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Cinema artworks are used by the filmmakers to treat issues that a society may face, aiming to sensitize the audience to find a solution.
This is a permanent spread formula which was enough treated by many theorists.
What if we decode a movie as a mirror which reflects a society, illustrates its identity, represents its anthropological concept, clarifies the specificity of its DNA, which nucleotides figure in traditions, dressings, cooks, language, architecture, and so on.
While making of a movie, any filmmaker, whatever would be his origin, unconsciously represents his identity to the spectators, enabling them to closely touch a historical situation, already lived his country, many decades or centuries ago.
This makes a movie, once internationally distributed, or selected in international competitions, or invited as a tribute to the filmmaker and his career, able to represent an ethnicity, a religion, a society, a heritage, a culture, a history...
re-lived by the viewers.
Tunisian,Temporary Assistant in Honoris United Universities,Teaching Film Analysys,Film History,Film Production,Aesthetics.PhD Researcher(2016-2019)in Sciences of Cinema,Audiovisual,Technologies of Arts and Artistic Mediations in ESAC Gammarth-Carthage University,Quadrilingual Novelist and Poet.Network Administrator in Sup'Com,Carthage University
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