Le cinéma amazigh/berbère: Le sens de la mise en scène comme espace de communication
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Pour comprendre le langage cin�matographique des films amazighs contemporains et savoir s'il est possible de parler de cin�ma amazigh, il est essentiel d'�tudier leur mise en sc�ne. Ce volume pr�sente ainsi des analyses portant sur les images et les couleurs, le cadrage et le son des films berb�res, tout en explorant leur interaction avec la narration cin�matographique. En outre, les articles �largissent le champ d'investigation des productions artistiques en amazigh � celles dans d'autres langues du Maghreb et de sa diaspora. Ces travaux sont pour la plupart issus d'une recherche participante, leurs auteurs �tant souvent membres de jury des festivals de cin�ma amazigh, ce qui enrichit leurs analyses et leurs interpr�tations gr�ce � leur exp�rience et leur contact avec le monde du cin�ma amazigh et ses publics. Ce volume montre �galement que les films amazighs tendent � se lib�rer des repr�sentations et des discours de la p�riode coloniale.
Merolla, Daniela: - Daniela Merolla est professeure de littérature et art berbères à l'Inalco (Institut national des langues et civilisations orientales, Paris). Son approche de recherche est interdisciplinaire et conjugue la littérature comparée, les nouveaux médias et l'anthropologie visuelle. Sur le cinéma, elle est coauteure des Cinémas berbères. De la méconnaissance aux festivals internationaux (Paris, Karthala, 2019). Trois colloques internationaux sur le cinéma amazigh (2016, 2019 et 2021) ont été organisés sous sa direction. Ont également contribué au livre: Saïd Adel, Ivan Boccara (entretien avec), Ahcene Hargas, Brahim Hasnaouy, Mustapha El Adak, Ali Oublal, Tijani Saadani, Salima Tenfiche, Mohamed Zeroual.
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