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Sensuous Cinema
The Body in Contemporary Maghrebi Film
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Book Presentation:
Sensuous Cinema: The Body in Contemporary Maghrebi Film examines a cluster of recent films that feature Maghrebi(-French) people and position corporeality as a site through which subjectivity and self-other relations are constituted and experienced. These films are set in and between the countries of the Maghreb, France and, to a lesser degree, Switzerland, and often adopt a sensual aesthetic that prioritizes embodied knowledge, the interrelation of the senses and the material realities of emotional experience. However, despite the importance of the body in these films, no study to date has taken corporeality as its primary point of concern.
This new addition to the Thinking Cinema series interweaves corporeal phenomenology with theological and feminist scholarship on the body from the Maghreb and the Middle East to examine how Maghrebi(-French) people of different genders, ethnicities, sexualities, ages and classes have been represented corporeally in contemporary Maghrebi and French cinemas. Via detailed textual and phenomenological analyses of films such as Red Satin (Amari 2002), Exiles (Gatlif 2004), Couscous (Kechiche 2007) and Salvation Army (Taïa 2014), Kaya Hayon Davies conveys the pivotal role that corporeality plays in articulating identity and the emotions in these films.
About the Author:
Kaya Davies Hayon is an Honorary Postdoctoral Researcher at the University of Lincoln, UK and Research and Development Manager at Belong - The Cohesion and Integration Network. Her first monograph, Sensuous Cinema: The Body in Contemporary Maghrebi Film was published with Bloomsbury in 2018, and she has also published on contemporary Arab and African film in edited collections, special issues and journals, including Alphaville: Journal of Film and Media and Studies in French Cinema.David Martin-Jones is Professor in Film and Television Studies at the University of Glasgow, UK. He is the author of Deleuze, Cinema and National Identity (2006), Deleuze Reframed (2008) and Scotland: Global Cinema (2009), and co-editor of Cinema at the Periphery (2010) and Deleuze and Film (forthcoming). He is on the editorial boards of Film-Philosophy and A/V: The Journal of Deleuzian Studies.
Press Reviews:
"The strength of the book lies in the descriptions of scenes that the author picks to portray sensuality ... the book will be of interest to those who wish to learn about the tensions that arise in portrayals of religiosity in films coming from Maghreb and its diaspora. It serves as an opening to a more comprehensive study of sensuality in Maghrebi cinema, including the corpus not available with French or English subtitles." ―Journal of Religion & Film
"Kaya Davies Hayon offers a compelling and nuanced reading of contemporary Maghrebi films focusing on corporeal desire as they challenge the sociopolitical and cultural normative practices of Maghrebi societies." ―Valérie K. Orlando, Professor, French and Francophone Literatures and Cultures, University of Maryland, College Park, USA, and author most recently of: The Algerian New Novel: The Poetics of a Modern Nation, 1950-1979 (2017) and New African Cinema (2017)
"Sensuous Cinema is an original, thoughtful account of the role of the body and 'embodied subjectivities' in contemporary Maghrebi and Maghrebi-French filmmaking. Davies Hayon productively draws on a range of critical traditions, such as the cinematic haptic, phenomenology, queer theory, and Western and Muslim feminism to offer a careful and sensitive analysis of a number of under-examined works. This book is a valuable contribution to the study of recent North African filmmakers and filmmaking practices, and will be of interest to scholars and students of film studies, French and Francophone visual culture, postcolonial studies, and gender and sexuality." ―Maria Flood, Lecturer in Film Studies, Keele University, UK
"Sensuous Cinema provides novel insight into corporeality as a defining concern of recent films about characters of Maghrebi heritage, and unearths fascinating connections between conceptions of embodied subjectivity from different regions of the world. In these ways, this carefully researched and astutely argued book makes a distinctive and powerful contribution to the contemporary debate over how films explore the significance of bodies." ―Libby Saxton, Senior Lecturer in Film Studies, Queen Mary University of London, UK
See the publisher website: Bloomsbury Academic
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