The Black magic: An aesthetic analysis of its illustration in the sociohorteur film: Dachra

Authors

DOI:

https://doi.org/10.5195/cinej.2022.464

Keywords:

Cinema, sociohorteur movies, black magic, witchcraft, Immaterial Cultural Heritage, Dachra, Rithos Diabolicos, Abdelhamid Bouchnak

Abstract

Throughout the history of the humanity, and not withstanding of the humankind; the black magic has always been, and is still, an ugly and frightening human folklore in many cultures, whatever would be their religions and beliefs ; and from which, they are still suffering until nowadays, due to its distinction with mysterious and suspicious practices that have been imprinted in the identity of mankind, as a point of contention that transcends different sects and races. Discussing such issue is deeply hated by most of the populations, due to the huge rate of horror and frightens it may push the interlocutors to feel: what if such an internationally suffering from problematic is treated through a motion picture? Would its receiving and comprehension be better and easier? And how would a horror movie be a film d’auteur, horror and social one at the same time? Will there be a difference in the way of receiving it by the audience? And would the fact of being predecessor and identificatory at the same time, positively influence its distribution? We will try to answer all those questions through our article that we baptise: The Black magic: an intangible cultural heritage in defiance of the human will-An aesthetic and analytical lecture of its illustration in the sociohorteur movie: Dachra made by Abdelhamid Bouchnak

Author Biography

Faten Ridene, High School of Audiovisual and Cinema ESAC Gammarth-Carthage University-Tunisia

Assistant Professor-Researcher-Reviewer_Film Critic

References

Ben Said, S. (2018, Novembre 25). Bande originale Dachra: un tremblement! Les tritons pour faire peur aux spectateurs! (F. Ridene, Intervieweur) Facebook. Tunis.

Blaise, L. (2019, Janvier 23). ReportageslCulture: Dachra, le premier film d’horreur 100 % tunisien. Consulté le Février 10, 2019, sur Middleeasteye: https://www.middleeasteye.net/node/75655

Blake, M., & Bailey, S. (2013). Writing the horror movie. New York, USA: BloomsBury Academic. Retrieved 05 10, 2020

Bouchnak, A. (Réalisateur). (2018). Dachra [Film]. Tunisie: Hakka Distribution (tn.) Celluloid Dreams (int.). Consulté le 11 9, 2018, sur https://artify.tn/media/5d65056b73b8df0c6b5c3aba/dachra

Bouchnak, A. (2018, 11 17). Dachra: between horror and inherited rituals against our will. (F. RIDENE, Intervieweur)

Cronenberg, D. (Réalisateur). (1986). La Mouche-The Fly [Film].

Hitchcock, A. (Director). (1960). Psycho/Psychose [Motion Picture].

Hmaoui, R. (2018, Novembre 25). Musique et Horreur: une recherche. Faten Ridene. Facebook, Tunis.

Jdey, A. (2018, Novembre 10). JCC 2018: «Dachra» d’Abdelhamid Bouchnak, angoissante pépite. Tunis. Consulté le Novembre 15, 2018, sur https://nawaat.org/portail/2018/11/10/jcc-2018-dachra-dabdelhamid-bouchnak-angoissante-pepite/

Ksontini, H. (2019, 01 23). horreur et étalonnage: une merveilleuse adéquation. (F. RIDENE, Intervieweur) Faten Ridene. Facebook, Tunis.

Kubrick, S. (Director). (1980). Shining - L'enfant-Lumière [Motion Picture].

Lamontagne, D. (2005). L’art de faire peur. Des récits légendaires aux films d’horreur. Par Martine Roberge. Ethnologies, 27(1), 339-342. doi:10.7202/014035ar

Mejrissi, J. G. (2013, Décembre 21). jihed mejrissi blog. Consulté le Décembre 10, 2018, sur Tunisian Words Of Amazigh Origin: https://jihedmejrissi.wordpress.com/2013/12/21/6/

Nechi, H. (2018, Décembre 17). Les choix du DOP en faveur du rythme terrifiant de Dachra. (F. Ridène, Intervieweur) Facebook.

