557:
violent struggle against colonial domination through the representation of a national collective represented by single heroic characters, such as Ahmad, or typical antiheroes such as Hassan Terro. Equally, the prominence of the peasant world in
Lakhdar-Hamina’s filmography seems to consecrate rural life as one of the most important scenarios in the construction of national identity. This mythification of the Algerian peasantry as a repository of national pride and resistance would eventually be transformed during the 1980s, when Algerian cinema became more concerned with urban characters and focused on the crisis of postcolonial conflicts.
549:
and emphasized the gap that separated the rural
Algerian peasantry from the wealthy French colonists. One of the movie’s main message appears to be that, just as violence begets more violence, so colonialism can only be fought through a violent uprising. The transformation of Ahmad from illiterate peasant to revolutionary leader symbolizes the maturation of an independent national consciousness aimed at national liberation.
153:
27:
566:, released in 1982, Lakhdar-Hamina portrays the life of an isolated rural community fragmented by violence. It tells the story of Amara, a man whose wife gives birth to their eighth daughter; unable to withstand the dishonor of not fathering a son, Amara plans a revenge. The plot allows Lakhdar-Hamina to explore the difficult terrain of gender relations and gender violence.
556:
makes use of camera techniques that emphasize feelings of uprootedness, deprivation, and suffering caused by a colonial system of exploitation. Characteristically, Lakhdar-Hamina has consistently chosen to portray the ideological debates surrounding the construction of a national identity amidst the
548:
It tells the story of an
Algerian peasant, Ahmad, who flees his village to escape famine and drought. The film presents violence as an unavoidable stage in the conflict between colonizer and colonized; in this regard, Lakhdar-Hamina chose to focus on the predicament of Algerian peasant communities
544:
at Cannes. The movie is divided into six sections: "The Years of Ashes, "The Years of Embers", "The Years of Fire", "The Year of the Cart", "The Year of the
Massacre" and "1 November 1954", a date that marks the beginning of the Algerian revolution and of the war of independence.
423:
Since its inception, Algerian cinema developed a clearly anti-imperialistic stance. In this regard, Algerian cinematographers in general and
Lakhdar-Hamina in particular have remained deeply committed to the ideological tenets of the
408:
Following
Algeria's independence, Algerian cinema focused on new artistic forms concerned with the search for national identity, but financial difficulties and the lack of an Algerian industry made this task all the more challenging.
467:
in 1967. It may be considered in its own right the foundational stone of contemporary
Algeria cinema. In The Winds of the Aures, Lakhdar-Hamina portrays with painstaking detail the disintegration of a peasant society marred by the
335:
In 1961, Lakhdar-Hamina collaborated with
Chanderli in the movie Yasmina, which tells the story of a refugee girl who must flee her village following its destruction. Lakhdar-Hamina collaborated again with Chanderli in the 1962
494:, explored in a comical manner the tragedy of Algeria's war of independence by portraying the misadventures of its main character, a bourgeois character trapped in the midst of the Algerian revolution.
305:
439:
Lakhdar-Hamina's first films explore issues of national identity and the search for the Self in the context of postcolonial emancipation. In 1963, he wrote the script and dialogue for the film
382:(1992), a film that explores the riots of October 1988 through the microcosm of an Algerian family split by a Westernized versus Islamicized view of contemporary Algeria. His other son,
316:. In 1960 he joined the Service Cinema, created by the Algerian government in exile. In 1959, the Algerian ministry of information in exile commissioned Lakhdar-Hamina, together with
924:
405:
cinema in general and
Algerian in particular, notably distinct from the filmic experiences of other Arab countries and most particularly of the Egyptian cinematic industry.
416:'s cinematographic experience. Following the nationalization of Algeria's film industry in June 1969, the American Motion Pictures Export Association of America (
401:
In this context, Lakhdar-Hamina's cinematographic career has significantly contributed to the development of a new filmic language characteristic of contemporary
914:
356:
55:
35:
507:. The movie narrated the case of a French officer troubled by the violent acts of torture perpetrated by the French army against members of the
436:
for the first meeting of the Third World Cinema
Committee, which became an effort to build an independent Third World cinematographic movement.
464:
345:
919:
798:
417:
862:
Hafez, Sabry. "Shifting Identities in Maghrebi Cinema: The Algerian Paradigm. " Alif: Journal of Comparative Poetics, no. 15 (1995): 39–80.
