By Valérie K. Orlando (auth.)
Read Online or Download Francophone Voices of the “New” Morocco in Film and Print: (Re)presenting a Society in Transition PDF
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Additional info for Francophone Voices of the “New” Morocco in Film and Print: (Re)presenting a Society in Transition
In an interview with Jacques Alessandra, the poet describes the horror of prison and its mission to erase the very soul of man: The incarceration machine has always been used to remove ‘the Man in Question’ from the thick of life, to tear him from the social fabric in which practice and theory are able to nourish each other . . The final objective is the sterilization of the prisoner’s senses, his disconnection from all relationships (to other men, to nature, to women, to his own body) which, beforehand, allowed him to establish his reality, history and to play an influential role.
Both these testimonials render the dark Lead Years for what they truly are: decades of “souffrances et interrogations” (suffering and interrogation) (Oulehri 2006, 155). Whether recounted as fiction or testimonials, these authors scrutinize their history with the goal of purging a past that, all agree, cannot be left to fester. ”20 Cinematic Voices Cinematic works increasingly play a pivotal role in shaping Moroccan culture in the twenty-first century. Film bridges the troubled past, weighty with so many untold stories, to the present, caught up in 18 “New” Morocco in Film and Print transitions that force audiences to consider controversial questions concerning issues of gender, poverty, illiteracy, and the human rights abuses of the Lead Years.
In the end, Nedjma throws off the mantle of patriarchy, disavowing her relationship with the past/father and with the present/Kateb/lover (Oulehri, 91). Oulehri/Nedjma sheds the weight of King Hassan’s Lead Years, the patriarchal status quo, and the domination of her lover over her emotions and thoughts. She discovers, and then subsequently proposes, a new feminine being that is without fetters and the constraints of tradition. She alone has the power now to make her own choices. It is only at this point, in front of the first page of Les Conspirateurs sont parmi nous that she decides to tell “toute la vérité, rien que la vérité” (all the truth, nothing but the truth) (89–90).