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Le sacré dans le cinéma arabo-musulman : un interdit ambigu

Abstract : Cinema was born in a secular world where man tried to evolve through the machine. The origin of the 7th art is not connected with religious or ceremonial practices like painting or theater. The cinema is not the result of religious expression, yet the sacred has ceased to appear in many forms. Robert Bresson was able, in his films, sanctify the daily life of any man, constructing the space piece by piece. In the works of Tarkovsky, the sacred is taking shape thanks to the evolution of the character, which exceeds gradually. However, in Tunisian cinema, the sacred is essentially related to religion. Whether in films Nacer Khemir, Nouri Bouzid or Ridha Behi of the sacred is built on a vertical axis. This is a sacred that is defined - mainly - due to the relationship between man and his God. Is it then the Islamization of film policy in Arab countries reinforced this superposition of sacred and religious? How the Arab-Muslim could trace the lines of the sacred and its limits as he know what he is?
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Submitted on : Wednesday, June 19, 2019 - 12:05:26 PM
Last modification on : Friday, December 4, 2020 - 3:35:03 AM


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  • HAL Id : tel-02160055, version 1



Ahmed Khelif. Le sacré dans le cinéma arabo-musulman : un interdit ambigu. Art et histoire de l'art. Université Paul Valéry - Montpellier III; Université de Carthage (Tunisie), 2018. Français. ⟨NNT : 2018MON30077⟩. ⟨tel-02160055⟩



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