257:
Born in 1934 at M'Sila, Algeria, Lakhdar began his studies in his native country. He first became interested in the world of cinema at the
508:
909:
297:
109:
519:(1975), however, is Lakhdar-Hamina's most important work. In 1975, he achieved worldwide recognition when the movie was awarded the
128:
81:
904:
531:, traces the evolution of the revolutionary movement from 1939 until the beginnings of the 1954 insurrection against the French.
778:
504:
88:
449:. The film portrayed the story of an Algerian woman in search of her imprisoned sons during the Algerian war of independence.
741:
673:
515:
229:
202:
95:
59:
51:
394:
From its inception, Algerian cinema was intertwined with the ideological and existential debates that surrounded the
245:
and became the first Arab and African film to win the award. He is one of the most prominent figures in contemporary
40:
77:
473:
378:
44:
712:
687:
662:
641:
622:
456:
242:
749:
592:
440:
859:
The Birth of Algerian Cinema: The Anti-Hero.’’ Alif: Journal of Comparative Poetics, no. 15 (1995): 260–266.
369:, was part of the Official Selection at Cannes Film Festival in 1986 and was nominated for the Golden Palm.
285:, where he worked for the provisional Algerian government in exile. His film career began as he joined the
899:
783:
753:
499:
445:
383:
373:
562:
348:, he returned to his homeland where, together with his colleagues from Tunisian exile, he founded the
317:
894:
628:
425:
365:
360:
286:
102:
332:, aimed at portraying the goals pursued by the Algerian nationalist guerrilla movement, the Maquis.
865:
Pearson, Lyle. "Four Years of North African Film. " Film Quarterly 26, no. 4 (Summer, 1973): 18–26.
481:
469:
278:
806:
491:
828:
325:
224:
66:
879:
313:
609:
227:
in 1934) is an Algerian film director and screenwriter. He is best known for his 1975 film
216:
490:
consecrated Algerian cinema in the international scene. Lakhdar-Hamina's following film,
312:
academy for cinema and television. However, he quit his studies in order to work for the
258:
429:
321:
309:
262:
152:
888:
735:
648:
522:
236:
696:
528:
395:
460:
274:
270:
266:
246:
477:
432:. In December 1973, African, Latin American, and Asian filmmakers gathered in
402:
290:
484:. The director adeptly translated this influence to an Algerian scenario.
875:
433:
413:
282:
301:
412:
North American audiences have remained for the most part unaware of
352:, of which he was director from 1963 until its dissolution in 1974.
304:, where he pursued his cinematography studies at the cinema school,
357:
Office National pour le Commerce et l'Industrie Cinématographique
538:
remains the only African and Arab film to have been awarded the
376:, became well known after the release of his first long film,
306:
Film and TV School of the Academy of Performing Arts in Prague
65:
from the article and its talk page, especially if potentially
20:
398:
of independence and the postcolonial nation-building stage.
527:
at Cannes. The film, which offers a personal vision of the
472:
of colonial occupation. The movie is clearly influenced by
359:, the most important institution for furtherance of the
324:, to produce a movie about Algeria's predicament under
856:
Boudjedra, Rachid. Naissance du Cinéma Algérien – 1971
420:) called for a boycott of all Algerian productions.
