salé gives grace to foreigners but not to its natives.Indeed,Salé has given grace to a new comer, a Tangiers man  called Noureddine Sail who comes to the city to teach intelligent cinema by founding a cineclub in the 70s.

            The story how i love cinema has to do with the friendship of my father,and Mekki Cherkawi ,the manager of L' Opera. Surely,i love cinema,but does cinema love me ? it is a question which i can not answer and yet sometimes i feel that cinema does not want me anymore.Now, i am in advance of age , but happily i have realized some documentaries and  written and directed 6 short films and still  keep on writing especialy scripts. My father was a clerk at the council of  Salé where he met up with Mekki Cherkawi and helped him out to fix some administratif papers .Mekki was happy about the deed that my father did to him  .He opened his heart to my father and from that day on , i knew that L' Opera doors would always be opened for me .It was a grace for me because i was entertained by international cinema either Egyptian one,Asiatic,Hindu and American one .How happy i was when i went to L' Opera at 15.00 each afternoon foot about 1 mile from home .at the hall of L' Opera ,the doorman smiled at me and sometimes  whispered  in my ear that i ,one day,  would become somebody very important ,maybe a filmmaker.




                   I really enjoyed watching movies like One Flew Iver The Cuckoo s Nest played by Jack  Nicklson ,directed by Milos Forman ,Mangala Al Badawiya directed by Mahboob Khan and translated into Moroccan dialect by Ibrahim Sayah whose dubbing actors were like Hamidou, Taib Essadiki , Mohammed Afifi,Larbi Doghmi ,Khadija Jamal  and more .Many Moroccan filmmakers were inspired by this wonderful epic movie namely Mohammed Osfour, and Ibrahim Sayah .Later on ,i had heard of Moroccan cinema presenting itself in local cinema halls with of course Souhail Ben barka, Mustapha Derkawi, Moumen Shimi,Tazi ,Lagtaa and others.I still stick myself to watching  international cinema,although i have a great esteem of those filmmakers that i have just mentioned now.

                   Yes, in L' Opera , i saw all genres of movies, the bad and good ones .Had i become a cinephile ? Maybe, but i am sure that i had become one when i  was young 12 years of age .I frequented every sunday the cineclub that was spearheaded by that  cool intellectual  Tangawi  (2) who taught philosophy at Moulay Youssel school in Rabat . Noureddine Sail's way to present films was so simple and yet very methodic .While he explained the theme of any films ,he presented اhis characters with wit and joy,blinked his eyes so often and stressed on verbs so that the meaning came out smoothly. The decoupage Technique of some scenes in Battleship Potemkin by Sergei Eisenstein were marveoulsly revealed by his marxist laguage that we were not able to understand that time.In this movie, we saw officers , the images of lions ,very close-up of tragic Soviet faces .We would never know metaphor nor parallel editing had we not met Noureddine Sail .we were ,somewhat like the Japense cinema Master, Akira Kuruzawa who states that he had been working over more that 50 years in cinema and his he had left  to the world great artistic works  ,but he would never know what cinema really means . 





                   Noureddine Sail leads CCM for a couple of years .I think It is up to  the public ,journalists and critics to judge his work while he was leading Moroccan cinema .what intersets me to mention in this article  is that he was the only one who signed me  two cinematic cards, one is the cinephile one of L' Opera in 1970  and the other one is the filmmaker card in 2012 .




The Slawis (1) people who live in    Salé .
Tangawi  (2) people from Tangiers

         

The Naked island by Kaneto Shindo

The Naked Island

Directed by Kaneto Shindō

i

Deals with the intolerably hard life of a family of four, the only inhabitants of a very small Japanese island in the Setonaikai archipelago. Several times a day they row over to the neighboring island to fetch water for their miserable fields.

