 |
| Assia Djebar: ( نوبة نساء جبل شنوة) / Nwbat nisa Jabal Shanwat / La Nouba des femmes du Mont Chenoua / The Nubah of the Women of Mount Chenoua (DZ 1978). |
( نوبة نساء جبل شنوة)
DZ 1978. Prod.: Ahmed Sedjane, Cherif Abboun, Hamni Farid per Radio Télévision Algérienne.
Director: Assia Djebar. Scen.: Assia Djebar. F.: Ahmed Sedjane, Cherif Abboun. M.: Nicole Schlemmer, Areski Haddadi. Int.: Zohra Sahraoui, Aïcha Medeljar, Fatma Serhan, Kheira Amrane, Fatma Oudai, Khedija Lekhal, Noweir Sawsan. DCP. 115’. Col.
Assia Djebar created two versions: an Arabic one and a French one. Only one version survives.
In Arabic and French.
Restored in 2024 by The Film Foundation’s World Cinema Project and Cineteca di Bologna at L’Immagine Ritrovata laboratory, in collaboration with EPTV and the Cinémathèque Algérienne. Restoration funded by the Hobson/Lucas Family Foundation. Special thanks to Ahmed Bejaoui. Restored in 4K from a 16 mm print which is believed to be the only surviving print of this film. Colour grading was finalised with the help of Ahmed Bejaoui.
DCP from The Film Foundation - sous-titres français (n.c.) in the source print.
Il Cinema Ritrovato, Bologna 2024: Cinemalibero
Viewed at Cinema Jolly with e-subtitles in English and Italian (n.c.), 29 June 2024
The film's opening text was not translated in the screening: “This film, in the form of a nouba, is dedicated, posthumously, to Hungarian musician Béla Bartók, who had come to a nearly mute Algeria to study its folk music in 1913; and to Yaminai Oudai, known as Zoulikha, who organised a resistance network in the city of Cherchell and its mountains in 1955 and 1956. She was arrested in the mountains when she was in her forties. Her name was subsequently added to the list of the missing. Lila — the protagonist in this film — could be Zoulikha’s daughter. The six other talking women of Chenoua recount fragments of their lives. The Nouba of the Women is their moment. But the Nouba is also the Nouba of the Andalusian music in its particular rhythmic movements.“
"Tourné au printemps 1976, La Nouba des femmes du mont Chenoua met en scène Lila, une architecte de trente ans de retour dans ses montagnes natales du Chenoua, en compagnie de sa fille et de son mari handicapé des jambes après un accident. Entre fiction, images documentaires et incursions littéraires, ce premier film de l’écrivaine documente et orchestre un va-et-vient incessant entre mémoire, histoire et présent, nourri de la musique de Béla Bartók (1881-1945) qui séjourna en Algérie en 1906 et surtout en 1913 afin d’y étudier la musique populaire. Ce film lui est dédié en même temps qu’à Zoulikha, une héroïne de la guerre d’indépendance à laquelle Assia Djebar consacrera La Femme sans sépulture en 2002." (The film's opening text was not translated in the screening)
Ahmed Bejaoui (Bologna 2024 Catalogue): " This restoration is part of the African Film Heritage Project, an initiative created by The Film Foundation’s World Cinema Project, the FEPACI and UNESCO – in collaboration with Cineteca di Bologna – to help locate, restore and disseminate African cinema. "
" When she decided to express herself behind the camera, Assia Djebar had not written a novel in ten years… I met Assia Djebar at the cinémathèque in Algiers, where she was a regular presence. She had confessed to me her particular admiration for two filmmaker-auteurs: Ingmar Bergman and Pier Paolo Pasolini. In 1976, after knocking on several doors that remained closed, Assia Djebar arrived at the RTA (Algerian Radio-Television) to propose a scenario that she wanted to film herself. I was the director of the production department at the time. "
" In La Nouba, the female eye creates a cinematographic space, bringing the monocular vision of the camera lens closer to the single-eyed gaze behind the Haik, the traditional veil worn by our mothers."
"Many believe that La Nouba des femmes du Mont Chenoua (along with Nahla) is the most compelling film of cinematographic ideas that Algerian cinema has ever produced."
"The director explores the women and their war for independence through a subtle blend of archival documents and audiovisual recreations of women’s oral stories. With its five movements, the work is constructed like a Nouba, a reference to the elaborate structure of the Arab-Andalusian musical genre."