197:
189:
181:
159:
143:
463:. It was also nominated for the Grand Prix at the
480:, particularly that of Soviet Ukrainian director
355:From 1981 until 1984 he acted as director of the
799:"5th Moscow International Film Festival (1967)"
829:"Festival de Cannes: Mohammed Lakhdar-Hamina"
8:
779:"Cannes: All the Palme d'Or Winners, Ranked"
733:
646:
539:
520:
234:
925:Academy of Performing Arts in Prague alumni
443:. In 1965 he released his first long film,
503:, released in 1972, explores the issue of
455:received the Best First Work Award at the
151:
140:
58:about living persons that is unsourced or
129:Learn how and when to remove this message
573:
273:at French universities, he deserted the
767:
16:Algerian film director and screenwriter
552:From a cinematographic point of view,
465:5th Moscow International Film Festival
773:
771:
7:
277:in 1958 and joined the anti-French
220:
298:Algerian National Liberation Front
14:
350:Office des actualités algériennes
363:. One of his most recent films,
25:
915:Directors of Palme d'Or winners
328:. The documentary film, titled
742:Chronicle of the Years of Fire
674:Chronicle of the Years of Fire
668:Chronique des années de braise
536:Chronicle of the Years of Fire
516:Chronicle of the Years of Fire
230:Chronicle of the Years of Fire
203:Chronicle of the Years of Fire
193:Film director and screenwriter
1:
346:Algerian independence in 1962
265:. After beginning studies of
920:21st-century Algerian people
390:Influences and contributions
36:biography of a living person
63:must be removed immediately
941:
750:Prix de la premiere oeuvre
459:and was nominated for the
379:Autumn: October in Algiers
330:DjazzaĂŻrouna (Our Algeria)
910:Algerian cinematographers
734:
717:Sous le signe de Neptune
570:Films presented at Cannes
540:
521:
457:1966 Cannes Film Festival
243:1975 Cannes Film Festival
235:
150:
78:"Mohammed Lakhdar-Hamina"
905:Algerian film directors
876:Mohammed Lakhdar-Hamina
213:Mohammed Lakhdar-Hamina
145:Mohammed Lakhdar-Hamina
784:The Hollywood Reporter
754:The Winds of the Aures
647:
488:The Winds of the Aures
453:The Winds of the Aures
446:The Winds of the Aures
386:, is a film producer.
372:Lakhdar-Hamina's son,
50:Please help by adding
593:Crépuscule des ombres
720:Script and Dialogue
705:Script and Dialogue
682:Script and Dialogue
657:Script and Dialogue
636:Script and Dialogue
617:Script and Dialogue
600:Script and Dialogue
441:Under Neptune's sign
384:Tariq Lakhdar-Hamina
374:Malik Lakhdar-Hamina
361:French film industry
56:Contentious material
833:festival-cannes.com
529:Algerian revolution
482:Alexander Dovzhenko
470:structural violence
426:nonaligned movement
342:The guns of freedom
279:Algerian Resistance
809:on 16 January 2013
692:Le vent des Aurès
338:The people's voice
326:French colonialism
300:(FLN) sent him to
724:
723:
629:La dernière image
314:Barrandov Studios
221:Ů…ŘŮ…ŘŻ الأخضر Řمينة
210:
209:
170:February 26, 1934
139:
138:
131:
113:
39:needs additional
932:
844:
843:
841:
839:
825:
819:
818:
816:
814:
805:. Archived from
795:
789:
788:
775:
739:
738:
652:
574:
543:
542:
526:
525:
318:Djamel Chanderli
240:
239:
233:, which won the
222:
173:
169:
167:
155:
141:
134:
127:
123:
120:
114:
112:
71:
52:reliable sources
29:
28:
21:
940:
939:
935:
934:
933:
931:
930:
929:
885:
884:
872:
853:
848:
847:
837:
835:
827:
826:
822:
812:
810:
797:
796:
792:
777:
776:
769:
764:
729:
707:Cinematography
706:
704:
693:
681:
670:
656:
635:
616:
599:
572:
497:His third film
392:
287:Algerian Maquis
255:
177:
176:M'sila, Algeria
174:
171:
165:
163:
146:
135:
124:
118:
115:
72:
70:
49:
30:
26:
17:
12:
11:
5:
938:
936:
928:
927:
922:
917:
912:
907:
902:
897:
887:
886:
883:
882:
871:
870:External links
868:
867:
866:
863:
860:
857:
852:
849:
846:
845:
820:
790:
787:. 10 May 2016.
