By Roy Armes
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Extra resources for African Filmmaking
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. The same year Chikly directed his own first fictional film, Zohra, scripted by and starring his daughter Haydée.
Both film industries continue with varying degrees of success to face new challenges in a very different world, confronting the very real threats to freedom of expression posed by Islamic fundamentalism in Egypt, and responding to the equally real opportunities of shaping a black cinema for a black-governed society in the new 32 BEGINNINGS South Africa. But in the absence of the kinds of industrial infrastructures which were developed in Egypt and South Africa, the models of production developed there remain largely irrelevant to other African filmmakers north and south of the Sahara.
16–7. 31. Denise Brahimi, Cinémas d’Afrique francophone et du Maghreb (Paris: Nathan, 1997), p. 7. 32. Jacqueline Kaye, Maghreb: New Writing from North Africa (York: Talus Editions, 1992), p. 5. 33. , p. 6. 34. Cruise O’Brien, Symbolic Confrontations, p. 15. 35. Mongo Beti, cited in Richard Bjornson, The African Quest for Freedom and Identity: Cameroonian Writing and the National Experience (Bloomington: Indiana University Press, 1994), p. 329. 36. Cf. Jacqueline Kaye and Abdelhamid Zoubir, The Ambiguous Compromise: Language, Literature and Identity in Algeria and Morocco (London and New York: Routledge, 1990).