The state of Moroccan cinema today by Fouad Zouirik

Written by 

Fouad Zouirik 

I am writing to you right now from a cafe in the center of Amsterdam Airport. I can not wait to get home to write comfortably. I was on the plane while I was coming back from Istanbul. I read a lot of articles and saw a lot of figures gathered specifically to find out the fate of Moroccan cinema in recent years.

Moroccan cinema does not progress as some claim but delay, or at least let's say that its career has stopped precisely since the strict assumption of Fassi Fihri management of the Moroccan Film Center, not talking about films but talking about the sector, about the system as a whole, now  it has passed four years since the appointment of Fassi Fassi Successor to Noueddine Sail . Al The failure of the Justice and Development Party (Islamic party) to manage many sectors has also had a disastrous impact on the cinema sector, which was proceeding smoothly and steadily in the direction of its former director. The new director is well aware that his reign will be devastating and certainly this was the intention and purpose of his appointment originally. Everyone knows the hostility of the Moroccan "Islamic brothers" to film and art in general.

In 2013, an attempt was made to create 350 to 400  cinema theatres over the next ten years. Half the time has now passed. How many halls have been established from 400 public halls? Nothing, of course, but even some of the Moroccan festivals that we were proud of before others have declined and become a non-existent, many important initiatives and agreements were taken and concluded in the previous era did not apply despite the passage of years, Hope to develop the sector? Are they actually downloaded and exploited? I doubt ... Instead of exerting effort and investing the gains of the previous era and developing it between the actions and policies of adolescent and improvisational director of the new, every time creates a fuss of nothing, but the structure of the Cinematic Center itself was not delivered from this improvisation Unfortunately, even the films that succeed in our country remains successful, are confined to its makers and has nothing to do with the center.

The professionals and filmmakers working in the sector are often complaining and criticizing the policy of the center, which is dedicated by its president, but all this resentment takes place behind the scenes without taking a proactive step forward to stand in front of these barriers. They do not dare to unify their entities and create a counter-power to confront them. All they do is waste their energies and efforts. In side battles against each other, even those who criticize him behind the curtain and rush to shake him publicly, bowing the head in submission and humiliation, how does one dare not even to impress on a post that criticizes the situation to take a stand or revolution against the current film policy and whenever I met him encouraged you What you write and said to you by the letter that you speak in his tongue and justified you not to interact with the justification of films, although you did not ask him originally and does not concern his mark or admiration because telling the truth is a duty and does not need thanks from anybody, of course there are those who direct their arrows to the Director of the Center and policies but unfortunately most of them seek to achieve personal goals have nothing to do with the public interest.

Four years have passed on the reign of FAssi fahri still in the throne of cinema in Morocco and the outcome is that we are still to this day scribbled on the legacy of |Noureddibe  Sayel era, thankfully, but we have cleared a lot of his steps and gains in the eraser of the current president, I do not want to make a comparison between the person of the current director and the former until we stand on our hands today. The comparison will inevitably be unfair and humiliating, if we were in a country that respects art and cinema and knows the value of the latter, which in our time became one of the most powerful and powerful weapons, we saw Fassi Fihri as the director general of the Moroccan Cinema Center in front of our parliament to present its outcome and to hold accountable for every action done , but unfortunately this did not happen and will never happen. I do not know Noureddine Sayel and I never met him - although i will be  honored to meet him - as I do not know FassiFahri whom i  did not meet him too, but the numbers and acquisitions speak on their behalf, even their appearance in the programs and media meetings shows you the huge difference between the level of this and that, Clearly the cause of the current crisis in this sector.

 I want anyone to see that I am wrong in what I claim to present to the gains achieved by this sector in the era of its strict director .

who is to blame in Moroccan cinema industry ?

  

Written by Abdellah Zerouali

Who are we ?

Yes dear colleague and friend Driss Chouika. You are right to ask the question. I have not yet had the pleasure of seeing your play and it is a gap to fill. And if you will allow me, I ask myself the same question. To know who we are. You, me, and many other victims of a system that crushes us. You accused, rightly or wrongly, two individuals in charge of cinema and television. Do you really think they have their hands free and that they are the real decision makers? In addition, do you really believe that they are the only ones responsible for our failure? Criticism is good, but self-criticism is better.