766:
765:
763:
760:
759:
758:
757:, Long métrage
746:
745:, Long métrage
728:
725:
722:
721:
718:
715:
709:
708:
701:
690:
684:
683:
678:
665:
659:
658:
653:
644:
638:
637:
632:
625:
619:
618:
613:
606:
602:
601:
596:
589:
585:
584:
581:
578:
571:
568:
430:Third-worldism
391:
388:
366:The last image
322:Pierre Chaulet
263:Cannes, France
254:
251:
208:
207:
199:
198:Known for
195:
194:
191:
187:
186:
183:
179:
178:
175:
161:
157:
156:
148:
147:
144:
137:
136:
60:poorly sourced
33:
31:
24:
15:
13:
10:
9:
6:
4:
3:
2:
937:
926:
923:
921:
918:
916:
913:
911:
908:
906:
903:
901:
900:Living people
898:
896:
893:
892:
890:
881:
877:
874:
873:
869:
864:
861:
858:
855:
854:
850:
834:
830:
824:
821:
808:
804:
800:
794:
791:
786:
785:
780:
774:
772:
768:
761:
756:
755:
751:
747:
744:
743:
737:
731:
730:
726:
719:
716:
714:
711:
710:
702:
699:
698:
691:
689:
686:
685:
679:
676:
675:
669:
666:
664:
661:
660:
654:
651:
650:
649:Vent de sable
645:
643:
640:
639:
633:
631:
630:
626:
624:
621:
620:
614:
612:
611:
607:
604:
603:
597:
595:
594:
590:
587:
586:
583:Contribution
582:
579:
576:
575:
569:
567:
565:
564:
558:
555:
550:
546:
537:
534:To this day,
532:
530:
524:
518:
517:
512:
510:
506:
502:
501:
495:
493:
489:
485:
483:
479:
475:
474:Soviet cinema
471:
466:
462:
458:
454:
450:
448:
447:
442:
437:
435:
431:
427:
421:
419:
415:
410:
406:
404:
399:
397:
389:
387:
385:
381:
380:
375:
370:
368:
367:
362:
358:
353:
351:
347:
343:
339:
333:
331:
327:
323:
319:
315:
311:
307:
303:
299:
296:In 1959, the
294:
292:
288:
284:
280:
276:
272:
268:
264:
260:
252:
250:
248:
247:Arabic cinema
244:
238:
232:
231:
226:
218:
214:
205:
204:
200:
196:
192:
190:Occupation(s)
188:
184:
180:
172:(age 90)
162:
158:
154:
149:
142:
133:
130:
122:
111:
108:
104:
101:
97:
94:
90:
87:
83:
80: –
79:
75:
74:Find sources:
68:
64:
61:
57:
53:
47:
46:
42:
37:
32:
23:
22:
19:
851:Bibliography
836:. Retrieved
832:
823:
811:. Retrieved
807:the original
802:
793:
782:
752:
740:
697:Rih al awras
695:
672:
667:
627:
608:
591:
561:
559:
553:
551:
547:
535:
533:
514:
513:
498:
496:
492:Hassan Terro
487:
486:
452:
451:
444:
438:
422:
411:
407:
400:
396:Algerian war
393:
377:
371:
364:
354:
349:
341:
337:
334:
329:
295:
259:Lycée Carnot
256:
228:
212:
211:
201:
125:
116:
106:
99:
92:
85:
73:
62:
45:verification
38:
18:
895:1934 births
461:Golden Palm
275:French Army
267:agriculture
182:Nationality
889:Categories
813:9 December
762:References
736:Palme d'Or
563:Sand storm
541:Palme D'or
523:Palme d'Or
478:aesthetics
291:guerrillas
237:Palme d'Or
223:; born in
166:1934-02-26
89:newspapers
703:Director
680:Director
655:Director
634:Director
615:Director
598:Director
554:Chronicle
340:and 1961
253:Biography
41:citations
838:10 March
500:December
403:Maghrebi
185:Algerian
119:May 2023
67:libelous
610:Automne
505:torture
434:Algiers
414:Algeria
344:. Upon
283:Tunisia
241:at the
103:scholar
748:1967:
732:1975:
727:Awards
308:, the
302:Prague
225:M'sila
217:Arabic
206:(1975)
105:
98:
91:
84:
76:
605:1992
588:2014
580:Title
418:MPEAA
310:Czech
110:JSTOR
96:books
34:This
880:IMDb
840:2009
815:2012
803:MIFF
713:1963
688:1967
663:1975
642:1982
623:1986
577:Year
476:and
428:and
320:and
269:and
160:Born
82:news
43:for
878:at
560:In
509:FLN
293:).
281:in
271:law
261:in
891::
831:.
801:.
781:.
770:^
700:)
677:)
511:.
249:.
219::
168:)
54:.
842:.
817:.
694:(
671:(
289:(
215:(
164:(
132:)
126:(
121:)
117:(
107:·
100:·
93:·
86:·
69:.
48:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