"Intrigued by Béla Bartók’s research on popular Algerian music in 1913, Assia Djebar would have liked to have made a second feature, but explained, “I very quickly ran into difficulties. Generally speaking, La Nouba was poorly received. The press ridiculed my ‘feminist’ images, which ran counter to the socialist realism favoured at the time.”"
"Shortly afterwards, I showed the film to Carlo Lizzani, the newly appointed director of the Venice Film Festival, who selected it for the official competition. We attended the festival together in early September 1979. In front of an enthralled Italian audience, the film won the FIPRESCI prize, the only one given that year by the journalists."
"The day following the screening, Assia Djebar wrote me: “I must admit that this distinction, which I had not expected, warmed my heart. Especially after this long year of Algerian ‘protests’ over the film, it seems like a vindication of Carthage. We certainly deserved it.” " Ahmed Bejaoui (Bologna 2024 Catalogue)
AA: Zoulikha Oudai (1911-1957) was an Algerian liberation heroine during the French occupation. She was in charge of the FLN in Cherchell, an ancient port city on the coast of the Mediterranean Sea.
Cherchell is French for the Arabic Shersel, itself deriving from the Latin name Caesarea and the Greek name Kaisareia.
Assia Djebar (1936-2015), born in Cherchell, was the first Algerian and Muslim woman educated at France's elite schools. She was elected to the Académie française as the first writer from the Mahgreb. She was also a contender for the Nobel Prize for Literature.
...
I confess that this movie is my first encounter with the work of Assia Djebar. I am grateful to discover an original poetic voice. The Nubah of the Women of Mount Chenoua is a high accomplishment.
Although Djebar was a woman of letters, The Nubah is pure cinema. It is rooted in the immediate experience - the time and space - the presence - the flow of existence in the temporal perspective. It belongs to the Lumière legacy in the cinema. Recurrent motifs such as the sea and the birds (the dynamism of the air) affirm this. A further motif, the lighthouse / the watchtower connects the elements of the sea and the air. It is a mediator and also a symbol of transcendence.
Poetic images range from hard realism to fairy-tales. Dreams can be an escape valve but also a vision of the future.
The past is always present in a city like Cherchell with ubiquitous walls of ancient fortresses, a mighty dome and a tomb of Juba. There are remains from Ancient Egypt, Phoenicia, Carthage and Rome since before the Empire ("Carthago delenda est"). La Nouba is a very concrete and specific memory journey and at the same time a meditation about the persistence and the ephemeral quality of memory.
Its title, structure and rhythm The Nubah adopts from music, another temporal art form. I learn that nubah has Andalusi origins and flourishes in the Mahgreb. The nubah is women's music, and their authentic performances with indigenous instruments are haunting. In her film, Djebar channels the tradition via Béla Bartók, who was fascinated by the nubah. Djebar introduces atonal passages from him. She also obeys the nubah's five part structure:
Istikhbar: prelude
Meceder: adagio
Btoihi: allegro
Nesraf: moderato
Khlass: finale
The Nubah is a polyphonic movie. The architect Laila, the protagonist, with her family consisting of a husband and two children, comes home to Cherchell, 15 years after the War of Independence. Six women contribute testimonies of "the revolution of the million martyrs". Women such as Zoulikha Oudai played a central role, but in the patriarchal order of Algeria they are being forgotten.
It is a memory quest. "Then I wandered in the past in my memories". "On these mountains we were free". "I was 15 - with a 100 years of a suffering" is the central refrain. "I had become a stranger in my country". The world has changed. It is not only about liberation after colonialism. It is also modernity after tradition. Laila is already living through "scenes from a marriage" such as described in an Ingmar Bergman movie.
Algerian memories appear in a context of documentary war montages. The destruction, the forest fires, the screams of agony. Helping partisans by hiding them or providing them with supplies could result in hideous retributions in the hands of French occupation forces. The blood and screams of the victims are not forgotten. Even memories are broken.
But the final communal sing-along of the women is dedicated to freedom. The haik (the veil) has been lifted. "God protect woman martyrs". "Women shall never return to the shadows". "The sun of freedom has risen". "Everything will bloom again". "Zoulikha still lives in the mountains".
The restoration has been conducted from difficult source materials. Despite the low definition and the fading of the colour towards monochrome the overwhelming experience is that of a triumph of the spirit. Even visually the impact is that of a tender willpower that resists even "the corruption of moth and rust".
BEYOND THE JUMP BREAK: DATA FROM WIKIPEDIA:
BEYOND THE JUMP BREAK: DATA FROM WIKIPEDIA:
La Nouba des femmes du Mont Chenoua
La Nouba des femmes du Mont Chenoua (en arabe : نوبة نساء جبل شنوة) est un film documentaire algérien réalisé en 1979 par Assia Djebar1. Le film était le premier de deux films réalisés par Djebar pendant sa décennie de pause dans l'écriture, produits en dehors des cercles cinématographiques algériens.
