Moroccan Cinema Uncut

Reviews / Votes

Moroccan Cinema Uncut is a substantial contribution and a timely publication for those who want to fully understand the implicit and explicit dynamics of filmmaking in the country. It opens up new theoretical ways of reading Moroccan films and of thinking transnationally about them. In short, this is a well-researched/documented book, enriched more by various case studies and interviews with key figures, which will be of great interest to anyone working on or teaching film, media and gender studies in the kingdom. It offers the reader fascinating insights into the changing patterns of Moroccan cinema and society alike. -- Said Chemlal, Sidi Mohamed Ben Abdellah University * Journal of African Cinemas * This collective work reflects the maturity provided by years of experience and knowledge of Moroccan cinema by the three authors, as shown by their numerous respective specialised publications. [...] This is a necessary and honest book, which will be of interest not only in the academic world but also to the professional world of filmmaking. -- Lidia Peralta Garcia, Universidad Castilla-La Mancha * The Journal of North African Studies, 2021 * This collective work reflects the maturity provided by years of experience and knowledge of Moroccan cinema by the three authors, as shown by their numerous respective specialised publications. [...] This is a necessary and honest book, which will be of interest not only in the academic world but also to the professional world of filmmaking. -- Lidia Peralta Garcia, Universidad Castilla-La Mancha * The Journal of North African Studies, 2021 * A collaborative tour de force, Transnational Moroccan Cinema Uncut explores the conditions-including festivals, film labs, production hubs, and diasporic flows of capital and talent-that have allowed Morocco to emerge, during thesince the 1990s, as one of Africa's most significant producers of theatrically -released features. Compelling from beginning to end, Transnational Moroccan Cinema Uncut shows us the value, not only of the Moroccan cinema in question, but of an analytic framework focusing on transnationality. With their generous, inventive, precise, and always well-grounded theoretical explorations, Jamal Bahmad, Will Higbee, and Flo Martin help to transform transnational cinema studies into a truly mature, and no longer merely emerging, field of study. -- Mette Hjort, Dean of Arts, Hong Kong Baptist University