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This book places long overdue focus on the Palestine solidarity
films of two important Arab women directors whose cinematic works
have never received due attention within the scholarly literature
or the cultural public sphere. Through an analysis that situates
these largely overlooked films within the matrix of an anti-Zionist
critique of cinematic ontology, this book offers a materialist
feminist appreciation of their political aesthetics while
critiquing the ideological enabling conditions of their academic
absenting. The study of these daring films fosters a much-needed,
sustained understanding of the meaning and significance of
Palestine solidarity filmmaking for and within the Arab world.
This book offers a much-needed focus on Palestine solidarity films,
supplying a critical theoretical framework whose intellectual
thrust is rooted in the challenges facing scholars censored for
attempting to rectify and reverse the silencing of a subject matter
about which much of the world would remain uninformed without
cinematic and televisual mediation. Its innovative focus on
Palestine solidarity films spans a selected array of works which
began to emerge during the 1970s, made by directors located outside
Palestine/Israel who professed support for Palestinian liberation.
Visualizing the Palestinian Struggle analyzes Palestine solidarity
films hailing from countries such as Canada, the United Kingdom,
Egypt, Iran, Palestine/Israel, Mexico, and the United States.
Visualizing the Palestinian Struggle is an effort to insist,
constructively, upon a rectification and reversal of the glaring
and disproportionate minimization and distortion of discourse
critical of Zionism and Israeli policy in the cinematic and
televisual public sphere.
To a substantial degree cinema has served to define the perceived
character of the peoples and nations of the Middle East. This book
covers the production and exhibition of the cinema of Morocco,
Algeria, Tunisia, Egypt, Palestine, Jordan, Lebanon, Syria, Iraq,
the United Arab Emirates, Saudi Arabi, Yemen, Kuwait, and Bahrain,
as well as the non-Arab states of Turkey and Iran, and the Jewish
state of Israel. This second edition of Historical Dictionary of
Middle Eastern Cinema contains a chronology, an introduction, and
an extensive bibliography. The dictionary section has over 500
cross-referenced entries on individual films, filmmakers, actors,
significant historical figures, events, and concepts, and the
countries themselves. It also covers the range of cinematic modes
from documentary to fiction, representational to animation, generic
to experimental, mainstream to avant-garde, and entertainment to
propaganda. This book is an excellent resource for students,
researchers, and anyone wanting to know more about Middle Eastern
cinema.
This volume engages new films and modes of scholarly research in
Arab cinema, and older, often neglected films and critical topics,
while theorizing their structural relationship to contemporary
developments in the Arab world. The volume considers the
relationship of Arab cinema to transnational film production,
distribution, and exhibition, in turn recontextualizing the works
of acknowledged as well as new directorial figures, and
country-specific phenomena. New documentary and experimental
practices are referenced and critiqued, while commercial cinema is
covered both as an industrial product and as one of several
instances of contestation. The volume thus showcases the breadth
and depth of Arab film culture and its multilayered connections to
local conditions, regional affiliations, and the tendencies and
aesthetics of global cinema.
This volume engages new films and modes of scholarly research in
Arab cinema, and older, often neglected films and critical topics,
while theorizing their structural relationship to contemporary
developments in the Arab world. The volume considers the
relationship of Arab cinema to transnational film production,
distribution, and exhibition, in turn recontextualizing the works
of acknowledged as well as new directorial figures, and
country-specific phenomena. New documentary and experimental
practices are referenced and critiqued, while commercial cinema is
covered both as an industrial product and as one of several
instances of contestation. The volume thus showcases the breadth
and depth of Arab film culture and its multilayered connections to
local conditions, regional affiliations, and the tendencies and
aesthetics of global cinema.
This book offers a much-needed focus on Palestine solidarity films,
supplying a critical theoretical framework whose intellectual
thrust is rooted in the challenges facing scholars censored for
attempting to rectify and reverse the silencing of a subject matter
about which much of the world would remain uninformed without
cinematic and televisual mediation. Its innovative focus on
Palestine solidarity films spans a selected array of works which
began to emerge during the 1970s, made by directors located outside
Palestine/Israel who professed support for Palestinian liberation.
Visualizing the Palestinian Struggle analyzes Palestine solidarity
films hailing from countries such as Canada, the United Kingdom,
Egypt, Iran, Palestine/Israel, Mexico, and the United States.
Visualizing the Palestinian Struggle is an effort to insist,
constructively, upon a rectification and reversal of the glaring
and disproportionate minimization and distortion of discourse
critical of Zionism and Israeli policy in the cinematic and
televisual public sphere.
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