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By Roy Armes

ISBN-10: 0748618627

ISBN-13: 9780748618620

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ONCIC’s production monopoly meant that it was responsible for virtually all Algerian feature-film production for cinema release from 1968 until it was dissolved in 1984. Film directors became salaried state employees, paid irrespective of whether they made films or not. As the director Mohamed Chouikh has observed: ‘Making a film outside the state structures was a counter-revolutionary act. It just didn’t happen, you couldn’t even get permission to shoot. 7 Though the CNCA had contributed two features, the OAA four and RTA six, it was ONCIC which produced or co-produced forty-six of the sixty-one Algerian feature films made in the period up to 1984.

171. 53. Oliver, The African Experience, p. 304. 54. , p. 303. 55. Jean François Troin, Maghreb Moyen-Orient: Mutations (Paris: Sedes, 1995), p. 217. 56. Oliver, The African Experience, p. 283. 57. Roland Pourtier, Villes Africaines (Paris: La Documentation Française, 1999), p. 1. 17 AFRICAN FILMMAKING 58. 59. 60. 61. 62. 63. 64. 65. 66. 67. 68. 69. 70. 71. 72. 73. 74. 75. 76. 77. 18 Troin, Maghreb-Moyen Orient, p. 218. Oliver, The African Experience, p. 304. Fanon, The Wretched of the Earth, p.

Oliver, The African Experience, p. 304. Fanon, The Wretched of the Earth, p. 30. Ibid. Oliver, The African Experience, p. 283. Ibid. Eric Hobsbawm and Terence Ranger (eds), The Invention of Tradition (Cambridge: Cambridge University Press, 1983), p. 247. , p. 248. Achille Mbembe, cited in Richard Werbner and Terence Ranger (eds), Postcolonial Identities in Africa (London: Zed Books, 1996), p. 1. Ibid. Ibid. Bernard Lewis, The Multiple Identities of the Middle East (London: Weidenfeld and Nicolson, 1998), p.

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African Filmmaking by Roy Armes

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