De Mektoub (1970) de Ali Ghanem à Harragas de Merzak Allouache: ce Mare nostrum, mer porteuse de civilisations à une mer tombeau
[EN] On the premise that settings and nature act as active elements in the making of a movie, this article aims to approach the changes that took place in the Algerian immigration in France through the image and the representation of the Mediterranean Sea. In the first movie about Algerian immigrati...
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| Tipo de recurso: | capítulo de libro |
| Fecha de publicación: | 2017 |
| País: | España |
| Institución: | Universitat Politècnica de València (UPV) |
| Repositorio: | RiuNet. Repositorio Institucional de la Universitat Politécnica de Valéncia |
| Idioma: | francés |
| OAI Identifier: | oai:riunet.upv.es:10251/86487 |
| Acceso en línea: | https://riunet.upv.es/handle/10251/86487 |
| Access Level: | acceso abierto |
| Palabra clave: | Literatura Lingüística Traducción Traductología Didáctica TIC Cultura francesa Francofonía |
| Sumario: | [EN] On the premise that settings and nature act as active elements in the making of a movie, this article aims to approach the changes that took place in the Algerian immigration in France through the image and the representation of the Mediterranean Sea. In the first movie about Algerian immigration in France, Mektoub ? (1970) by Ali Ghanem, the Mediterranean Sea is perceived as an open space whose function is to allow the crossing from the land of origin to the land of immigration. However, in Harragas (2010) by Merzak Allouache, the Mediterranean Sea has become a last frontier, an immense cemetery where have sunk the dreams of a whole generation of Algerians fleeing a country that has become an immense cell. |
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