According to the CCM's catalog, 100 filmmakers hold the professional identity card (CIP). However, those who have benefited or who still enjoy the favors of the help fund commissions can be counted on the fingertips. Once on the left hand and twice on the right one. Nothing to do with politics? Of course yes ! We do not want a social cinema that disturbs. We prefer to finance with public money a prestigious cinema that masks social realities and is better suited to the taste of our distinguished guests. Believe me, Driss Chouika, I am older than you in age and older in the profession. I have seen directors on the CCM and TVM. Some were good only to travel to Cairo to bring in singers to animate our national and annual festivities. An approach that Noureddine Sail did not share at the time (the 70s and 80s) because he said exactly this: "Ancient Greece had two epics, the Iliad and the Odyssey, but in Morocco there are every year ".

 No, my dear friend, we must not reject the responsibility for our misfortunes solely on the "guardians". We have our share of responsibility in the weight that falls on the skull (mine is slippery as you know it). Everyone goes it alone and, despite the existence of our unions and our professional chambers, we are unable to form a common front and speak with one voice.  !

Nadira ,a smart cinema by kamal Kamal

writte by  Fouad Souiba

At the world premiere of Kamal Kamal's latest opus "

Nadira", one had to be provided with his political, cinematographic and musical knowledge to honor this noble and highly aesthetic work. And for good reason! The author of "The Moroccan Symphony" gave us a very beautiful film, where he noted a number of artistic challenges widely assumed. On the photo album, at the end of the screening, Mahmoud Hamida, the Egyptian star, struggles hard to congratulate the only film actress: Jihane Kamal. Exceptional in the title role of "Nadira", Jihane, like his dad, has greatly raised the challenge of playing an atypical character, condemned to life, he is drowning under the weight of the prison world.

And this is where the business of the inmate, who must survive the vagaries of incarceration and the impossible fulfillment of her dream to flee, gets tough.

Kamal Kamal succeeds in bringing a narrative made of dissolving registers and antinomic blocks, that of combining the dream world, filmed in computer-generated images, with Nadira's dark incarceral life. A technical feat that is accomplished naturally in a good state of mind, since the author uses intelligent narrative subterfuges to ensure the adequate likelihood and legitimacy necessary for this atypical marriage. And this brings back to the use of all the apparatus and other narrative tools of which the dream, the animated image, the metaphor and the ellipse, to the point where the dream returns to the reality in reality and vice versa the real in the dream, with a density that has rarely been seen to work so well in a register that carries so many antagonistic and heteroclite styles.
Thus, the challenge of the closed vase, melodrama to an actor and only one, the prison world, social injustice, human rights, off-screen, sound off, (the challenge) is it a nice pirouette in the paying strategy which is the salutary recourse to dream magic to compensate for the absence of large spaces.
And as the director of "Sotto Voce" cinema has all the keys to push the borders to the end, the dream is then the fatal weapon to break the walls and open on these beautiful Casablanca nights since the dungeon of Nadira .

The sauce takes and we are flanked by characters as extravagant as imaginary: white horses in a celestial race or a musician in interpretation of a classic masterpiece in front of a dense crowd, without forgetting this bird symbol of freedom and this confidant cat and companion of the prisoner's fight. All that passes through the unconscious of Nadira while she conjures her fate becomes accessible through this window of the dungeon opened on a magic sky where all the miracles are fulfilled. Especially that of the prisoner Nadira who speaks to the sky and the characters she loves to meet in the firmament of Casablanca from her cell. A cell that crosses beautiful references to Daddy's cinema: George Méliès and Al Jolsen in particular, without omitting the appearance of the slice of one of the giants at the very beginning of the film: Orson Welles.

