Maghrebi Migrant Women in France and French Cinema

Author(s):  
Leslie Kealhofer-Kemp

The introduction provides a general overview of the place of Maghrebi migrant women in France and outlines the book’s purpose, scope, and methodology. The study adopts the concept of ‘voice’ as a framework through which to critically examine the representations of Maghrebi women in a diverse corpus of documentaries, short films, téléfilms, and feature films, and the introduction draws on scholarship in post-colonial, film, and gender studies. It sets out the book’s key questions, including: In what ways do cinematic depictions of first-generation women challenge dominant perceptions about this generation, and notably the idea that the women are silent and disempowered? Do films depicting Maghrebi women invite audiences to come to a better understanding of the women’s subjective perspectives, and if so, by what means? What opportunities and constraints do the formal conventions characteristic of the four types of films present in representing first-generation women? To what extent is the question of Islam raised, and can it be said that this shapes the representations of Maghrebi women in a particular way? The introduction concludes with a description the fieldwork undertaken to construct the study’s cinematic archive.

Author(s):  
Leslie Kealhofer-Kemp

Muslim Women in French Cinema: Voices of Maghrebi Migrants in France is the first comprehensive study of cinematic representations of first-generation Muslim women from the Maghreb (Algeria, Morocco, Tunisia) in France. Situated at the intersection of post-colonial studies, gender studies, and film studies, this book uses the multi-layered concept of ‘voice’ as an analytical lens through which to examine a diverse corpus of over 60 documentaries, short films, téléfilms (made-for-television films), and feature films released in France between 1979 and 2014. In examining the ways in which the voices, experiences, and points of view of Maghrebi migrant women in France are represented and communicated through a selection of key films, this study offers new perspectives on Maghrebi migrant women in France. It shows that women of this generation, as they are represented in these films, are far more diverse and often more empowered than has generally been thought on the basis of the relatively narrow range of media and cultural productions that have so far reached mainstream audiences. The films examined in this study are part of larger contemporary debates and discussions relating to immigration, integration, and what it means to be French.


Author(s):  
Leslie Kealhofer-Kemp

This chapter examines key short films featuring Maghrebi migrant women in France through an analysis of objects such as letters, a play script, food, photographs, and clothing items. It highlights the extent to which such objects are crucial to giving expression to the experiences of Maghrebi women through this particular medium, where meaning must necessarily be communicated in a short period of time. These objects have multi-layered meanings and serve as potential channels for communication and understanding between first-generation women and people who are different from them, most notably because they have not shared the women’s experience of migration and exile and in many cases do not speak the women’s mother tongue. This analysis highlights the ways in which the women negotiate, navigate, and cross various cultural, linguistic, psychological, and spatial boundaries or barriers that exist in their lives. The cultural productions discussed in this chapter include films directed by Fejria Deliba, Ismaël Ferroukhi, Faïza Guène, and Catherine Bernstein.


2007 ◽  
Vol 32 (2) ◽  
pp. 103-105
Author(s):  
KRISTINA HAGSTRÖM STÅHL

In the past decade and a half, feminism and gender studies have undergone a process of critical self-scrutiny and re-assessment. Presently, the fields of theatre and performance studies are undertaking a similar project of self-evaluation, as evidenced by recent calls to assess the ‘state of the field’ as well as its future directions. Elaine Aston and Geraldine Harrison suggest in their recent co-edited volume, Feminist Futures? Theatre, Performance, Theory, that any attempt to envision the future must begin by examining the present, which in turn entails looking to, and reflecting on, the legacies and remains of the past. In her article for this issue of TRI, ‘A Critical Step to the Side: Performing the Loss of the Mother’, Aston does precisely this, asking, ‘in what ways it might be critically productive to come back to the maternal as a subject for feminism’.


2008 ◽  
Vol 7 (4) ◽  
pp. 447-470 ◽  
Author(s):  
Fatima Sadiqi

Abstract Starting from the premise that the nature and impact of women's agency can be understood only within specific historical and socio-cultural environments (Sadiqi, 2003), the major aim of this paper is to highlight the multi-faceted agency of women in post-colonial and today's Maghrib. The Maghrib is a North African region that includes Morocco, Algeria, Tunisia, Libya and Mauritania, but I chose to focus on the first three countries given their common historical and socio-cultural background. Not only have women in this region faced challenges, but they have also pioneered feminist and gender studies and raised new issues for these disciplines in the global South as well as the North. Four major interrelated domains where these achievements are significant are considered: women's reproductive rights, women's movements, women's legal rights, and women's knowledge production. Issues related to these domains are analyzed from a broad comparative perspective which involves an overall political and economic contextualization. The paper reveals the positive role that Maghribi women have been playing in the overall development of their countries and the main outcomes show that the future of the Maghrib is significantly linked to the fate of these gains.


Author(s):  
Leslie Kealhofer-Kemp

This book challenges the notion that first-generation Maghrebi migrant women, as a group, constitute a uniformly silent generation and are victims because of their status as immigrants, Muslim women, or women in a traditionally patriarchal culture. The cinematic representations of first-generation women are diverse, and while some of the films examined in the study do not necessarily invite viewers to identify with the first-generation women portrayed in them, the majority of them do promote an appreciation of the experiences and hardships lived by this generation of women. The book concludes with a discussion of feature films depicting Maghrebi women protagonists that are in production at the time of writing (directed by Hafsia Herzi and Fejria Deliba, respectively). These films suggest that first-generation women from the Maghreb in France continue to serve as inspiration for filmmakers in France.