La bande sonore accompagnante a été composée par le Hongrois Béla Bartók, qui avait visité l'Algérie en 1913 pour étudier la musique populaire. Le film est dédié au musicien, ainsi qu'à Zoulikha Oudai (née Yamina Echaïb), une héroïne de la résistance coloniale algérienne à qui Djebar dédia également La Femme sans sépulture quatre décennies plus tard.
Le film emprunte la structure et prend le titre de Nouba, une forme traditionnelle de musique andalouse composée de cinq parties.
À son apparition, le documentaire suscita des débats en Algérie. Il fut projeté à Carthage en 1978 et à la Biennale de Venise un an plus tard, où il remporta le Prix international de la critique. Il est étudié dans de nombreuses universités américaines. Il ne reste qu'une seule copie numérique existante du film.
Synopsis
Tourné au cours du printemps 1976, le film met en scène Lila, une architecte de trente ans qui retourne dans sa région natale, dans les montagnes de Chenoua, accompagnée de sa fille et de son mari, dont les jambes ont été handicapées à la suite d'un accident. À travers un mélange de fiction, d'images documentaires et d'incursions littéraires, le premier film d'Assia Djebar documente et orchestre un incessant va-et-vient entre la mémoire, l'histoire et le présent, en mettant l'accent sur le rôle des femmes pendant la résistance.
Fiche technique
Titre : La Nouba des femmes du mont Chenoua
Réalisation : Assia Djebar
Scénario : Assia Djebar
Production : Radiodiffusion télévision algérienne
Pays de production : Algérie
Durée : 115 minutes
Date de sortie : Italie - août 1979
Acteurs
Zohra Sahraoui
Aïcha Medeljar
Fatma Serhan
Kheira Amrane
Fatma Oudai
Khedija Lekhal
Noweir Sawsan
Récompense
Prix FIPRESCI de la Mostra de Venise 1979
Notes et références
(en) Cet article est partiellement ou en totalité issu de l’article de Wikipédia en anglais intitulé « La Nouba des femmes du Mont Chenoua » (voir la liste des auteurs).
(en) Florence Martin, Screens and Veils: Maghrebi Women's Cinema, Indiana University Press, 13 octobre 2011 (ISBN 978-0-253-00565-6, lire en ligne [archive])
(en) Debra Kelly, Autobiography and Independence: Selfhood and Creativity in North African Postcolonial Writing in French, Liverpool University Press, 2005 (ISBN 978-0-85323-659-7, lire en ligne [archive])
« 1 - Assia Djebar - The Nouba of the Women of Mount Chenoua | Courtisane [archive] », sur www.courtisane.be (consulté le 28 novembre 2021)
Assia Djebbar, « La nouba des femmes du mont Chenoua [archive] », sur gwonline.unc.edu, 1977 (consulté le 28 novembre 2021)
« The Nouba of the Women of Mount Chenoua (La Nouba des femmes du Mont-Chenoua) | UC Berkeley Library [archive] », sur www.lib.berkeley.edu (consulté le 28 novembre 2021)
(en-US) « La Nouba des Femmes du Mont-Chenoua [archive] », sur www.wmm.com (consulté le 28 novembre 2021)
Réda Bensmaïa et Jennifer Curtiss Gage, « La nouba des femmes du Mont Chenoua: Introduction to the Cinematic Fragment », World Literature Today, vol. 70, no 4, 1996, p. 877–884 (ISSN 0196-3570, DOI 10.2307/40152316, JSTOR 40152316, lire en ligne [archive])
(en) John Charles Hawley et Emmanuel S. Nelson, Encyclopedia of Postcolonial Studies, Greenwood Publishing Group, 2001 (ISBN 978-0-313-31192-5, lire en ligne [archive])
(en) Nada Elia, Trances, Dances and Vociferations: Agency and Resistance in Africana Women's Narratives, Routledge, 11 septembre 2002 (ISBN 978-1-135-57632-5, lire en ligne [archive])
Source : Imdb
The Casbah Post, 26 novembre 2018 [1] [archive]
Voir aussi
Bibliographie
Jean Delmas, entretien avec Assia Djebar, Jeune Cinéma, no 116, février 1979, p. 7
Cinéma 79, no 250, octobre 1979, p. 105
Positif, no 226, janvier 1980, p. 41
Marie Kondrat, « Filmer, transposer, restituer. La Nouba des femmes du mont Chenoua et ses résurgences littéraires », Écritures, 2018 [2] [archive]
Liens externes
Ressources relatives à l'audiovisuel : IMDbThe Movie Database
Notice dans un dictionnaire ou une encyclopédie généraliste : Britannica [archive]
Commentaire de Wassyla Tamzali [archive] sur Le Maghreb des films
v · m
Assia Djebar
Œuvres littéraires
Les Enfants du nouveau monde (1962)Les Alouettes naïves (1967)Femmes d'Alger dans leur appartement (1980)L'Amour, la fantasia (1985)Ombre sultane (1987)Loin de Médine (1991)Vaste est la prison (1995)Les Nuits de Strasbourg (1997)Oran, langue morte (1997)La Femme sans sépulture (2002)La Disparition de la langue française (2003)Nulle part dans la maison de mon père (2007)
Films
La Nouba des femmes du mont Chenoua (1978)La Zerda ou les chants de l'oubli (1982)
La dernière modification de cette page a été faite le 17 juin 2024 à 22:40.
