TABLE OF CONTENTS INTRODUCTION: Moroccan Cinema: A Story of Transnational Adaptation PART I PRODUCTION FROM ABOVE: FORMAL NETWORKS CHAPTER 1: Established Sites of Production at Home 1.1: Rabat and the CCM: The institutional centre 1.2: Ouarzazate: The cinematic city 1.3: Tangier: The artisanal hub 1.4: Casablanca: The industrial and media hub CHAPTER 2: Transnational crossings 2.1: The politics of international co-production 2.2: The rooted transnationalism of diasporic filmmakers 2.3: Non-Western production networks: Gulf co-productions, a game changer? 2.
4: Co-production networks between North Africa and Sub-Saharan Africa PART II: PRODUCTION FROM BELOW: EMERGING SITES CHAPTER 3: Production from below - alternative and emerging networks 3.1: Film schools, education and training 3.2: Alternative training networks: Sahara Lab 3.3: Playing around the system: Hicham Lasri 3.4: Guerrilla filmmaking and political activism: Nadir Bouhmouch CHAPTER 4: Diverse voices 4.1: Amazigh cinema: The global flow of local images 4.2: Transnational contestations: Tala Hadid and Jawal Rhalib 4.3: Women's cinema, take one: Negotiating with the establishment 4.
4: Women's cinema, take two: Circumventing the establishment PART III DISTRIBUTION NETWORKS: FESTIVALS AUDIENCES AND MARKETS CHAPTER 5: Distribution and exhibition networks in morocco 5.1: Festivals in the kingdom 5.2: Piracy and the crisis of Moroccan distribution 5.3: Exhibition - the trouble with movie theatres 5.4: Pan-Arab transnational exhibition: The Cinematheque de Tanger CHAPTER 6: The transnational Moroccan festival network 6.1: The transnational festival network 6.2: Europe: A-list festivals, markets and film funds 6.3: International festivals beyond Europe: The Gulf and Africa 6.
4: Niche festivals in Europe and Northern America CHAPTER 7: Sales, distribution and digital disruption - the unrealized transnational reach of Moroccan cinema 7.1: Sales and distribution outside of Morocco 7.2: Selling Moroccan cinema to a European audience: Much Loved 7.3 Brave new world or the same old problems? Moroccan cinema, online distribution and digital disruption CONCLUSION: Transnational Moroccan cinema: Of bumblebees and butterflies PART IV: Interviews with filmmakers and industry practitioners REFERENCES BIBLIOGRAPHY FILMOGRAPHY ENDNOTES.