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[EN] Moufida Tlatli and Raja Amari, are two Tunisian film directors who use the water feature as a visual metaphor for the construction of their particular female universes. Water, while vital drive symbol and means of identity transformation, is often present in the imagination of the Maghreb filmm...
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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:10251/86627 |
| Acceso en línea: | https://riunet.upv.es/handle/10251/86627 |
| Access Level: | acceso abierto |
| Palabra clave: | Literatura Lingüística Traducción Traductología Didáctica TIC Cultura francesa Francofonía |
| Sumario: | [EN] Moufida Tlatli and Raja Amari, are two Tunisian film directors who use the water feature as a visual metaphor for the construction of their particular female universes. Water, while vital drive symbol and means of identity transformation, is often present in the imagination of the Maghreb filmmakers. My reflections will focus on two specific films in which an antithetical water treatment exists : Tlatli presents, in La Saison des hommes (2000), a cartography of desire in which the look and female figure are linked to the freedom of a mythical sea and the island of Djerba. She shows a « ginecine » in a contrasting closing and opening chronotopes, where men who work on the mainland, visit their wives once a year. And Raja Amar, on the contrary, locks his group of women in a home aquarium blue walls, in which the water morbid bathroom reinforces the feeling of anguish. |
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