od7l-2026-03-06_23_17_15-document-sans-titre-72.pdf
od7l-2026-03-06_23_17_15-document-sans-titre-72.pdf
A quick pagination note first: the printed Arabic-numbered main text begins at book page one on PDF page fourteen. So, for the main text, PDF page equals printed page plus thirteen. Example: book page forty-three equals PDF page fifty-six. The front matter uses Roman numerals. The Contents are on pages five to nine, and Acknowledgments on pages eleven to twelve.
Also important for your referencing: I did not find any numbered figures or tables in the body chapters or appendix. The book is essentially text-driven. The only embedded images appear to be front/back matter visuals, notably on PDF pages one, four, and three hundred ninety-four, not analytical chapter figures. So for your thesis, you should cite chapter pages, not figure numbers.
One. Introduction (pages one to forty-two)
One. Introduction (pages one to forty-two)
Opening problem: "What Moroccan cinema?" (pages one to four)
Carter opens with the question she repeatedly heard in Morocco: "What Moroccan cinema?" She turns this into the book's central argument. The phrase does not simply mean that people had not seen Moroccan films; it signals a deeper uncertainty about whether a coherent Moroccan cinema exists at all, what role it should play, what kind of films should be made, who they are for, and why so few Moroccan films reached Moroccan audiences. She frames Moroccan cinema as a field of conflict over identity, purpose, circulation, legitimacy, and national representation rather than as a settled canon of films (pages one to four).
She also states very early that Moroccan cinema is shaped by multiple agents: filmmakers, state institutions, the economy, colonial legacies, international film flows, and the social organization of Moroccan society. Her aim is therefore not only to summarize films, but to produce a historical and critical account of the whole cinematic field from independence to two thousand six (pages one to two).
The rest of the introduction also previews the logic of the book: Chapter one will examine state-led foundations, Chapter two the struggle to define a Moroccan aesthetic, Chapter three new audiences and new filmmakers, and Chapter four thematic syntheses and future directions (pages two to four).