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African Movie History

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Submitted By jesun0411
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question no.3
The film focuses on the lives of three women of different social classes who get publicly harassed. It starts with Fayza (Bushra), a low income government employee who gets harassed in a taxi and a bus (numbered 678) on the way to work. When she arrives home she resists her husband's attempts in sleeping with her and doesn't explain why she can't sleep with him.
It then moves to Seba a middle class jewelry designer who gets harassed in a stadium by a group of men while her husband is unable to reach her to stop what is happening to her. Following that, her husband was unable to live with what happened and she was left with no one to take care of her emotionally. She separated from her husband and started a harassment class in al Sawi cultural wheel.
Finally the movie focuses on Nelly, a standup comedian and call center employee who gets harassed verbally on a call with a customer as well as physically while walking home when a truck driver grabs her and pulls her through the street. When he finally leaves her she runs behind the truck and doesn't let it go until she and the crowds were able to pull the driver out and hand him over to the police. She tries to file a report for harassment but the police officer resists and send her to another precinct. She appears after that in a TV show as she was the first Egyptian to file a report for harassment.
Cast[edit]
question no.3 Egyptian flim...cairo 6,7,8
২০১০ সালে মোহাম্মাদ দিয়াব ছবিতি বানায় মিশরীয় মহিলাদের যৌন হয়রানির উপর।
চলচ্চিত্র বিভিন্ন সামাজিক শ্রেণীর তিন নারীর জীবন এর উপর গুরুত্ত্ব দেয়.যারা প্রকাশ্যে নিপীড়নের শিকার হয়। এটা ফাইজা (বুশরা)দিয়ে শুরু হয়., যে স্বল্প আয়ের সরকারি কর্মচারী এবং সে কাজ করতে জাওওার সময় একটি ট্যাক্সি এবং একটি বাসে (সংখ্যাযুক্ত 678) হয়রানির স্বীকার হয়। যখন সে বাড়িতে আসে সে তার স্বামীর সঙ্গে ঘুমাতে পারেনা এবং ব্যাখ্যা করতে পারেনা কেন সে তার সাথে ঘুমাতে পারছেনা.
এটা তারপর সেবা র ক্ষেত্রে ঘটে যে একজন মধ্যবিত্ত গয়না ডিজাইনার, যে স্টেডিয়ামে পুরুষদের একটি গ্রুপ দ্বারা হয়রানির শিকার হয়, যখন সেই অবস্থায় তার স্বামী তার জন্য কিছুই করতে পারেনা। তার স্বামী সেই সময়ের অবস্থা নিওন্ত্রন করতে পারেনি তাই তার স্বামীর কাছ থেকে আলাদা হয়ে যান এবং আল সাওই সাংস্কৃতিক হুইল এ হয়রানির ক্লাস শুরু করে।
অবশেষে সিনেমায় নেলি কে গুরুত্ত্ব দেয়া হয়. যে একজন স্ট্যান্ডআপ কমেডিয়ান এবং কল সেন্টার কর্মী যার একটি কাস্তমার এর সঙ্গে ফোনকল আ হয়রানির স্বীকার হয় এবং সেইসাথে শারীরিকভাবে ও হয়রানির স্বীকার হয় যখন বাড়িতে জাবার সময় একটি ট্রাক চালক তাকে জোর করে তেনে গাড়িতে তুলতে চায়। যখন সে নেলি কে ছেরে দেয় তখন নেলি দউরে ট্রাক এর পিছনে গিয়ে দারায় এবং ততখন পর্যন্ত দ্রিচের কে ছারেনা জতখন পর্যন্ত সে এবং জনতা ড্রাইভার কে গারি থেকে টেনে বের করে পুলিশ এর কাছে তিনি হয়রানির একটি রিপোর্ট করেন কিন্তু পুলিশ অফিসার সেই কেস নিতে চায় না এবং অন্ন জনের কাছে কেস করতে বলে। পরে তাকে একটি টিভি শোতে দেখানো হয় সেই হচ্ছে প্রথম মিশরীয় যে হয়রানির একটি রিপোর্ট দায়ের করতে পেরেছিল।

Question no. 02 aljerian movie days of glory.
In World War II, the Muslims from French colonies enlist to fight for their motherland France. In the 7th battalion commanded by the tough Sergeant Roger Martinez, the soldier Abdelkader has leadership with the troop and seeks promotion and recognition from the command; Said Otmari is a servile and illiterate private, happy in serving his sergeant; Messaoud Souni is the sniper of the group and has fallen in a corresponded love with the French Irène; and Yassir is fighting together with his brother to raise some money. Along the campaign in Italy, France and Alsace, they realize that French soldiers are promoted, has better food and have leaves to visit their families, while the Arab soldiers are shamefully discriminated and treated like 2nd ranking soldiers.
এটি একটি ফ্রেঞ্চ মুভি ২০০৬ সালে করা।
দ্বিতীয় বিশ্বযুদ্ধের সময়, ফরাসি উপনিবেশ থেকে মুসলমানরা তাদের মাতৃভূমির ফ্রান্স এর জন্য সংগ্রাম করতে নাম লেখায়।
শক্ত সার্জেন্ট রজার মার্টিনেজ দ্বারা আদিষ্ট 7th ব্যাটালিয়নের সৈনিক আব্দেলকাদের সেনাদল সঙ্গে নেতৃত্ব দেন এবং কমান্ড থেকে প্রচার এবং স্বীকৃতি কামনা করেন; সাঈদ অত-মারি তার সার্জেন্ট দের জনা একটি পরিশ্রমি এবং অশিক্ষিত খুশি একজন ব্যক্তি; Messaoud Souni মেসাওউন্দ সাওনি একজন গ্রুপ এর স্পেশালিষ্ট স্নাইপার এবং ফরাসি আইরিনের সঙ্গে একটি অনুরূপ প্রেমে পড়ে; এবং Yassir ইয়াসির কিছু টাকা জোগাড় করতে তার ভাইয়ের সাথে একসাথে যুদ্ধে থাকে।

