By Roy Armes

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160. 53. Maherzi, Le cinéma algérien, p. 64. 54. Megherbi, Les Algériens au miroir du cinéma colonial, p. 269. 55. Claude Michel Cluny, Dictionnaire des nouveaux cinémas arabes (Paris: Sindbad, 1978), p. 264. 56. ), Twenty-Five Years of the New Latin American Cinema (London: British Film Institute, 1983), and Teshome H. Gabriel, Third Cinema in the Third World (Ann Arbour, MI: UMI Research Press, 1982). 35 3. AFRICAN INITIATIVES The current philosophy of filmmakers is in fact that the state should sustain production by helping its financing and distribution, but by regularising the market.

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). 37. Oliver, The African Experience, p. 305. 38. Jacques Maquet, Civilisations of Black Africa (New York: Oxford University Press, 1972), p. 17. 39. Ibid. 40. David Robinson, Muslim Societies in African History (Cambridge: Cambridge University Press, 2004), p. 27. 41. , p. 39. 42. , p. 42. 43. Ibid. 44. Hull, Modern Africa, p.

Initially, developments were the work of isolated pioneers, many belonging to Cairo’s thriving expatriate communities. 31 The key date was the founding of the Misr Studios in 1935, after which Egyptian cinema became a genuine film industry, capable of producing a dozen films in 1935 and building continuously so as to reach over forty a year by 1945. 32 Since Bank Misr was the leading Egyptian bank, the film industry was at the heart of the development of Egyptian capitalism. As Patrick Clawson has explained, ‘Bank Misr was established precisely to foster local industry .

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