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Morocco Rising : Behind the Demonstrations in Morocco – by Richard Greeman

Morocco Rising : Behind the Demonstrations in Morocco By Richard Greeman On Wednesday Oct. 26, the well-known Moroccan historian and human rights activist Maâti Monjib and five of his colleagues were hauled into the High Court at Rabat to answer charges of “attacks on national security” and “receiving foreign funds.” They are facing up to five years in prison for their activities as investigative journalists, human rights advocates and members of the “February 20th Movement” — the Moroccan version of “Arab Spring” of 2011. Two days later, anti-government demonstrations spread across Morocco after social media spread the story of  Mousine Fikri, a fishmonger crushed to death inside a garbage truck as he tried to block the destruction of a truckload of his fish confiscated by police. The February 20th Movement, long assumed dormant, sprang back to life and took the lead in organizing the protests, which spread to 40 cities. These two events – the Monjib trial and the demonstrations sweeping the country — are hardly unrelated. Monjib and his co-defendants, journalists, media activists, and fighters for human rights, were already a thorn in the side of the regime even before the 2011 rising. Since then they and their colleagues […]

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CFP : HESCALE – Histoire, Économie, Sociologie des Cinémas d’Afrique et du Levant

HESCALE – Histoire, Économie, Sociologie des Cinémas d’Afrique et du Levant Call for Papers International Conference – Strasbourg (France) –15, 16, 17 March 2017 Producing films in/with Africa and the Middle East      Maghrebi, Arab, Mediterranean and African cinemas have become favoured areas of research, particularly with respect to the political, cultural, social and aesthetic issues communicated by the films in the context of their national and international reception. By contrast, the production and circulation of these films have not attracted attention beyond the work of a few isolated researchers and films critics. While Africa is often wrongly perceived as being a desert for films, it now boasts several flourishing national cinemas, even besides Nollywood. Indeed, Africa has never produced as many films as it does today. These films are very popular in certain parts of the world while unknown if not rejected in others. Meanwhile in the Middle East, countries without any film cultures or film traditions, are attempting to redefine relationships of power with respect to the production and circulation of films. Furthermore, the digital revolution, and its economic and cultural impact have transformed the processes of film production, distribution and circulation. While recent interest in Nollywood […]

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