Droit d'auteur : les textes sont disponibles sous licence Creative Commons attribution, partage dans les mêmes conditions ; d’autres conditions peuvent s’appliquer. Voyez les conditions d’utilisation pour plus de détails, ainsi que les crédits graphiques. En cas de réutilisation des textes de cette page, voyez comment citer les auteurs et mentionner la licence.
Wikipedia® est une marque déposée de la Wikimedia Foundation, Inc., organisation de bienfaisance régie par le paragraphe 501(c)(3) du code fiscal des États-Unis.
...
La Nouba des femmes du Mont Chenoua (English: The Nubah of the Women of Mount Chenoua) is a 1979 Algerian documentary film directed by Assia Djebar. The film was the first of two films directed by Djebar during her decade-long hiatus from writing, produced outside of Algerian filmmaking circles.
The accompanying soundtrack was composed by Hungarian Béla Bartók, who visited in Algeria in 1913 to study popular music. The film is dedicated to the musician, as well as to Zoulikha Oudai (born Yamina Echaïb), a heroine of Algerian colonial resistance to whom Djebar also dedicated La Femme sans sépulture four decades later.
The film borrows the structure and takes the title of nubah, a traditional Andalusian music form composed of five parts.
The documentary sparked debate in Algeria, and was screened in Carthage in 1978 and at the Venice Biennale a year later, where it won the International Critics' Prize. It is a work studied in many American universities. Only one existing digital copy of the film remains.
Synopsis
Shot in the spring of 1976, the film features Lila, a thirty-year-old architect returning to her native region in the mountains of Chenoua, in the company of her daughter and her husband, whose legs were disabled after an accident. Between fiction, documentary images and literary incursions, Djebar's first film documents and orchestrates an incessant back and forth between memory, history and the present, focusing on women during the resistance.
...
The documentary takes place 15 years after the end of the War of Independence, through Laila, who finds herself unable to get over the memories of the war that ultimately led to independence.
...
ثقافة أيلول 04, 2013
«نوبة نساء جبل شنوة» لآسيا جبار: خيبات ما بعد الثورة
خلال السنوات التالية مباشرة لنيل الجزائر استقلالها بعد ثورتها الدامية الطويلة التي سميت «ثورة المليون شهيد»، وانتهت بخروج الاحتلال الفرنسي الذي ظل رابقاً فوق صدر هذا البلد نحو قرن ونصف القرن، انشغلت الأفلام السينمائية التي راحت تُحقّق بوفرة، وإن بمستويات جودة متفاوتة، بالحديث عن الثورة وبطولاتها.
