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In Picturing Casablanca, Susan Ossman probes the shape and texture of mass images in Casablanca, from posters, films, and videotapes to elections, staged political spectacles, and changing rituals. In a fluid style that blends ethnographic narrative, cultural reportage, and the author's firsthand experiences, Ossman sketches a radically new vision of Casablanca as a place where social practices, traditions, and structures of power are in flux. Ossman guides the reader through the labyrinthine byways of the city, where state bureaucracy and state power, the media and its portrayal of the outside world, and people's everyday lives are all on view. She demonstrates how images not only reflect but inform and alter daily experience. In the Arab League Park, teenagers use fashion and flirting to attract potential mates, defying traditional rules of conduct. Wedding ceremonies are transformed by the ubiquitous video camera, which becomes the event's most important spectator. Political leaders are molded by the state's adept manipulation of visual media. From Madonna videos and the TV's transformation of social time, to changing gender roles and new ways of producing and disseminating information, the Morocco that Ossman reveals is a telling commentary on the consequences of colonial planning, the influence of modern media, and the rituals of power and representation enacted by the state.
In Picturing Casablanca, Susan Ossman probes the shape and texture of mass images in Casablanca, from posters, films, and videotapes to elections, staged political spectacles, and changing rituals. In a fluid style that blends ethnographic narrative, cultural reportage, and the author's firsthand experiences, Ossman sketches a radically new vision of Casablanca as a place where social practices, traditions, and structures of power are in flux. Ossman guides the reader through the labyrinthine byways of the city, where state bureaucracy and state power, the media and its portrayal of the outside world, and people's everyday lives are all on view. She demonstrates how images not only reflect but inform and alter daily experience. In the Arab League Park, teenagers use fashion and flirting to attract potential mates, defying traditional rules of conduct. Wedding ceremonies are transformed by the ubiquitous video camera, which becomes the event's most important spectator. Political leaders are molded by the state's adept manipulation of visual media. From Madonna videos and the TV's transformation of social time, to changing gender roles and new ways of producing and disseminating information, the Morocco that Ossman reveals is a telling commentary on the consequences of colonial planning, the influence of modern media, and the rituals of power and representation enacted by the state. In Picturing Casablanca, Susan Ossman probes the shape and texture of mass images in Casablanca, from posters, films, and videotapes to elections, staged political spectacles, and changing rituals. In a fluid style that blends ethnographic narrative, cultural reportage, and the author's firsthand experiences, Ossman sketches a radically new vision of Casablanca as a place where social practices, traditions, and structures of power are in flux. Ossman guides the reader through the labyrinthine byways of the city, where state bureaucracy and state power, the media and its portrayal of the outside world, and people's everyday lives are all on view. She demonstrates how images not only reflect but inform and alter daily experience. In the Arab League Park, teenagers use fashion and flirting to attract potential mates, defying traditional rules of conduct. Wedding ceremonies are transformed by the ubiquitous video camera, which becomes the event's most important spectator. Political leaders are molded by the state's adept manipulation of visual media. From Madonna videos and the TV's transformation of social time, to changing gender roles and new ways of producing and disseminating information, the Morocco that Ossman reveals is a telling commentary on the consequences of colonial planning, the influence of modern media, and the rituals of power and representation enacted by the state.
Picturing the Maghreb critiques photographic and verbal representations, with a focus on four of the most prominent French-language writers of recent years: Michel Tournier, J.M.G. Le Cl-zio, Tahar Ben Jelloun and Le=la Sebbar. Their activist writing reframes a picture of Maghreb produced by two centuries of Orientalist misrepresentation. The book explores photography as a metaphor for other sorts of representation and examines the cultural impact of actual photographs.
This book offers a multidisciplinary approach to the medina, the traditional walled Arab city of North Africa. The medina becomes a concrete case study for comparative explorations of general questions about the social use of urban space by opening up fields of research at the intersection of history, comparative cultural studies, architecture and anthropology. Essays by American, European and North African scholars demonstrate a variety of sources and theoretical approaches now being used in writing historical narratives framed within the city space. They shed light on recent studies by anthropologists regarding social praxis within the urban context, and analyze the urban experience of the medina and the casbah as they are represented in visual and material culture.
The essays in this volume explore the complexities of the relationship between states, social groups and individuals in contemporary North Africa, as expressed through the politics, culture and history of nationhood. From Morocco to Libya, from bankers to refugees, from colonialism to globalisation, a range of individual studies examines how North Africans have imagined and made their world in the twentieth century.
Orphans of Islam portrays the abject lives and 'excluded body' of abandoned and bastard children in contemporary Morocco, while critiquing the concept and practice of 'adoption,' which too often is considered a panacea. Through a close and historically grounded reading of legal, social, and cultural mechanisms of one predominantly Islamic country, Jamila Bargach shows how 'the surplus bastard body' is created by mainstream society. Written in part from the perspectives of the children and single mothers, intermittently from the view of 'adopting' families, and employing bastardy as a haunting and empowering motif with a potentially subversive edge, this ethnography is composed as an intricate, open-ended, and arabesque-like evocation of Moroccan society and its state institutions. It equally challenges received sociological and anthropological tropes and understandings of the Arab world.
Sachleben (political science, Western New England College) and Yenerall (political science, Clarion U.) hope to "tap into the appeal of movies and television" in order to raise interest in politics and illuminate features of contemporary political debates. Topically arranging their material into chapters covering liberal and alternative ideologies, the American presidency, civil rights and social justice, campaigns and elections, and war, the authors typically offer brief discussion of the broad outlines of their topic, summarize some plots or plot points of movie or television show, and then point towards its political relevance. Annotation 2004 Book News, Inc., Portland, OR (booknews.com).
This book explores the origin and propagation of myths in international relations. The 16 contributions demonstrate how formative historical events are often transformed into handy cliche s which are subsequently drawn on by politicians and journalists who apply these simplistic patterns to current events. Myths discussed include the Spanish Civil War, Yalta, British difference, and the German Sonderweg. The book focuses on the relationship of these myths to current policy-making. Annotation copyrighted by Book News, Inc., Portland, OR
Since independence in 1956, large numbers of Moroccans have been forcibly disappeared, tortured, and imprisoned. Morocco's uncovering and acknowledging of these past human rights abuses are complicated and revealing processes. A community of human rights activists, many of them survivors of human rights violations, are attempting to reconstruct the past and explain what truly happened. What are the difficulties in presenting any event whose central content is individual pain when any corroborating police or governmental documentation is denied or absent? Susan Slyomovics argues that funerals, eulogies, mock trials, vigils and sit-ins, public testimony and witnessing, storytelling and poetry recitals are performances of human rights and strategies for opening public space in Morocco. The Performance of Human Rights in Morocco is a unique distillation of politics, anthropology, and performance studies, offering both a clear picture of the present state of human rights and a vision of a possible future for public protest and dissidence in Morocco.
Encountering Morocco introduces readers to life in this North African country through vivid accounts of fieldwork as personal experience and intellectual journey. We meet the contributors at diverse stages of their careers–from the unmarried researcher arriving for her first stint in the field to the seasoned fieldworker returning with spouse and children. They offer frank descriptions of what it means to take up residence in a place where one is regarded as an outsider, learn the language and local customs, and struggle to develop rapport. Moving reflections on friendship, kinship, and belief within the cross-cultural encounter reveal why study of Moroccan society has played such a seminal role in the development of cultural anthropology.