Aesthetics of the educational discourse in

Moroccan Cinema
Films of Nassim Abbassi as a Case Study

The problematic of the research paper

Hypothesis
Reasons behind choosing this subject
Aims of this research paper
Methodology of this research paper

The outline
Chapter 1: Terms and concepts
1. The meaning of Aesthetics
2. The meaning of the educational discourse
3. The meaning of Discourse
4. The meaning of Moroccan Cinema
5. The meaning of Cinematic Discourse
Chapter 2: Cinema and Education: What Relationships?
I. Cinema and Educational Stakes: General Educational
Dimensions of Cinema
A. Society Renewing: A Cinematic Anxiety and An Educational
Concern;
B. Raising Universal and social Values: A Cinematic Ambition and an
Educational Intention;
C. Moroccan Cinema and Identity: a trial for self-rooting or a denial of
the Other;
II. Cinema and Educational Stakes: Specific Educational
dimensions of Cinema

1. Cinema’s effects on the Child

A. Cinema’s Psychological effects on the Child;
B. Cinema’s Social effects on the Child;
C. Cinema’s Epistemological effects on the Child;

2. The child Cinema Project: Between reality and

possibility
A. Cinematic awareness about Child Issue; From the
marginality of the margin to the centrality of the
marginalized;
B. Child Cinema in Morocco: between the past, the present
and the future;

3. Moroccan institutions and the Dialectic of Cinema

and Education
A. Official Institutions’ Responsibility.
B. Non-Official Institutions’ Responsibility.

4. The image of the Child in the Moroccan Cinematic

Discourse: ‘Majid’ by Nassim Abbassi As a Case
study
Chapter 3: Moroccan Cinema and Education
1. Educational Practice within Cinema: The film
“Majid” as Example
2. Cinema and Education in Morocco: Legislative
and referential framework
A. In the National Charter for Education and Training.
 B. In the Strategic Vision 2015/2030.
C. In the frame Law 17/51.
D. In the ministerial notes.
3. Cinema in the Educational field
A. The Educational Film?
B. Educational Film Clubs: from ‘being by Force’ to ‘being
by Action’.
C. The educational film: from the scenario to the show.
D. Film models from the educational field
Chapter 4: Aesthetics of the Educational Discourse in
Moroccan Cinema: the Film “Majid” by Nassim
Abbassi, as a Case Study
1- The Aesthetics of Cinematic Image: Multidimensional and
multiplicity of meanings;
2- The Aesthetics of Montage: From the Technological aspect to
Meaning Building;
3- The Aesthetics of Silence: Linguistic Rhetoric and Semantic
Condensation;
4- The Aesthetics of Language: How to do Things with Words;
5- The Aesthetics of Space: Poetics of Place, and Poeticity of Time;

General summary

Research problematic:

In this research paper, I will try to study the aesthetics of the

educational discourse in Moroccan cinema by reading some examples
of Moroccan films, and trying to answer some questions such as:
 What are the basic concepts that frame the aesthetics of the
educational discourse in Moroccan cinema?
What are the Specific and general educational stakes of cinema ?
How can we bridge the paths of establishing the link between
cinema and education in Morocco?
How does Moroccan cinema portray the child and the school?
What is the image that the educational system builds on
cinema?
Then, what are some of the aesthetics of the educational
discourse in Moroccan cinematic practice, based on some film
models?

Research hypothesis

We assume that:

1) Aesthetics is an important field of research that has expanded

to include the relationship between cinema and pedagogy.
2) Moroccan cinema is rich in its diversity, its outstanding
aesthetic richness, and its multiplicity of meaning-generating
speeches.
3) The educational discourse in Moroccan cinema has got a great
importance, and a considerable components;
4) The relationship between cinema and education is a
relationship of integration and fertilization that has imposed
itself in the light of the current scientific, technological, and
pedagogical development.
Reasons behind this topic

My choice of this topic: Aesthetics of the educational discourse

in Moroccan cinema stems from several reasons. These reasons
can be divided into subjective and objective:

Subjective reasons: I chose this topic because of my interest in

the artistic field in general and the cinema in particular. Also, I
have got a great desire to develop my cultural and artistic
knowledge, in addition to acquiring some academic researching
technics and content analysis mechanisms in various fields such as
aesthetics, cinema, discourse, and education. These latter, in my
opinion, are major themes that include many of the scientific
concerns and fields of knowledge that have become compulsory
for the person who aspires to keep in touch with the developments
of the times and aspires to contribute to the advancement of his or
her society.

Objective reasons: They are reasons that stem from the

importance of the subject itself. This is due to the importance of
the field of cinema. It has got a remarkable position within the rank
of the fine arts, as well as the great role that cinema plays in
forming the cultural identity of Moroccan society in general and
the artistic vulgarity in particular. Moreover, cinema can play a
bunch of roles such as: entertainment, education, propaganda, and
so forth. In addition to the fact that the educational field is
considered a fundamental pillar upon which the civilization of
 society is built. Thus, dealing with this cinematic-educational
issue, especially with its connection to aesthetics, would contribute
to reconsidering the relationship of Moroccan cinema with the
educational reality and returning this problem to the discussion
table, in order to think about building a clear plan and rationalized
workshops for the dialectic of educational discourse in Moroccan
cinema, as well as the practical deal with cinematography in the
educational field.

Aims of the research paper

This research paper aims to achieve several goals, the most

important of which we find: achieving university research that
reads the aesthetics of the educational discourse in Moroccan
cinema and checking out the possible relations between cinema
and education, as well as contributing to the consolidation of the
research conviction in cinema, and the interest in its culture,
functions, and academic stakes. In addition, to contribute, along
with a group of interested parties and actors, to asking questions
and formulating some answers about the aesthetics of the
educational discourse in Moroccan cinema, not to mention the
attempt to deduce / induce some of the aesthetics of the educational
discourse in Moroccan cinema. This is based on our belief that
Moroccan cinema is rich enough and has got its distinctive
aesthetics, its multiplicity and its meaning-generating speeches.

Research methodology and tools

Perhaps this study requires us to approach the topic through
different levels:

1. The theoretical and conceptual level within which

cinematic practice is framed.
2. The Aesthetic Experimental Level: We will try to monitor
the aesthetics of the educational discourse in Moroccan
cinema through readings in film models.
3. The critical level: the focus will be on the reality of
educational practice in the film field and the reality of
cinematic practice in the educational field.

To do so, it is very necessary to stand on some scientific research

methods. The descriptive method will help us to collect a bunch of
necessary and appropriate data in order to answer questions related
to time, place and manner imposed by this research paper. The
historical method would facilitate the analysis of the elements and
causes behind the aesthetics of the educational discourse in
Moroccan cinema. The semiological approach, as well, would be
reliable to reading and exploring the depths of signs and extracting
their connotations. Likewise, the sociological method would help
for analyzing the phenomenon of educational discourse in
Moroccan cinema seen as a sociological practice. The statistical
method will enable us to present a quantitative data on the research
topic.