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Khayati, Cinémas arabes, pp. 77–87. 47. Mouny Berrah, ‘Algerian Cinema and National Identity’, in Arasoughly, Screens of Life, p. 64. 48. The script of this rarely shown film has been published: René Vautier, Afrique 50 (Paris: Editions Paris Expérimental, 2001). 49. René Vautier, Caméra citroyenne (Rennes: Éditions Apogées, 1998), p. 156. 50. Lotfi Maherzi, Le Cinéma algérien: Institutions, imaginaire, idéologie (Algiers: SNED, 1980), p. 62. 51. ), France-Algérie: Images d’une guerre (Paris: Institut du Monde Arabe, 1992), pp.

P. 13. , p. 11. Tahar Cheriaa, ‘Le Groupe et le héros’, in CESCA, Camera nigra: Le Discours du film africain (Brussels: OCIC, 1984), p. 109. PART 1 CONTEXT If we are to address questions of the history and culture of nationhood, the particular form taken by the intersection of contemporary history, culture and politics which manifestly is a crucial question for the recent experiences of most of the world’s population, we ought similarly to consider not what ‘identity’ is . . but how actual, specific, socially and historically located people, and groups of people, themselves articulate their self-conceptions, their historical experience and their place in society.

36. ), Screens of Life: Critical Film Writing from the Arab World (Quebec: World Heritage Press, 1998), p. 85. 37. Khémais Khayati, Cinémas arabes: Topographie d’une image éclatée (Paris and Montreal: L’Harmattan, 1996), p. 204. 38. , p. 202. 39. Shadi, ‘Genres’, p. 82. 40. Abbas Fadhil Ibrahim, ‘Trois mélos égyptiens observés à la loupe’, in Mouny Berrah, Victor Bachy, Mohand Ben Salama and Ferid Boughedir (eds), Cinémas du Maghreb (Paris: CinémAction 14, 1981), p. 123. 41. Khayati, Cinémas arabes, p.

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