By Roy Armes
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Additional info for African Filmmaking: North and South of the Sahara (Traditions in World Cinema)
Between them, in the period 1986–96, CAAIC and ENPA were responsible for twenty-two features (an average of two a year), with Amar Laskri’s Vietnamese co-production, Lotus Flower/Fleur de lotus (1998), which was much delayed in production, emerging several years later. Many of these films were joint productions between the two companies and most were low-budget works – some in 16mm – primarily directed at a television market. The violent 1990s political turmoil in Algeria – what Benjamin Stora has called ‘the invisible war’, in which as many as 100,000 people may have died8 – drove many directors into exile in France and Italy.
14. Oliver, The African Experience, p. 277. 15. Ibid. 16. , p. 278. 17. Ibid. 18. Hull, Modern Africa, p. 192. 19. Oliver, The African Experience, p. 302. 20. Cited in John Reader, Africa: A Biography of the Continent (Harmondsworth: Penguin Books, 1998), p. 627. 21. Reader, Africa, p. 627. 22. Ibid. 16 THE AFRICAN EXPERIENCE 23. Hull, Modern Africa, p. 184. 24. Donal B. , 2003), pp. 142–3. 25. Albert Memmi, The Colonizer and the Colonized (London: Souvenir Press, 1974), p. 106. 26. , pp. 104–5.
When the First World War began, Chikly became one of 24 BEGINNINGS the dozen cameramen employed by the French Army film service (along with Abel Gance – future creator of Napoléon – and Louis Feuillade – author-to-be of the Fantômas and Judex series), filming at the front at Verdun in 1916. His services, in a war in which 10,000 Tunisian volunteers and conscripts died in the trenches, earned him the Military Medal. The extensive use of North African locations by French filmmakers began soon after the end of the First World War, and Chikly served as cameramen for one of these films, Tales of the Arabian Nights/Les Contes des mille et une nuits (1922) directed by the Russian émigré Victor Tourjansky.
African Filmmaking: North and South of the Sahara (Traditions in World Cinema) by Roy Armes