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Le Roman algérien Poster
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Le Roman algérien

Starting from a small kiosk of old postcards as a derisory memorial of Algerian history, the visual artist questions the role of images - or the absence of images - in the representation of the colonial heritage of Algeria, of decolonization and the dark years… in short, in the construction of his national novel. In three separate chapters, Katia Kameli delivers a reflection on the making of images or symbols (the flag!). In the enlightened company of the philosopher Marie-José Mondzain and extracts from films by Assia Djebar, she begins a critique that goes beyond the Algerian framework on our relationship to the stories, ideologies and images that shape them.

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Starting from a small kiosk of old postcards as a derisory memorial of Algerian history, the visual artist questions the role of images - or the absence of images - in the representation of the colonial heritage of Algeria, of decolonization and the dark years… in short, in the construction of his national novel. In three separate chapters, Katia Kameli delivers a reflection on the making of images or symbols (the flag!). In the enlightened company of the philosopher Marie-José Mondzain and extracts from films by Assia Djebar, she begins a critique that goes beyond the Algerian framework on our relationship to the stories, ideologies and images that shape them.

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The Image Book

In Le Livre d’Image, Jean-Luc Godard recycles existing images (films, documentaries, paintings, television archives, etc.), quotes excerpts from books, uses fragments of music. The driving force is poetic rhyme, the association or opposition of ideas, the aesthetic spark through editing, the keystone. The author performs the work of a sculptor. The hand, for this, is essential. He praises it at the start. “There are the five fingers. The five senses. The five parts of the world (…). The true condition of man is to think with his hands. Jean-Luc Godard composes a dazzling syncopation of sequences, the surge of which evokes the violence of the flows of our contemporary screens, taken to a level of incandescence rarely achieved. Crowned at Cannes, the last Godard is a shock film, with twilight beauty.

The Image Book

6.3 2018