Kamal Kamal signs a clever film, for the story of which he found the subtle ingredients to invent a suitable language that befits such an adventure to insane risks. With bravery he braves all the dangers incurred, since he chooses the most difficult, and gets out unscathed.

Corruption in the Moroccan cinema

Written by Driss Chouika

Moroccan cinema is retreating  and it does not go to the way it must do .This is a confirmation by the chamber of producers in Morocco .It is true that the center  of Moroccan cinema, known of CCM organizes cinema, develops its laws and wishes with great efforts to produce more qualified films that can be exploited and distributed everywhere in the world  ,but apparently it has failed so far because the head of the center has no clear strategy to promote cinema nationally ,writes Driss chouika  ,filmmaker and a member of the chamber of producers in Morocco .He foresees a dark future of Moroccan cinema because of corruption ,fraud and clientelism .

JERONIMO  strikes his latest coup with the "stinging and stumbling" solidarity of his cronies of the most corrupt commission in the history of the National Film Production Fund since 1980! For the last session of their mandate, they have chosen to ensure their dealers by a few hundred thousand dirhams, as the 700,000 dirhams "generously" given by a producer "comic" to benefit from the support of two mediocre films during two consecutive sessions, the 400,000 dirhams guaranteed by another producer more "generous", and the multiple cases that insistent rumor reports constantly during the last four years .

Still in the total denial of the regulations in force! Normal. When a mere teacher  searching for "fresh lambs" secretively with his assistant called TOROS, a  fraudelent "script-doctor", a false moviegoer, is raised to the rank of "great critic" and even "film teacher" in a higher institute, we can only expect a similar result! This is successful because it fits perfectly with Sarim Fassi Fihri's four-year-old policy of demolishing national cinema in revenge for the filmmakers, most of whom did not support him in his "businessman" fight against the former director of CCM!

Corrupt juries, corrupt commissions, the exclusion of professionals from any consultation in the management of the sector ... Normal that this leads to a clear regression of the national cinema. And the future is even more compromised! And to say that some professionals are the devil's advocate defending the director and having the minister assume all the responsibility, as if it was he who, through his corrupt management for four years, was at the origin of the disaster!

  JERONIMO  is the corrupted dealer who deals between the juries of reading scripts and filmmakers.
"fresh lambs" are beginners in filmmaking looking for National Film Production Fund.

Neorealism in the Bicycle Thief by Sanaa El Alaoui

                                                             Sanaa El Alaoui     

written by Sanaa El Alaoui

Satisfactory to its name, Neorealism embodies the pure means of cinema in capturing 'wonderfulness' in mundane and insignificant events with almost self-organic situations. The Bicycle Thief is a great example of such a movement where De Sica responds to the post-war life of Italy to capture ‘ the history-from-below’ in a realistic manner to chronicle the hardship of wartime.

Throughout the film, objective reality is self-evident by the employment of non-professional actors, mundane language, interference of casual events instead of causal ones, real locations, unhappy ending etc.. Relatively, the power of this films lies in unifying the audience’s feelings with the characters thanks to the ‘faithful to the character’ preference of  De Sica. According to De Sica, faithfulness to the characters can only be achieved by ordinary people to portray 'ordinary people'.

For this reason, as viewers, we feel that we are no longer faced to the typical glamour – fantasy style of Hollywood narratives (which I believe does not give me enough access to the depth of the character as opposed to the realistic cinema where natural performance engage us fully).  The totality of reality is what distinguishes this film as a unique work where subject matter and form are aesthetically merged. This creates a poetic energy that enables the viewers to mirror the surroundings of the characters on their feelings (everything is interrelated: streets, people, setting...).

For this reason, certain technical elements are employed to reinforce this expression such as deep focus where all elements from foreground to background are equally and clearly observed as if De Sica provides a constant reminder of the social conditions (everything and everyone is equally important). Not only this but also lighting is poetic, for instance, most of the outdoor scenes are used with high-key lighting to stress on the spacious city, the mass and Antonio’s quest to find the bike in this large area.Whereas low-key lighting is used inside (sometimes) to reflect on his sadness and desperation. Another distinctive feature is that, as opposed to Hollywood films, the character is emphasized and the plot is driven organically.

