Selma Baccar’s Fatma 75: At the Crossroads between Third Cinema and New Arab Cinema

Abstract

[...] Cinema is, in our opinion, the cinema that recognizes in that struggle the most gigantic cultural, scientific, and artistic manifestation of our time, the great possibility of constructing a liberated personality with each people as the starting point - in a word, the decolonization of culture.1 Their approach to cinema was highly politicized and fundamentally Marxist. According to Guy Hennebelle, the search for new forms is founded on a series of refusals [. . .] of the former direction of Egyptian cinema, a refusal of old methods, a refusal of compromises.