History Of Tunisian Cinema
History Of Tunisian Cinema
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Tunisian Actress Hafsiya Harzi |
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Albert Samemah Chekli "The Blood of the Gazelle" |
The Tunisian
cinema keeps about 600 art films at the National Film
Archive. They treat all subjects of Tunisian society. Some
of these films have achieved international success as a
"sign of belonging" Cherfi Kamel (director Franco-Tunisian), which won
first prize in the Venice Film Festival, Halfaouine, The Child of
the Terraces and A Summer in La
Goulette of Ferid Boughedir, Naceur Ktari Ambassadors, The
Silences of the Palace Moufida Tlatli Essaïda Mohamed Zran red
Satin and more recently made by director Raja Amari.
Films exist in
Tunisia since its appearance in the world. By 1896, the
Lumiere brothers shoot moving pictures in the streets of
Tunis. In 1919, the first feature film made in
Africa, "The Five Gentlemen Cursed" to-Luitz Morat, was shot
in Tunisia. In 1927, the first Tunisian feature
film in black and white is directed and produced by Albert Samemah Chekli "The
Blood of the Gazelle" where his daughter played
the main role and is presented as the first actress in the
Arab world. The first film after independence is acted by Omar El Klifi "Al-Fajr" (Dawn) shot
in 35 millimeter.
In 1927, the first Tunisian film distribution company, TUNIS-FILM begins the operation. After independence, the film production depended entirely on the limited company Tunisian film production and expansion (SATPEC), which handles the management of cinematographic activities in the country. However, in the 1980s, we witness the emergence of the private sector resulting in the liquidation of the SATPEC. A period that represents the golden age of Tunisian cinema with the emergence of a social character and films that deal with the question of authority of all kinds.
In 1927, the first Tunisian film distribution company, TUNIS-FILM begins the operation. After independence, the film production depended entirely on the limited company Tunisian film production and expansion (SATPEC), which handles the management of cinematographic activities in the country. However, in the 1980s, we witness the emergence of the private sector resulting in the liquidation of the SATPEC. A period that represents the golden age of Tunisian cinema with the emergence of a social character and films that deal with the question of authority of all kinds.
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