وكان همّ العدد الأكبر من تلك الأفلام تمجيد الثورة وترسيخ التضامن الشعبي من حولها، ومن ثم ترسيخ سلطة الطبقة الحاكمة التي انبثقت من العمل الثوري. وفي الوقت نفسه كان المطلوب، مع أبلسة العدو المعتادة، والطبيعية في مثل تلك الظروف، غضّ النظر عن المساوئ التي اقترفت في صفوف الثوار انفسهم، ودفع الصراعات الداخلية والخطابات إلى مهب النسيان. وكان يبدو أن ثمة نوعاً من التوافق العام على مثل هذا التصرف. ولكن ما إن انقضت الأعوام الاستقلالية الأولى، وبدا لكثر أن شيئاً من خيبة الأمل راح يحل تدريجياً محل زهو الأزمان الأولى، حتى أفاق كثر من المبدعين الجزائريين من سكوتهم، إن لم نقل من غفلتهم، أو بالأحرى من تواطئهم، ليبدأوا بطرح أسئلتهم، ليس عما حدث خلال الثورة، فما حدث قد حدث، ولا فائدة «الآن» من العودة إليه، وفي الوقت متسع لاحقاً لهذا، وليس على صعيد الإبداع الأدبي والفني فقط، بل كذلك وبخاصة على الصعيد السياسي ما سينتج أحداثاً رهيبة، ليس هنا المكان الصالح للعودة اليها، بل عما حدث خلال السنوات الاستقلالية نفسها. وعلى هذا النحو راحت تظهر تباعاً، وفي وقت متقارب، تلك الأفلام التي عبرت بالسينما الجزائرية من الحلقة المفرغة للأفلام التاريخية المتحدثة عن الثورة، إلى سينما جديدة تتصدى بقوة متفاوتة لمشكلات ما بعد الثورة. ويمكن للائحة هنا أن تطول بدءاً من «عمر قتلته» لمرزاق علواش، وصولاً إلى «مغامرات بطل» لمرزاق علواش نفسه، مروراً بـ «نوه» لعبد العزيز طولبي، و «الفحام» و «الارث» لمحمد البوعماري، وصولاً إلى الأنجح والأكثر قسوة بين كل هذه الأفلام «القاسية»، «وقائع سنوات الجمر» لمحمد الأخضر حامينا... ولكن مروراً بفيلم ربما كان، للأسف، منسياً بعض الشيء في أيامنا هذه، لكنه في الحقيقة كان، في أعماقه، الأكثر قسوة وذكاء في تصدّيه لأسئلة الثورة ولحقيقة ما حدث، متسائلاً من الذي دفع الثمن مرة فقط، ومن الذي دفعه مرات ومرات. الفيلم هو «نوبة نساء جبل شنوة»، أما مخرجته التي كانت معروفة ككاتبة كبيرة، باللغة الفرنسية، والتي كانت فيه قد خاضت تجربتها السينمائية الأولى، فليست سوى الأديبة الكبيرة آسيا جبار، التي ستصبح بعد أكثر من ربع قرن من إنجاز هذا الفيلم، العضو العربي الأول في الأكاديمية الفرنسية، مجمع الخالدين، لكنها عام تحقيق الفيلم، 1978، كانت فقط كاتبة كبيرة تمكنت ذات لحظة من أن تصبح سينمائية كبيرة.
> مهما يكن من أمر، لا بد من أن نبادر هنا لنقول إن الإشكالية التي أتت جبار لتطرحها في «نوبة نساء جبل شنوة»، أتت مختلفة إلى حد كبير عن الإشكالات التي راح يطرحها زملاؤها السينمائيون الذين أشرنا اليهم، وان كانت تصبّ هي الأخرى بدورها في التساؤلات التي كانت تنطرح كالتحدي القوي أمام مثقفي الجزائر: تساؤلات حول الهوية، حول الماضي القريب، حول الحاضر وحول آفاق المستقبل. تساؤلات حول كل شيء ولكن يضاف إليها هنا تساؤل حول المرأة... دور المرأة في الثورة الجزائرية، دور المرأة في الحاضر الجزائري.. ودور هذا كله في حياة المرأة نفسها. ولقد كان من الأمور ذات الدلالة أن تختار آسيا جبار، ابنة المدينة والثقافة الفرانكوفونية «البورجوازية» أن تطرح أسئلتها هذه، بشكل محوري، من طريق «ليلى» المثقفة البورجوازية التي تصورها لنا وهي تعود إلى مسقط رأسها بعدما عاشت حرب الجزائر في المنفى. ترى أولسنا هنا أمام أنا/ أخرى لآسيا جبار نفسها، ما يقترح شيئاً من سيرة ذاتية؟ أبداً بالتأكيد. وذلك على المستوى الواقعي على الأقل، إن لم يكن على المستوى الرمزي. وذلك لأن لليلى في الفيلم زوجاً مقعداً كان من الثوار في الماضي القريب، وهذه -ويالغرابة الأمر- ستكون نفس حال الزوجة والزوج في رواية «حجر الصبر» التي كتبها، عن حرب أفغانستان، بعد فيلم آسيا جبار بأكثر من عقدين، الكاتب الأفغاني باللغة الفرنسية عاتق رحيمي، وحوّلها لاحقاً إلى فيلم قامت بطولته ممثلة إيرانية منشقة.. فهل في الأمر مجرد صدفة: نفس الموضوع، نفس الوضع ونفس الشخصيتين؟ مهما يكن ليس هذا موضوعنا هنا. موضوعنا هو ليلى، شخصية فيلم آسيا جبار المحورية. وليلى تعمل مهندسة معمارية ولا تزال شابة وجميلة في نحو الثلاثين من عمرها.. ولها زوجها المقعد وطفلان... ونحن إذ نراها وقد وصلت إلى الوطن، تبدأ من فورها تعيش أزمتها الخاصة، فالتواصل بينها وبين زوجها متوقف، كما حال مونيكا فيتي في فيلم «الصحراء الحمراء» للإيطالي أنطونيوني. وهي ترغب حقاً في التواصل مع أحد، إذ سئمت ذكورة زوجها وذكورة الثورة وذكورة ذكريات الثورة، التي بعدما لعبت المرأة دوراً كبيراً فيها، وبالأسماء... ها هي المرأة تُركت جانباً ليعود المجتمع ذكورياً... ولكن أي ذكورية هنا والذكر في الفيلم مقعد صامت يجتر ذكرياته في باطنه وغضبه وخيبته في نظراته، فلا يبقى أمام ليلى، هي الأخرى، إلا أن تجتر ذكرياتها، لكنها بدلاً من الصمت الذي تبدو في البداية محكومة به، تفضّل أن تخرج من البيت لتتجول في الريف مجتمعة إلى النساء، عدد لا بأس به من النساء اللواتي تلتقي بهن، لتنرسم من خلال تلك اللقاءات الحكاية الحقيقية للمرأة الجزائرية... وبالتالي تنرسم إمكانية تقوم بها ليلى، ويقوم بها الفيلم بالتالي لإعادة كتابة تاريخ هذه المنطقة الجزائرية... وكذلك وبالتالي، تاريخ المرأة الجزائرية، التاريخ غير المكتوب وغير المعترف به ذكورياً للمرأة الجزائرية.
> ولمناسبة عرض فيلمها هذا، قالت آسيا جبار يومها أنه «أول فيلم طويل أحققه، وقد أنجز في طبعتين إحداهما عربية والثانية فرنسية. ولقد استغرقني إنجازه عاماً ونصف العام من البحث والعمل، ولا سيما على صعيد الموسيقى»، ومن الواضح أن للموسيقى دوراً كبيراً في هذا الفيلم، بدءاً من عنوانه الذي يشير أصلاً إلى موسيقى النوبة التي تعتبر نمطاً من أنماط الموسيقى الأندلسية تتداخل فيه الألحان الفولكلورية ويكاد أداؤه يقتصر على النساء خلال الأفراح والمناسبات. والجدير ذكره هنا أن آسيا جبار طعَّمت فيلمها أيضاً ببضعة ألحان استقتها من ريبرتوار الموسيقى بيلاّ بارتوك، بعدما كان هذا، من خلال اشتغاله على الموسيقى الفولكلورية في بلاده وغيرها، قد استقى من الموسيقى الشعبية الجزائرية خلال فترة من حياته. والى هذا قالت آسيا إنها أتمت إنجاز فيلمها، بالنسبة إلى اللغة السينمائية، عبر أسلوبين متداخلين: أسلوب روائي وآخر تسجيلي، مضيفة «لقد شئت من الجانب الروائي أن يحكي الفيلم قصة امرأة جزائرية متزوجة تعود إلى مسقط رأسها خائبة المسعى. ومن الجانب الروائي أن ألقي نظرة عبر تلك المرأة، تتيح لي أن أعيد اكتشاف تلك المنطقة من الجزائر ونسائها. وهكذا نرى ليلى في الفيلم تلتقي تباعاً بست نساء يروين لها مقاطع من حياتهن الخاصة، فيما نتمكن نحن، عبر ما يروين، كما عبر ذكريات ليلى وتفاعلها مع رواياتهن، من العودة إلى الماضي». في ذلك الحين بدا من الصعب على الجمهور الجزائري أن يتفاعل مع الفيلم الذي بدا في أسلوبه قريباً من أسلوب الفرنسية مرغريت دورا، والبلجيكية شانتال آكرمان، لكنه بوجوده أكد يومها أن السينما الجزائرية وصلت في نضوجها إلى حد يتيح لها دخول عالمي التجريب وسينما الأدب.
