8 Aesthetics of Confinement: Space, Memento Mori, and the Recording of History in Rachid Bouchareb’s Poussières de vie/Dust of Life

Chapters in this book

1. Frontmatter i
2. Contents v
3. Figures vii
4. Note on Translations viii
5. Notes on Contributors ix
6. Acknowledgements xiii
7. Introduction: Rachid Bouchareb— A Global French Filmmaker 1
8. PART I A Multidimensional Oeuvre
9. 1 Rachid Bouchareb’s Cinema as a “Vehicle for Encounters”: Cultural Mixings and the Pre-production Process 23
10. 2 The Road from Baton Rouge: Mapping Rachid Bouchareb’s Transnational Mobile Movies 40
11. 3 Questions of Gender and Embodiment in the Intimiste Films of Rachid Bouchareb 64
12. 4 Genre and Universalism in the Films of Rachid Bouchareb 82
13. 5 The American Dimensions of Rachid Bouchareb’s Cinema 99
14. 6 We Could Be Heroes: “Arabs” Becoming Brave in Rachid Bouchareb’s Cinema 117
15. 7 Globalization, Cinema, and Terrorism in Rachid Bouchareb’s Films: London River, Baton Rouge, and Little Senegal 131
16. PART II Case Studies
17. 8 Aesthetics of Confinement: Space, Memento Mori, and the Recording of History in Rachid Bouchareb’s Poussières de vie/Dust of Life 149
18. 9 The Door of No Return: A Cinema of (Up)rooting and Decentering in Rachid Bouchareb’s Little Senegal 166
19. 10 Rachid Bouchareb’s Hors la loi/ Outside the Law: A Lesson in History, Reception, and Artistic License 181
20. 11 Postcolonial Feminism, Gender, and Genre in Rachid Bouchareb’s Just Like a Woman 197
21. 12 Relations of Disjuncture in a “World-in-motion”: Rachid Bouchareb’s La Voie de l’ennemi/ Two Men in Town 215
22. Appendix: Filmography of Rachid Bouchareb 235
23. Index 238