Cahiers de Recherches en Sciences du Langage
Volume 4, Numéro 1, Pages 59-79
2026-03-27
La Persuasion Dans Le Cinéma Tunisien : Représentation, Genre Et Pouvoir Dans Les Silences Du Palais Et Fleur D’alep
Auteurs : Nasraoui Taycir .
Résumé
This article explores persuasion in Tunisian cinema through the analysis of Les Silences du Palais (1994) by Moufida Tlatli and Fleur d’Alep (2016) by Ridha El Behi. It examines how these films employ Aristotle’s three rhetorical appeals — ethos, pathos, and logos — to question patriarchal, colonial, and ideological power structures while fostering both individual and collective emancipation. In Les Silences du Palais, Moufida Tlatli leverages her ethos as a pioneering female filmmaker to expose patriarchal and colonial oppressions through a narrative intertwining individual and collective memory. Pathos is heightened through the suffering of female characters, while logos is reflected in the film’s social critique of gender norms and power dynamics. In Fleur d’Alep, Ridha El Behi addresses radicalization through the lens of a mother attempting to rescue her son from extremist influence. The director’s ethos stems from an authentic denunciation of the human consequences of fanaticism. Logos provides a rational analysis of the causes and effects of indoctrination, while pathos evokes empathy by depicting the suffering of victims. By combining these rhetorical strategies, these films go beyond mere representation of Tunisian social realities; they become instruments of resistance and social transformation, demonstrating cinema’s power as a tool of persuasion and emancipation.
Mots clés
Tunisian cinema persuasion rhetoric ethos, pathos, logos patriarchy power structures emancipation gender oppression radicalization
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