> مع هذا الفيلم المتأرجح بين الوثائقي والروائي، كان في وسع المتفرج أن يكتشف، عبر كاميرا آسيا جبار الذكية والمتحركة، وعبر لغتها السينمائية المقتربة من لغة الأدب المصور، واقع المرأة الجزائرية، ودورها الصامت و «المجهول» خلال الحرب. ويومها، إذا كان «نوبة نساء جبل شنوة» قد قدّم بوصفه الفيلم الأول الذي حققته آسيا جبار، فإن آسيا كانت معروفة تماماً للقراء الشمال-أفريقيين والغربيين، بوصفها واحدة من أهم أدباء الجزائر من أبناء جيل الثورة وما بعدها. وكان قد نشر لها في الفرنسية في ذلك الحين أربع روايات هي «الظمأ» (1957) و «فاقدو الصبر» (1958) و «أبناء العالم الجديد» (1960) و «القبرات الساذجات» (1963). وهي إلى هذا كانت معروفة بكتابتها الشعر وإخراجها للمسرح، وكمناضلة سياسية واجتماعية إلى جانب المرأة بشكل عام والمرأة الجزائرية بشكل خاص.
الحياة
arrow_forwardحرب السرافيس..الحلبوني.. معرضٌ لكتب الاغترابarrow_back
الإرادة على الفايسبوك
تويتر
يوتيوب
الموقع الرسمي لحزب الإرادة الشعبية.
جميع الحقوق محفوظة، kassioun.org @ 2017
...
Culture - September 04, 2013
"The Women of Mount Chenoua's Night" by Assia Djebar: Post-Revolution Disappointments
During the years immediately following Algeria's independence after its long, bloody revolution, called the "Revolution of the Million Martyrs", which ended with the departure of the French occupation that had lingered over this country for about a century and a half, the films that were produced in abundance, albeit with varying levels of quality, were busy talking about the revolution and its heroism.
The concern of the majority of these films was to glorify the revolution and consolidate popular solidarity around it, and then consolidate the authority of the ruling class that emerged from the revolutionary work. At the same time, with the usual and natural demonization of the enemy in such circumstances, it was required to ignore the evils committed within the ranks of the revolutionaries themselves, and to push the internal conflicts and speeches into oblivion. It seemed that there was a kind of general consensus on such behavior. But as soon as the first years of independence passed, and it seemed to many that a bit of disappointment was gradually replacing the glory of the early times, many Algerian creators woke up from their silence, if not from their negligence, or rather from their complicity, to begin asking their questions, not about what happened during the revolution, because what happened has happened, and there is no point "now" in returning to it, and there is plenty of time later for this, and not only on the level of literary and artistic creativity, but also and especially on the political level, which will produce terrible events, and this is not the right place to return to them, but rather about what happened during the years of independence themselves. And in this way, those films began to appear one after the other, and at close intervals, which took Algerian cinema from the vicious circle of historical films that talk about the revolution, to a new cinema that confronts with varying strength the problems of the post-revolution period. The list here could go on and on, starting with “Omar Qatalto” by Merzak Allouache, all the way to “The Adventures of a Hero” by Merzak Allouache himself, passing through “Noah” by Abdelaziz Toulbi, “The Coal” and “The Legacy” by Mohamed Bouamari, and finally the most successful and cruel of all these “cruel” films, “Chronicles of the Years of Embers” by Mohamed Lakhdar Hamina… but passing through a film that may have been, unfortunately, somewhat forgotten these days, but in fact was, deep down, the most cruel and intelligent in its confrontation with the questions of the revolution and the truth of what happened, asking who paid the price only once, and who paid it many times over. The film is "Noubat des Femmes de Jebel Chenoua", and its director, who was known as a great writer in French, and in which she had her first cinematic experience, is none other than the great writer Assia Djebar, who would become, more than a quarter of a century after making this film, the first Arab member of the French Academy, the group of immortals, but in the year the film was made, 1978, she was only a great writer who was able to become a great filmmaker at one point.
