AWEJ for Translation & Literary Studies, Volume 6, Number2. May 2022 Pp. 43- 53
DOI: http://dx.doi.org/10.24093/awejtls/vol6no2.3
On How Certain Films and Songs Contain Otherness
Chadi Chahdi
Communication & Cultural Studies
Ibn Tofail University, Kenitra, Morocco
Corresponding Author: chaahdi@gmail.com
Jamal Akabli
King Fahd School of Translation in Tangier
Abdelmalek Essaadi University, Tetouan, Morocco
Received: 1/20/2022 Accepted: 3/25/2022 Published:5/24/2022
Abstract:
This article comes as a sort of voyage in the sense that it tries to go beyond the simple definitions that pin video clips down to being a mere form of entertainment and a mode of commercialization and instead shows them to be part and parcel of a well-established concourse of texts which repeat themselves with a difference. The study is thus an exploratory odyssey in the quest for the insinuations, intimations and nuances which impregnate a host of video clips made in and presumably about Morocco by a myriad of American and European artists whose works, considered in entirety, give way to what Barthes labels as the mythical, a phraseology studded with the stereotypical, which is no less insidious than the myth with its grand narratives as encapsulated in film or prose. Based on a qualitative approach, Babel, Marrakech Express, and Sex and the City are the three film samples we will set out to explore in juxtaposition with several singles: Do it Again by The Chemical Brothers, The World I Know by Collective Soul, Yalla by Inna, Marrakesh Express by Nash, Crosby, and Stills, Misere Mani by Era, and Nothing to Fear by Chris Rea.
Keywords: Films, songs, otherness, Video clips, Orientalism, Babel, Marrakech Express, Sex and the City, Music
Cite as: Chahdi, C., & J Akabli, J. (2022). On How Certain Films and Songs Contain Otherness. Arab World English Journal for Translation & Literary Studies 6 (2) 43- 53.
DOI: http://dx.doi.org/10.24093/awejtls/vol6no2.3
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