 Additionally, the film provides freedom of interpretation for the viewers because they are exposed to long takes, shots and deep focus that allow for multiplicity in details, hence, the viewer is not forced to understand specific meanings but they can freely interpret the meanings from these shots and connect elements with each other (example, Rita Hayworth ad., the mass, the ladder and availability of multiple bicycles whereas Antonio needs only one to survive). To sum up, the uniqueness and paradox of this film are mirrored in achieving poetic elements with maintaining pure realistic roots of cinema (cinema verite). 

King of the breasts by J.T.Allen and Ronald bas

CV Allal El Alaoui 2018

Cv-Allal El Alaoui-2018 by on Scribd

HUG DI Siham el alaoui in Italy

HUG DI Siham el alaoui

Un abbraccio che accoglie i popoli - Intervista alla regista

admin - lunedì, 17 settembre, 2018
Visualizzazioni: 148Cultura&Turismo [63]

di Laura Bonelli

Il senso di solitudine è uno dei mali che affligge questa nostra società disgregata ed egocentrica, ma, a questa, se ne aggiungono altre, legate all’abbandono forzato del proprio paese, all’essere strappati dalle proprie radici a causa di guerre, fame, povertà.

La giovane regista del Marocco Siham el alaoui nel suo cortometraggio Hug affronta queste tematiche creando un racconto semplice e potente che ha per protagonista un vecchio che vive in una casa fatiscente, ignorato da tutti. Solamente i clandestini che nasconde nella sua baracca saranno capaci di riconoscenza e affetto, attraverso un abbraccio. Il film è prodotto da Allal el alaoui in collaborazione con Parma International Music Film Festival e si avvale della colonna sonora del compositore e direttore d’orchestra Riccardo J. Moretti.

Com'è nata l'idea del film?

Mi sono ispirata a un cortometraggio iraniano intitolato Padre diretto da Mohammadreza Kheradmandan. Mi piace la sua sintesi nello scrivere e in particolare si focalizza sul significato che possono dare le immagini senza dialoghi. Mi piace il cinema di Roy Anderson, come utilizza la camera fissa. Anch’io ho utilizzato la camera fissa sottolineando il movimento del protagonista che esprime il bisogno di essere abbracciato anche se non lo esprime verbalmente.

L'attore protagonista di Hug esprime emozioni potenti senza mai pronunciare una parola. Come avete lavorato per costruire il personaggio?

Abbiamo lavorato sul suo atteggiamento emotivo. Il protagonista è solo e vive vicino ad un cimitero, in una strada di passaggio che va dritto verso un luogo santo. È anche metaforico. Nonostante sia un senzatetto, discriminato dalla gente, scopriamo che è più umano e legato all'umanità rispetto ad altri. Questo è espresso molto bene emozionalmente dall'eccellente brano musicale composto dal Maestro Riccardo J.Moretti.

Il film prende in analisi uno dei problemi più sentiti a livello mondiale: le immigrazioni clandestine. Come è vissuto in Marocco?

  L'immigrazione è diventato un fatto esponenziale. Il Marocco soffre molto a causa della mancanza di una strategia politica trasparente e anche la globalizzazione o l'americanizzazione sta invadendo il mondo. È un fenomeno puramente economico. Le risorse in Africa sono sufficienti per rifornire il mondo ma il fenomeno dello sfruttamento e quindi di un nuovo modo di fare  colonizzazione dà all'immigrazione la sua espansione.

