The deceptive absence of Arabic in Nadir Moknèche’s Viva Laldjérie

Nadir Moknèche’s Viva Laldjérie (2003) is one of a number of films that mark as well as chronicle the turn of a new leaf in Algeria. It was shot in Algiers at the onset of the twenty-first century, when the previous decade’s civil war meant that images of Algeria on screen had become associated with...

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Main Author: Ziad Bentahar
Format: Article
Language:English
Published: Liverpool University Press 2019-06-01
Series:Francosphères
Subjects:
Online Access:http://www.liverpooluniversitypress.co.uk/doi/10.3828/franc.2019.5
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author Ziad Bentahar
author_facet Ziad Bentahar
author_sort Ziad Bentahar
collection DOAJ
description Nadir Moknèche’s Viva Laldjérie (2003) is one of a number of films that mark as well as chronicle the turn of a new leaf in Algeria. It was shot in Algiers at the onset of the twenty-first century, when the previous decade’s civil war meant that images of Algeria on screen had become associated with news of violence rather than movies. As the characters in Viva Laldjérie confront the trauma of war and their personal losses, they speak almost exclusively in French. Arabic remains conspicuously absent except for three specific instances during the film. Outside of these three instances, only a few words are perceived in the background. The circumstances of each use of Arabic indicate an evolution in the characters’ relationships with their pain and suffering following the shock of the war. French, in this context of Algerian civil war, becomes a language that allows a form of detachment from one’s own country for Algerians facing violence.
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spelling doaj-art-cfcb28561db8454e984da45d4bc385522025-08-20T02:12:07ZengLiverpool University PressFrancosphères2046-38202046-38392019-06-0181738310.3828/franc.2019.5The deceptive absence of Arabic in Nadir Moknèche’s Viva LaldjérieZiad Bentahar0Towson UniversityNadir Moknèche’s Viva Laldjérie (2003) is one of a number of films that mark as well as chronicle the turn of a new leaf in Algeria. It was shot in Algiers at the onset of the twenty-first century, when the previous decade’s civil war meant that images of Algeria on screen had become associated with news of violence rather than movies. As the characters in Viva Laldjérie confront the trauma of war and their personal losses, they speak almost exclusively in French. Arabic remains conspicuously absent except for three specific instances during the film. Outside of these three instances, only a few words are perceived in the background. The circumstances of each use of Arabic indicate an evolution in the characters’ relationships with their pain and suffering following the shock of the war. French, in this context of Algerian civil war, becomes a language that allows a form of detachment from one’s own country for Algerians facing violence.http://www.liverpooluniversitypress.co.uk/doi/10.3828/franc.2019.5Viva LaldjérieNadir MoknècheAlgerian cinemaAlgerian Civil WarArabicFrench in North Africa
spellingShingle Ziad Bentahar
The deceptive absence of Arabic in Nadir Moknèche’s Viva Laldjérie
Francosphères
Viva Laldjérie
Nadir Moknèche
Algerian cinema
Algerian Civil War
Arabic
French in North Africa
title The deceptive absence of Arabic in Nadir Moknèche’s Viva Laldjérie
title_full The deceptive absence of Arabic in Nadir Moknèche’s Viva Laldjérie
title_fullStr The deceptive absence of Arabic in Nadir Moknèche’s Viva Laldjérie
title_full_unstemmed The deceptive absence of Arabic in Nadir Moknèche’s Viva Laldjérie
title_short The deceptive absence of Arabic in Nadir Moknèche’s Viva Laldjérie
title_sort deceptive absence of arabic in nadir mokneche s viva laldjerie
topic Viva Laldjérie
Nadir Moknèche
Algerian cinema
Algerian Civil War
Arabic
French in North Africa
url http://www.liverpooluniversitypress.co.uk/doi/10.3828/franc.2019.5
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