[ Le cinéma au service de la préservation de la mémoire: Cas du cinéma de Hakim Belabbes ]
Volume 39, Issue 1, March 2023, Pages 129–135
Khalid HAKIM1
1 Laboratoire: Langues, Culture et Communication, Faculté des Lettres et des Sciences Humaines, Université Mohammed Premier, Oujda, Morocco
Original language: French
Copyright © 2023 ISSR Journals. This is an open access article distributed under the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.
This article sets out to study the role that art can play in preserving memory. In this regard, a good example to serve the purpose would be the cinema of the Moroccan director Hakim BELABBES who tries to mobilize his cinematographic works as a ‘weapon’ to preserve the collective memory of his hometown Bejaad. To this end, the Moroccan filmmaker tries to represent several realistic themes that always allow a revisiting of the past and memory. In his cinema, both in its subjective and realistic dimensions, BELABBES tries to capture time through places, rituals, the testimony of the inhabitants, art and trades, etc. It is a great challenge to resist disappearance, oblivion and death. The article also sheds light on the relationship between the subjectivity of the author of cinema and the success of a work on memory.
Author Keywords: Memory, Collective memory, cinema and subjectivity.
Volume 39, Issue 1, March 2023, Pages 129–135
Khalid HAKIM1
1 Laboratoire: Langues, Culture et Communication, Faculté des Lettres et des Sciences Humaines, Université Mohammed Premier, Oujda, Morocco
Original language: French
Copyright © 2023 ISSR Journals. This is an open access article distributed under the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.
Abstract
This article sets out to study the role that art can play in preserving memory. In this regard, a good example to serve the purpose would be the cinema of the Moroccan director Hakim BELABBES who tries to mobilize his cinematographic works as a ‘weapon’ to preserve the collective memory of his hometown Bejaad. To this end, the Moroccan filmmaker tries to represent several realistic themes that always allow a revisiting of the past and memory. In his cinema, both in its subjective and realistic dimensions, BELABBES tries to capture time through places, rituals, the testimony of the inhabitants, art and trades, etc. It is a great challenge to resist disappearance, oblivion and death. The article also sheds light on the relationship between the subjectivity of the author of cinema and the success of a work on memory.
Author Keywords: Memory, Collective memory, cinema and subjectivity.
Abstract: (french)
Cet article propose une étude du rôle que peut jouer l’art dans la préservation de la mémoire. L’exemple étudié concerne le cas du cinéma du réalisateur marocain Hakim BELABBES qui essaie de mobiliser ses œuvres cinématographiques comme une arme pour préserver la mémoire collective de sa ville natale Béjaâd. Pour cette fin, le cinéaste marocain essaie de représenter, dans ses films, plusieurs thématiques du réel mais qui permettent toujours un retour au passé et au souvenir. Dans son cinéma, à la fois subjectif et réaliste, BELABBES essaie de capter le temps à travers des lieux, des rituels, du témoignage des habitants, de l’art et des métiers, etc. C’est un grand défi pour résister à la disparition, à l’oubli et à la mort. L’article met la lumière également sur la relation entre la subjectivité de l’auteur du cinéma et la réussite d’un travail sur la mémoire.
Author Keywords: Mémoire, mémoire collective, cinéma, subjectivité.
How to Cite this Article
Khalid HAKIM, “Cinema in the Service of Memory Preservation: Hakim Belabbes’ Cinema as a Case Study,” International Journal of Innovation and Applied Studies, vol. 39, no. 1, pp. 129–135, March 2023.