Hug by Siham El Alaoui

I wad inspired by an Iranian short film called Father directed by Mohammadreza kheradmandan.i like its economy in writing and especially it only deals with meaning that comes out of the image without writing dialog.i like cinema of Roy Anderson , his use of still shot and no close up at all.we emphasize on the movement of the protagonist.we certainly feel that he needs hugging without expressing it verbally.we work only to build up the protagonist in using only his emotional attitude.he is lonely and lives in a cemetery that goes straight to a saint place . It is also metaphoric.Athough he is homeless ,abandoned by people , We find out that he is more humain and linked to humanity than others.this is well elecited emotionally by the excellent piece of Music composed by our Mestro Riccardo .j.Moretti.

Immigration becomes a dially phenomenen.Morocco suffers a lot because of  the luck of a transparent political strategy and also globalization or Americanisation is envading the world .It is purely economic .The sourses in Africa are sufficent to supply the world but the fact of exploitation and new way of colonisation give the immigration its ways to be expanded and spread in this world.

Parma Music Film festival is a festival of love and peace.God bless you.

Siham el alaoui

This is the short film i was inspired :

https://m.facebook.com/story.php?story_fbid=1494552157430505&id=100006272050406

What If...

What If: The Two Most Powerful Words in a Writer’s Repertoire

Almost all writers are familiar with the power of the “what if” question. Every novel, story, and article is inspired by those words, even when the question isn’t articulated. Many of us, however (myself included up until a few years ago) fail to tap the question’s full potential. Why? Simply because we don’t make a conscious effort to answer it.

My historical novel Behold the Dawn, a medieval epic set during the Third Crusade, was, in many ways, a changing point in my writing process—not in small part because it was in outlining this story that I learned to deliberately answer those magic words: What if?

How I Discovered the “What If?” Question

I’m an intensive outliner, and I begin all my novels by sketching ideas longhand in a notebook.

On the first page of Behold’s notebook, I scribbled down a rough synopsis, a compilation of the hodge-podge ideas that had been germinating for several years.

At the top of the next page, I wrote What if…?, and, below it, I dashed off every single question that popped to mind.

When I started Behold, I had already written five novels and published one. But it wasn’t until I began preliminary sketches for this new story that I started developing the detailed process I now use, crystallizing what I had learned from outside sources and my own experiences, and solidifying the methods I knew worked for me.

One of those methods is taking a moment, at the very beginning of a story, to deliberately ask myself, “What if?”

Let the “What If?” Question Open the Floodgates of Your Creativity

Most of my ideas were completely off base, some of them laughably so, and most never made it into the book. But they opened the floodgates of my imagination and prompted me to think about my story in ways I hadn’t previously considered. By allowing myself to write down every idea, no matter how crazy, I came up with gems I would never have thought of otherwise—most notably the question, “What if an assassin was hired to kill himself?”

Underneath my list of questions (which I continued to add to throughout the notebook, whenever something new popped to mind), I tried another variation of the what-if question, by asking What is expected? I made a list of everything I could conceive the average reader of expecting to happen in my story—and then turned each expectation on its head to insert the unexpected wherever possible.

These simple exercises bore fruit beyond my wildest hopes. In the space of a handful of notebook pages, my story leapt from a simple tale of vengeance and redemption and love in the Middle Ages, to a complicated story of intrigue and suspense.

How to Put the “What If?” Question to Work in Your Story

Even if your preferred methods don’t include outlining (intensive or otherwise), make the what-if question a part of your routine for every story.

Write (or type) the question out to provide yourself a solid visual, and respond in whatever medium allows you the most mental flexibility. I write longhand because the sloppiness of my handwriting frees me from the need for perfection and allows me to throw any and all ideas onto the page.

But the speed and ease of typing or even verbalizing into a recorder might work best for you. The point is to actually record your thoughts, so that you can look back over them and gain new insight.

Once you’ve selected the few ideas that might work, start looking for tangents: “If such and such happened, then what if this also happened? Or what if this happened instead?”

The possibilities are endless—and infinitely reward

Dramatica for screenwriters

   Dramatica for Screenwriters by Jose Lopez on Scribd