Whatever the case, we must take the initiative here to say that the problem that Djebar came to raise in "Noubat des Femmes de Jebel Chenoua" was very different from the problems that her fellow filmmakers we mentioned were raising, even though it also poured into the questions that were being raised as a strong challenge before Algerian intellectuals: questions about identity, about the recent past, about the present and about future prospects. Questions about everything, but here a question about women is added to them... the role of women in the Algerian revolution, the role of women in the Algerian present... and the role of all of this in the life of women themselves. It was significant that Assia Djebar, the daughter of the city and the Francophone “bourgeois” culture, chose to pose these questions, in a pivotal way, through “Leila,” the bourgeois intellectual whom she portrays for us as she returns to her hometown after living the Algerian war in exile. Are we not here faced with an alter ego of Assia Djebar herself, suggesting something of an autobiography? Absolutely not. At least on the realistic level, if not on the symbolic level. This is because in the film Leila has a disabled husband who was a revolutionary in the recent past, and this - strangely enough - will be the same situation as the wife and husband in the novel “The Patience Stone,” which was written, about the Afghan war, more than two decades after Assia Djebar’s film, by the Afghan writer Atiq Rahimi in French, and which he later turned into a film starring an Iranian dissident actress. Is this a mere coincidence: the same subject, the same situation, and the same two characters? Whatever it is, this is not our topic here. Our topic is Leila, the central character in Assia Djebar’s film. Laila works as an architect and is still young and beautiful, about thirty years old. She has a disabled husband and two children. When we see her arriving home, she immediately begins to experience her own crisis, as communication between her and her husband has stopped, just like Monica Vitti in the film “The Red Desert” by the Italian Antonioni. She really wants to communicate with someone, as she is tired of her husband's masculinity, the revolution's masculinity, and the revolution's memories, which after women played a big role in it, and with names... here is the woman left aside for society to return to being masculine... but what masculinity is there, and the male in the film is a silent seat, chewing over his memories in his heart and his anger and disappointment in his looks, so there is nothing left for Laila, too, but to chew over her memories, but instead of the silence that she seems to be doomed to at first, she prefers to leave the house to wander around the countryside with women, a good number of women whom she meets, to draw through those meetings the true story of the Algerian woman... and thus a possibility is drawn that Laila does, and the film does, to rewrite the history of this Algerian region... and also, consequently, the history of the Algerian woman, the unwritten and unrecognized history of the Algerian woman by men.
On the occasion of the screening of this film, Assia Djebar said that day that "it is the first feature film I have made, and it has been produced in two editions, one in Arabic and the other in French. It took me a year and a half of research and work to complete it, especially on the music level,” and it is clear that the --- It will play a major role in this film, starting with its title, which originally refers to Nubian music, which is considered a style of Andalusian music that intermingles with folkloric melodies and is almost exclusively performed by women during weddings and occasions. It is worth mentioning here that Assia Djebar also infused her film with a few melodies that she took from the repertoire of Béla Bartók, after the latter, through his work on folkloric music in his country and elsewhere, had taken from Algerian popular music during a period of his life. In addition, Assia said that she completed her film, in terms of cinematic language, through two intertwined styles: a narrative style and a documentary style, adding, “From the narrative side, I wanted the film to tell the story of a married Algerian woman who returns to her hometown disappointed. From the narrative side, I wanted to take a look through that woman, allowing me to rediscover that region of Algeria and its women. Thus, we see Leila in the film meeting six women who tell her parts of their private lives, while we are able, through what they tell, as well as through Leila’s memories and her interaction with their stories, to return to the past.” At that time, it seemed difficult for the Algerian audience to interact with the film, which seemed in its style close to that of the French Marguerite Duras and the Belgian Chantal Akerman, but its presence confirmed that day that Algerian cinema had reached a point of maturity that allowed it to enter the worlds of experimentation and literary cinema.
With this film, which oscillates between documentary and fiction, the viewer was able to discover, through Assia Djebar’s intelligent and moving camera, and through her cinematic language close to the language of illustrated literature, the reality of Algerian women, and their silent and “unknown” role during the war. At that time, if “Noubat des Femmes de Jebel Chenoua” was presented as Assia Djebar’s first film, Assia was well known to North-African and Western readers, as one of the most important Algerian writers from the generation of the revolution and beyond. At that time, she had published four novels in French: "Thirst" (1957), "The Impatient" (1958), "Children of the New World" (1960), and "Simple Larks" (1963). She was also known for her poetry and theater production, and as a political and social activist alongside women in general and Algerian women in particular.
Life
...
SHASHAT
The Nouba of the Women of Mount Chenoua
La Nouba des Femmes du Mont Chenoua
نوبة نساء جبل شنوة
Written and Directed by: Assia Djebar
115 mins, 1977. Algeria
Language: Arabic with English subtitles
This film is considered one of the classics of Arab feminist filmmaking. Returning to her native region 15 years after the end of the Algerian War of Independence, Leila, a young architect, is obsessed by memories of the war that defined her childhood. She is transformed by the testimonials of aging village women who pass down traditions of anti-colonial resistance to their grandchildren.
A meditation on history and memory, the film weaves women‘s speech and their stories in five movements patterned on the Andalusian musical composition called a Nouba, which also means stories of women‘s daily life.
No comments:
Post a Comment