Author(s):  
Leslie Kealhofer-Kemp

This chapter analyzes how the experiences of Maghrebi migrant women in France are conveyed through feature films and considers the extent to which these films encourage spectators to come to a better understanding of the women’s experiences and appreciate their respective points of view. It analyzes a wide range of techniques used in the films, from those that could be considered the most ‘verbal’ in the traditional sense of the word (such as interior monologue voiceover and verbal exchanges) to those that are entirely non-verbal (including body language and non-verbal sounds). While the spoken words of first-generation women have the potential to provide significant insight into the women’s experiences, this is not always the case, nor do a woman’s words necessarily invite spectators to identify with her point of view. Words also have the potential to be misunderstood or not understood at all – for example, when there is a language barrier – and this can inhibit communication. Non-verbal tools can provide an effective channel through which the women’s voices can be communicated, regardless of differences in age, language, or culture between the characters and the implied spectators. Works examined include films by Yamina Benguigui, Mehdi Charef, and Bourlem Guerdjou.


Sociology ◽  
2019 ◽  
Author(s):  
Alexandra Macht

Theoretically, the term “doing gender” first appeared in Harold Garfinkel’s case study of the intersexual Agnes in 1967, as an appendix to Garfinkel 1967 (cited under General Overview). The term was then discussed in Kessler and McKenna 1978 (cited under General Overview). The authors drew from Erving Goffman’s social constructionist theory of performance in establishing, first, the difference between sex and gender, and second, how gender was something people actively constructed in their daily lives. The provocation was therefore that if people were responsible for “doing” gender then they could also be held accountable for “undoing” gender. The book, however, was obscured by the proliferation of research regarding sex roles, rather than gender constructions. So, the concept of “doing gender” remained underground for a while, until it resurfaced in 1987 in the well-known paper of the same name written by American sociologists Candace West and Don H. Zimmerman (West and Zimmerman 1987, cited under General Overview). According to these authors, “doing” gender is defined as involving the everyday performance of “a complex of socially guided perceptual, interactional, and micropolitical activities that cast particular pursuits as expressions of masculine and feminine ‘natures.’ When we view gender as an accomplishment, an achieved property of situated conduct, our attention shifts from matters internal to the individual and focuses on interactional and, ultimately, institutional arenas” (p. 126). West and Zimmerman were primarily focused on understanding how people created gender differences, rather than merely “gender.” Unlike Kessler and McKenna, who discussed the applicability of doing gender in transsexualism, West and Zimmerman finely combed the differences between “sex,” “sex category,” and “gender.” Following on from this, Deutsch 2007 together with Connell 2010 (both cited under Critiques of Doing Gender) critiqued this concept and proposed the “redoing of gender.” For example, Connell’s research uncovered that for transpeople, doing gender entailed “experiences that fit better under either the rubric of undoing gender or of redoing gender,” that transpeople “often attempted to meld together masculine and feminine gender performances” (p. 39), and that “many resisted these pressures by adapting a hybrid gender style of interacting with others. These acts constitute moments of ‘chipping away’ at the established gender order” (pp. 42–43). In addition, Judith Butler (see Butler 2004, cited under Critiques of Doing Gender) was more interested in exploring how gender could be undone, and defines this undoing as escaping “gender as a kind of a doing, an incessant activity performed . . . an improvisation within a scene of constraint” (p. 3) by underlining the “paradox of autonomy, a paradox that is heightened when gender regulations work to paralyze gendered agency at various levels” (p. 101). From this perspective, there are limits to how much agency individuals can have in performing gender. As such and inadvertently, social actors also undo gender when they relate to each other: “Despite one’s best efforts, one is undone, in the face of the other, by the touch, by the scent, by the feel, by the prospect of the touch, by the memory of the feel. And so, when we speak about my sexuality or my gender, as we do (and as we must) we mean something complicated by it” (p. 19). Butler’s focus on embodiment definitively pushed the debate further by critically assessing the usefulness of considering gender as an activity and asking sociologists to consider the ontological implication of the performativity of gender in relation to its mere performance. Her work is important because it clearly underlined the neglect of feminist studies to focus more on transgender identities, thereby sparking the growth of a specific area of knowledge known today as “queer theory.” In response to these developments, “doing gender” was further developed by West and Zimmerman 2009 (cited under General Overview), a celebratory symposium published twenty-two years after West and Zimmerman 1987 to assess the more recent applicability of this term in the field of gender studies. Methodologically, searching for resources on the theme of “doing gender” has focused on the performance of gender and on the domains of research to which it has been applied so far, as indicated by the specific headings in this article, while considering as well the “undoing of gender” and its performativity. Not all experts in the field would agree with this organization. However, it is important to specify the many ways in which the influential concept has branched out and deeply affected the field of gender studies. Therefore, the reader will notice a running consideration in the papers selected for this entry, with both the doing and the undoing of gender across a variety of areas: in education and at work, across cultures and intersectionally, in relation to emotions and in personal life (where a distinction was made again between parenting and romantic coupling and partnership), for youth health, and beyond the binary. This way of organizing the material falls in line with the most recent developments in the field. A simple search on the Web of Science database of the words “doing gender” within the publications category and in the topics of “Sociology” and “Women’s studies” between 1987 (when West and Zimmerman first published their paper) and 2019 reveals a total of 866 resources. Therefore, as not all resources could be included, the ones that appear in this entry were selected based on relevance, recency of publication, number of citations, prominence in the field, and methodological innovation (such as doing gender in visual sociology, or anthologies that focus on diverse cultural examples). The scope was meant to be relevant, versatile, approachable, and useful to teachers, researchers, and interested students. Nonetheless, there is the limitation that only English-language resources are included. The General Overview section is focused on the development of the term “doing gender” in theory and research, including the original paper discussed in this section and others published in a symposium, while the section on Critiques of Doing Gender presents a series on ongoing critiques to the concept of “doing gender.”


Sign in / Sign up

Export Citation Format

Share Document