RIDENE, F. (2016-2017, Décembre-Janvier). Fellini: entre Mythes et Réalités. (M. Falleh, Éd.) Ecrans Tunisie: Le Mensuel du Cinéma et de l'Audiovisuel, Décembre-Janvier, pp. 23-26. Consulté le 15 01, 2019, sur https://www.researchgate.net/publication/327190074_Fellini_Entre_Mythes_et_Realites

RIDENE, F. R. (2020, 07 01). Quand Dachra Oscille entre coin de magie noire et titre de film horteur: lecture esthétique et analytique. Horizons Cinéma, 7(1), 537-557. doi:10.13140/RG.2.2.31691.75040/1

Spielberg, S. (Director). (1975). Jaws-Les Dents de La Mer [Motion Picture].

Tarkovski, A. (Réalisateur). (1979). Stalker [Film].

Yanal, R. J. (2005). Hitchcock as Philosopher. McFarland & Company.

Zayed, K. (2019, 02 19-20). Record battu de Dachra avec Hakka Distribution. (F. RIDENE, Intervieweur)

الجزيرة+. (10 أوت, 2018). الأمازيغ، السكان الأصليون لشمال أفريقيا. (فايسبوك، المحرر) تاريخ الاسترداد 10 أوت, 2018، من +AJعربي: https://www.facebook.com/ajplusarabi/videos/1935752126468323/

الطرابلسي،وفاء ؛ الشعيبي، أحمد ؛ طراد، حمدي (المخرج). (2015). تحقيق حول ظاهرة السحر و الشعوذة في تونس [فيلم سينمائي]. تونس: تونسنا تي في. تاريخ الاسترداد 11 أوت, 2018، من https://youtu.be/R6DtvfUAMyQ

Downloads

Published

2022-12-19

How to Cite

Ridene, F. (2022). The Black magic: An aesthetic analysis of its illustration in the sociohorteur film: Dachra. CINEJ Cinema Journal, 10(1), 124–149. https://doi.org/10.5195/cinej.2022.464

Issue

Vol. 10 No. 1 (2022): Fall 2022

Section

Articles

License

Authors who publish with this journal agree to the following terms:

  1. The Author retains copyright in the Work, where the term “Work” shall include all digital objects that may result in subsequent electronic publication or distribution.
  2. Upon acceptance of the Work, the author shall grant to the Publisher the right of first publication of the Work.
  3. The Author shall grant to the Publisher and its agents the nonexclusive perpetual right and license to publish, archive, and make accessible the Work in whole or in part in all forms of media now or hereafter known under a Creative Commons Attribution 4.0 International License or its equivalent, which, for the avoidance of doubt, allows others to copy, distribute, and transmit the Work under the following conditions:
    1. Attribution—other users must attribute the Work in the manner specified by the author as indicated on the journal Web site;
    with the understanding that the above condition can be waived with permission from the Author and that where the Work or any of its elements is in the public domain under applicable law, that status is in no way affected by the license.
  4. The Author is able to enter into separate, additional contractual arrangements for the nonexclusive distribution of the journal's published version of the Work (e.g., post it to an institutional repository or publish it in a book), as long as there is provided in the document an acknowledgement of its initial publication in this journal.
  5. Authors are permitted and encouraged to post online a prepublication manuscript (but not the Publisher’s final formatted PDF version of the Work) in institutional repositories or on their Websites prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work. Any such posting made before acceptance and publication of the Work shall be updated upon publication to include a reference to the Publisher-assigned DOI (Digital Object Identifier) and a link to the online abstract for the final published Work in the Journal.
  6. Upon Publisher’s request, the Author agrees to furnish promptly to Publisher, at the Author’s own expense, written evidence of the permissions, licenses, and consents for use of third-party material included within the Work, except as determined by Publisher to be covered by the principles of Fair Use.
  7. The Author represents and warrants that:
    1. the Work is the Author’s original work;
    2. the Author has not transferred, and will not transfer, exclusive rights in the Work to any third party;
    3. the Work is not pending review or under consideration by another publisher;
    4. the Work has not previously been published;
    5. the Work contains no misrepresentation or infringement of the Work or property of other authors or third parties; and
    6. the Work contains no libel, invasion of privacy, or other unlawful matter.
  8. The Author agrees to indemnify and hold Publisher harmless from Author’s breach of the representations and warranties contained in Paragraph 6 above, as well as any claim or proceeding relating to Publisher’s use and publication of any content contained in the Work, including third-party content.

Revised 7/16/2018. Revision Description: Removed outdated link.