Abstract This essay explores how the Moroccan film Le Temps du terrorisme uses the frame of the artistic/creative process to stage a study of religious fanaticism and its tragic consequences. Drawing on melorealism, the filmmaker uses tropes of comedy and farce already familiar to his theatre and television audiences, but he also layers his text with self-reflexive strategies of direct address and narrator as witness. These devices work to bridge the distance between fiction and reality, and author and audience. As filmmaker, Aziz Saâdallah forges a personal relationship between artist and viewer and carves out a space for a dialectics of the artistic process: demanding an active audience, posing questions and forcing the viewer to think. He thus seeks to raise debate across a wide range of spectators and poses complex questions of responsibility, tolerance and the role of artistic expression in the present-day times of terrorism.

中文翻译：

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在阿齐兹·萨达拉（AzizSaâdallah）的《恐怖主义时代》中“授权”恐怖主义

摘要本文探讨了摩洛哥电影《恐怖主义的时报》如何利用艺术/创作过程的框架进行宗教狂热及其悲剧性后果的研究。这位电影制片人借鉴了写实主义，运用了戏剧和电视观众已经熟悉的喜剧和闹剧的比喻，但他还通过直接反思和叙述者作为自我见证的自我反省策略来对文本进行分层。这些设备可缩小小说与现实之间以及作者与观众之间的距离。作为电影摄制者，阿齐兹·萨达拉（AzizSaâdallah）建立了艺术家与观众之间的个人关系，并为艺术过程的辩证法开辟了空间：要求活跃的观众，提出问题并迫使观众思考。因此，他寻求引起广泛观众的辩论，并提出了责任的复杂问题，