By Roy Armes
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Additional info for African Filmmaking: North and South of the Sahara (Traditions in World Cinema)
Algeria Film had been seen to form a vital part of the liberation struggle by the FLN and in the immediate aftermath of the war it seemed briefly as if Algeria might develop a distinctive set of national film institutions based on this experience. The first context of production for post-independence Algerian cinema, the film collective CAV, led by the activists René Vautier and Ahmed Rachedi, was set up in 1962. But CAV’s closure after the completion of a small number of documentaries and just one feature-length work, A People on the March/Peuple en marche (1963), showed that this was not to be.
269. 55. Claude Michel Cluny, Dictionnaire des nouveaux cinémas arabes (Paris: Sindbad, 1978), p. 264. 56. ), Twenty-Five Years of the New Latin American Cinema (London: British Film Institute, 1983), and Teshome H. Gabriel, Third Cinema in the Third World (Ann Arbour, MI: UMI Research Press, 1982). 35 3. AFRICAN INITIATIVES The current philosophy of filmmakers is in fact that the state should sustain production by helping its financing and distribution, but by regularising the market. The state should protect rather than take everything on board.
Khuri, Tents and Pyramids: Games and Ideology in Arab Culture from Backgammon to Autocratic Rule (London: Saqi Books, 1990), p. 11. , p. 11. , p. 14. , 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 .