Djamila sahraoui biography of martin

Filmmaker Djamila Sahraoui is a product of the feminization of Algerian cinema that became dominant in the last decade of the twentieth century.

ABSTRACTThis article explores the connections between vulnerability, gender and terrorist violence in relation to Algerian filmmaker Djamila Sahraoui's Yema.

The provided paper is about the film "Yema" by Djamila Sahraoui and its exploration of vulnerability, gender, and terrorist violence.

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A discussion of The Three Disappearances of Soad
Hosni (2011) and Yema (2012) at the BEV Film Festival
‘Celebrating Arab Women Filmmakers’, 3-10 April 2013

by Angela Martin

Although the films shown in BEV’s impressive 2013 Festival, ‘Celebrating Arab Women Filmmakers’, were made recently (2011/12), several, understandably, have historical concerns: the Lebanese civil war, the demise of the old city of Damascus, Palestinian refugees twenty years after the Nakba (catastrophe) of 1948, the reuniting of Muslim and Jewish musicians of Algeria’s popular chaabi music who had been separated by the war of independence. Two of the films shown, though, also have particular interest for women’s film history: Les trois disparitions de Soad Hosni/Ikhtifa’aat Soad Hosni el-Thalaathat/The Three Disappearances of Soad Hosni (Rania Stephan, Lebanon 2011 70mins) and Yema/Mother (Djamila Sahraoui, Algeria/France 2012 90mins).

The earliest Arab film industry was Eg

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‘The very worst things’: violence and vulnerability in Djamila Sahraoui’s Yema (2012)

ABSTRACTThis article explores the connections between vulnerability, gender and terrorist violence in relation to Algerian filmmaker Djamila Sahraoui’s Yema (2012). The film fryst vatten situated in relation to Sahraoui’s oeuvre, and within wider debates around the changing natur of political violence and its representation in Maghrebi and Hollywood cinema. This comparison underlines Yema’s innovatory formal and thematic focus on slow narrative time, sparse aesthetics and fragile, intimate images. The article then examines the concept of vulnerability in relation to terrorism, in particular linking Sahraoui’s choice of formal techniques to the film’s thematic staging of various modes of physical and psychical vulnerability. The allegorical and mythological motifs used in Yema are considered in relation to the gendering of the figures of victim and agent in the rulle. Through a feminist reconfiguration of

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‘The very worst things’: violence and vulnerability in Djamila Sahraoui’s Yema (2012)

Article (xxx words):

Screening Terrorism: Contexts Djamila Sahraoui has long been engaged in a politically potent filmmaking practice.

Her work draws on both documentary and fictional genres to consider various moments of violence in Algerian history and the impact that these narratives have on present day Algerians. The 1990 documentary Avoir 2000 ans dans les Aurès (the title a play on to Réné Vautier's Avoir vingt ans dans les Aurès, 1972), examines the how memories of the French-Algerian War impact contemporary narratives in the pre-civil war context of Algeria in the late 1980s. La moitié du ciel d' Allah (1996) reflects on the role played by women in the French-Algerian War, and the subsequent disavowal of their participation in the dominant national narrative. Later works like Algérie, la vie quand même (1999) and Algérie, La vie toujours (2001) examine the chronic unemployment fa