Katarzyna Pieprzak offers an astute analysis of literary representations of Casablanca by Moroccan arabophone writers in her article “Ruins, Rumors and Traces of the City of Brass: Moroccan Modernity and Memories of the Arab Global City” in Research in African Literatures 38. Paris: Julliard, 1999 Abderrahim Wafdi, Dérive à Casablanca, Casablanca: Afrique-Orient, 2001 Mahi Binebine, Les Etoiles de Sidi Moumen, Paris: Flammarion, 2010. Rabat: Dar Nashar Al-mu’arifa, 1994 Reda Lamrini, Les Puissants de Casablanca, Casablanca: Marsam (1999) Fouad Laroui, Méfiez-vous des parachutistes. Specific examples of contemporary Casa-centric literature include Abdelkrim Jouiti, “Medina Nuhhas.” Al-Mutawasidiat 11 (1999/2000): 98–101 Idriss Al-Khoury, Youssef fi butn umhu.
Mohamed Zafzaf, “Une nuit à Casablanca.” Trans. Edwards’ Morocco Bound: Disorienting America's Maghreb, from Casablanca to the Marrakech Express, Durham, N.C. Another rich study of depictions of Morocco in film, fiction, journalism, and anthropological and historical texts is Brian T. Shaheen's analyses Reel Bad Arabs: How Hollywood Vilifies a People, Interlink Publishing Group (2001) and Guilty: Hollywood's Verdict on Arabs After 9/11, Olive Branch Press (2008). For analyses of representations of Arabs in American cinema, see Jack G. Some recent films set in Morocco such as Alejandro González Iñárritu's Babel (2006), Bernardo Bertolucci's The Sheltering Sky (1990), Gillies MacKinnon's Hideous Kinky (1998) and André Téchiné's Changing Times (2004) still concentrate on Western characters but do incorporate local characters (played by Moroccan actors) and local culture to a greater extent. Pennell, Morocco: From Empire to Independence.
Berkeley, Los Angeles University of California Press (1994), 1.ģ. Susan Ossman, Picturing Casablanca: Portraits of Power in a Modern City. Toronto, Canada: The Mercury Press (1998), 57.Ģ. Nicole Brossard, She Should Be the First Sentence of My Next Novel.
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