ইতালি, ফ্রান্স এবং আলসাক প্রচারণা বরাবর, তারা বুঝতে পারে যে, ফরাসি সৈন্যদের প্রমোশন করা হচ্ছে , ভাল খাবার এবং তাদের পরিবারের সদস্যদের সঙ্গে সাক্ষাৎ করতে পারছে এবং যেখানে আরব সৈন্য লজ্জাজনকভাবে বৈষম্য এবং 2nd রাঙ্কিন এর সৈনিকদের মত মূল্যায়ন করা হচ্ছে.

Question 01
African cinema focuses on social and political themes rather than any commercial interests, and is an exploration of the conflicts between the traditional past and modern times. The political approach of African filmmakers is clearly evident in the Charte du cinéaste africain (Charter of the African cinéaste), which the union of African filmmakers FEPACI adopted in Algiers in 1975.
The filmmakers start by recalling the neocolonial condition of African societies. "The situation contemporary African societies live in is one in which they are dominated on several levels: politically, economically and culturally."[citation needed] African filmmakers stressed their solidarity with progressive filmmakers in other parts of the world. African cinema is often seen a part of Third Cinema.
Some African filmmakers, for example Ousmane Sembène, try to give back African history to African people by remembering the resistance to European and Islamic domination.
The role of the African filmmaker is often compared to traditional griots. Like them, the filmmakers' task is to express and reflect communal experiences. Patterns of African oral literature often recur in African films. African film has also been influenced by traditions from other continents, such as Italian neorealism, Brazilian Cinema Novo and the theatre of Bertolt Brecht.

আফ্রিকান মভিএর উদ্ভব ও বিকাশ
আফ্রিকান সিনেমা কোনো বাণিজ্যিক স্বার্থ নয় বরং সামাজিক ও রাজনৈতিক থিম উপর গুরুত্ত্ব দেয়, এবং ঐতিহ্যগত অতীত ও আধুনিক সময়ের দ্বন্দ্বের উপরগুরুত্ত দেয়।
আফ্রিকান চলচ্চিত্র নির্মাতাদের রাজনৈতিক পদ্ধতি পুরো পরিষ্কার (আফ্রিকান সিনিঅ্যাস্ট চার্টার), যা আফ্রিকান চলচ্চিত্র নির্মাতাদের ইউনিয়ন 1975 সালে আলজিয়ার্সে গৃহীত FEPACI স্পষ্টভাবে প্রতীয়মান.
চলচ্চিত্র নির্মাতাদের আফ্রিকান সমাজের নব্য ঔপনিবেশিক শর্ত দ্বারা শুরু হয়। "পরিস্থিতি সমসাময়িকভাবে আফ্রিকান সমাজেযারা বসবাস করত তারা বেশ কয়েকটি স্তরে ভাগ করা হয়:., অর্থনৈতিক ও সাংস্কৃতিকভাবে রাজনৈতিকভাবে"
আফ্রিকান চলচ্চিত্র নির্মাতাদের বিশ্বের অন্যান্য অংশে প্রগতিশীল চলচ্চিত্রকারদের সাথে তাদের একাত্মতা জোর দিয়ে মুভি বানায়. আফ্রিকান সিনেমা প্রায়ই তৃতীয় চলচ্চিত্রের একটি অংশ হিসেবে দেখা যায়.
কিছু আফ্রিকান চলচ্চিত্র নির্মাতাদের, উদাহরণস্বরূপ Ousmane Sembène জন্য, ইউরোপীয় ও ইসলামী আধিপত্য প্রতিরোধের স্মরণ দ্বারা আফ্রিকান মানুষকে আফ্রিকান ইতিহাস দিতে চেষ্টা করে মুভি তে।.
আফ্রিকান চলচ্চিত্রকারদের ভূমিকা প্রায়ই ঐতিহ্যবাহী griots গ্রিওট এর সাথে তুলনা করা হয়. তাদের মতএ , চলচ্চিত্র নির্মাতাদের 'টাস্ক প্রকাশ এবং সাম্প্রদায়িক অভিজ্ঞতা প্রতিফলিত হয়. আফ্রিকান মৌখিক সাহিত্যের নিদর্শন প্রায়ই আফ্রিকান চলচ্চিত্রে দেখা জায়। আফ্রিকান চলচ্চিত্র অন্য মহাদেশ এর ঐতিহ্য দ্বারা প্রভাবিত হয়েছে.যেমন ইতালীয় সংখ্যাযুক্ত, ব্রাজিলিয়ান সিনেমা নভ ইত্তাদি।

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