Abstract
This chapter argues against the grain of the pessimism characterizing the dominant discourse about the future of Moroccan cinema. Cinema closures and the prevalence of online and offline piracy are not life-threatening to Moroccan cinema. Instead, they are indicators of how this North African cinema has been adapting to the challenges of globalization and the digital revolution. Moroccan films are increasingly watched at home or on mobile devices rather than on big screens in dark rooms. In the same vein, the proliferation of online and CD-based piracy is not proven to have discouraged people from going the cinemas to watch Moroccan films.
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Bahmad, J. (2016). The Good Pirates: Moroccan Cinema in the Age of Digital Reproduction. In: Hagener, M., Hediger, V., Strohmaier, A. (eds) The State of Post-Cinema. Palgrave Macmillan, London. https://doi.org/10.1057/978-1-137-52939-8_5
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DOI: https://doi.org/10.1057/978-1-137-52939-8_5
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Publisher Name: Palgrave Macmillan, London
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Online ISBN: 978-1-137-52939-8
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