Assia Djebar

Broadcast from 1977 to 1987 on FR3, every Sunday morning, for 1h30, Mosaïque is a variety show with a set where music groups from the countries of origin of immigration perform, and which broadcasts reports on these countries and on immigrants who live in France. When it was created, it aimed to promote the cultures of origin of immigrants, but also to make them better known to the rest of the population. However, the program was never financed by public television which considers that it was aimed at a specific audience and was therefore not part of a public service mission. It received financial support from the Ministry of Labor, through its subsidy to the National Office for the Cultural Promotion of Immigrants, ONPCI (later becoming Information Culture and Immigration, ICEI, in 1977, then Agency for the Development of Intercultural Relations , ADRI). , in 1982).

No synopsis available yet.

For the France 3 show, Mosaïque, Sarah Maldoror met Assia Djebar on Sunday March 29, 1987 on the occasion of the publication of her book Ombre Sultane. She discusses the status of the traditional woman in the Arab Muslim world: "The woman is always on the move, she is never anchored. To the extent that she is always in the process of repudiation, she is in the process of leaving. With Ombre Sultana, I wanted to make the reader feel that these women from elsewhere are like her, even if the reader is Western.

“La Zerda and the songs of oblivion” (1982) is one of only two films made by the Algerian novelist Assia Djebar, with “La Nouba des femmes du mont Chenoua” (1977). Powerful poetic essay based on archives, in which Assia Djebar – in collaboration with the poet Malek Alloula and the composer Ahmed Essyad – deconstructs the French colonial propaganda of the Pathé-Gaumont newsreels from 1912 to 1942, to reveal the signs of revolt among the subjugated North African population. Through the reassembly of these propaganda images, Djebar recovers the history of the Zerda ceremonies, suggesting that the power and mysticism of this tradition were obliterated and erased by the predatory voyeurism of the colonial gaze. This very gaze is thus subverted and a hidden tradition of resistance and struggle is revealed, against any exoticizing and orientalist temptation.

Algeria is written in the feminine. In a society where the gaze is only masculine, another eye is nonetheless present… The feminine gaze—unsettling, disturbing modesty, breaking taboos, freeing speech… It emerges from the shadows: with Assia Djebar, Algerian writer-historian, we go to meet Algerian women of all generations to enter into their lives, their daily routines, this world where the gaze is supposed to be forbidden. These women tell their own stories, imposing their gaze on the camera for a journey into this half of Algeria condemned to silence… to a clandestine life.

Writer and filmmaker Assia Djebar explores Algerian history, the psychological impact of war, and post-colonial female identity in this 1979 classic of film literature. Named for (and taking its structure from) a traditional song with five distinct movements, the film combines documentary-style observation with loose narrative form to tell the story of Lila, an Algerian expatriate returning to her country 15 years after independence has been won. In comparing her life with the lives and experiences of rural Algeriennes, Lila is able to put her childhood demons to rest and discover a new history -- one written in the ongoing strength of generations of women. Like much of Djebar's writing, the film has a strong subtext dealing with resistance to patriarchy and women's desire to appropriate the means of power and expression -- one of which, of course, is the filmmaker's camera.

No synopsis available yet.

“La Zerda and the songs of oblivion” (1982) is one of only two films made by the Algerian novelist Assia Djebar, with “La Nouba des femmes du mont Chenoua” (1977). Powerful poetic essay based on archives, in which Assia Djebar – in collaboration with the poet Malek Alloula and the composer Ahmed Essyad – deconstructs the French colonial propaganda of the Pathé-Gaumont newsreels from 1912 to 1942, to reveal the signs of revolt among the subjugated North African population. Through the reassembly of these propaganda images, Djebar recovers the history of the Zerda ceremonies, suggesting that the power and mysticism of this tradition were obliterated and erased by the predatory voyeurism of the colonial gaze. This very gaze is thus subverted and a hidden tradition of resistance and struggle is revealed, against any exoticizing and orientalist temptation.

“La Zerda and the songs of oblivion” (1982) is one of only two films made by the Algerian novelist Assia Djebar, with “La Nouba des femmes du mont Chenoua” (1977). Powerful poetic essay based on archives, in which Assia Djebar – in collaboration with the poet Malek Alloula and the composer Ahmed Essyad – deconstructs the French colonial propaganda of the Pathé-Gaumont newsreels from 1912 to 1942, to reveal the signs of revolt among the subjugated North African population. Through the reassembly of these propaganda images, Djebar recovers the history of the Zerda ceremonies, suggesting that the power and mysticism of this tradition were obliterated and erased by the predatory voyeurism of the colonial gaze. This very gaze is thus subverted and a hidden tradition of resistance and struggle is revealed, against any exoticizing and orientalist temptation.

Writer and filmmaker Assia Djebar explores Algerian history, the psychological impact of war, and post-colonial female identity in this 1979 classic of film literature. Named for (and taking its structure from) a traditional song with five distinct movements, the film combines documentary-style observation with loose narrative form to tell the story of Lila, an Algerian expatriate returning to her country 15 years after independence has been won. In comparing her life with the lives and experiences of rural Algeriennes, Lila is able to put her childhood demons to rest and discover a new history -- one written in the ongoing strength of generations of women. Like much of Djebar's writing, the film has a strong subtext dealing with resistance to patriarchy and women's desire to appropriate the means of power and expression -- one of which, of course, is the filmmaker's camera.

Writer and filmmaker Assia Djebar explores Algerian history, the psychological impact of war, and post-colonial female identity in this 1979 classic of film literature. Named for (and taking its structure from) a traditional song with five distinct movements, the film combines documentary-style observation with loose narrative form to tell the story of Lila, an Algerian expatriate returning to her country 15 years after independence has been won. In comparing her life with the lives and experiences of rural Algeriennes, Lila is able to put her childhood demons to rest and discover a new history -- one written in the ongoing strength of generations of women. Like much of Djebar's writing, the film has a strong subtext dealing with resistance to patriarchy and women's desire to appropriate the means of power and expression -- one of which, of course, is the filmmaker's camera.