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Situated within an emerging academic interest in documentary film
in the Middle East and North Africa, this book studies the
development of diverse documentary forms in relation to
revolutionary and emancipatory movements that took place across the
twentieth century in the so-called Arab World. Inspired by Deleuze
and Guattari’s image of a “rhizome,” the author takes a
de-territorialized approach to revolutionary filmmaking, embracing
the diversity and fluidity of revolutionary works in the “Arab
World.” As well as outlining the documentary film histories of
the main film-producing nations of the region – Syria, Lebanon,
Palestine, Egypt, Tunisia, Algeria and Morocco – the book
analyzes the formal and esthetic features of individual works in
relation to specific socio-political historical developments.
Topics addressed include de-colonization, the wars of liberation,
the Tricontinental movement, the Palestinian question, the Rif
Uprising, the Leaden and Black Years, civil war in Lebanon, the
recent Arab revolutions, state authoritarianism and
totalitarianism, gender, collectivism and political subjectivity.
Ultimately, the book contributes to a general theory of
revolutionary documentary film forms by studying the works of
consecutive periods from different ideological contexts. The book
is much-needed reading for students and academics interested in
film and media studies and the history, culture and politics of the
Middle East and North Africa (MENA) region.
Situated within an emerging academic interest in documentary film
in the Middle East and North Africa, this book studies the
development of diverse documentary forms in relation to
revolutionary and emancipatory movements that took place across the
twentieth century in the so-called Arab World. Inspired by Deleuze
and Guattari’s image of a “rhizome,” the author takes a
de-territorialized approach to revolutionary filmmaking, embracing
the diversity and fluidity of revolutionary works in the “Arab
World.” As well as outlining the documentary film histories of
the main film-producing nations of the region – Syria, Lebanon,
Palestine, Egypt, Tunisia, Algeria and Morocco – the book
analyzes the formal and esthetic features of individual works in
relation to specific socio-political historical developments.
Topics addressed include de-colonization, the wars of liberation,
the Tricontinental movement, the Palestinian question, the Rif
Uprising, the Leaden and Black Years, civil war in Lebanon, the
recent Arab revolutions, state authoritarianism and
totalitarianism, gender, collectivism and political subjectivity.
Ultimately, the book contributes to a general theory of
revolutionary documentary film forms by studying the works of
consecutive periods from different ideological contexts. The book
is much-needed reading for students and academics interested in
film and media studies and the history, culture and politics of the
Middle East and North Africa (MENA) region.
Since it was first published in 1998, Viola Shafik's Arab Cinema:
History and Cultural Identity has become an indispensable work for
scholars of film and the contemporary Middle East. Combining
detailed narrative history-economic, ideological, and
aesthetic-with thought-provoking analysis, Arab Cinema provides a
comprehensive overview of cinema in the Arab world, tracing the
industry's development from colonial times to the present. It
analyzes the ambiguous relationship with commercial western cinema,
and the effect of Egyptian market dominance in the region. Tracing
the influence on the medium of local and regional art forms and
modes of thought, both classical and popular, Shafik shows how
indigenous and external factors combine in a dynamic process of
"cultural repackaging."Now updated to reflect cultural shifts in
the last two decades, this revised edition contains a new afterword
highlighting the latest developments in popular and in art-house
filmmaking, with a special focus on Iraq, Lebanon, Palestine, and
the Gulf States. While exploring problematic issues such as
European co-production for Arab art films, including their relation
to cultural identity and their reception in the region and abroad,
this new edition introduces readers to some of the most compelling
cinematic works of the last decades.
Ten Arab Filmmakers provides an up-to-date overview of the best of
Arab cinema, offering studies of leading directors and in-depth
analyses of their most important films. The filmmakers profiled
here represent principal national cinemas of the Arab
world-Algeria, Egypt, Lebanon, Morocco, Palestine, and Syria.
Although they have produced many of the region's most-renowned
films and gained recognition at major international festivals, with
few exceptions these filmmakers have received little critical
attention. All ten share a concern with giving image and voice to
people struggling against authoritarian regimes, patriarchal
traditions, or religious fundamentalism-theirs is a cinema engage.
The featured directors are Daoud Abd El-Sayed, Merzak Allouache,
Nabil Ayouch, Youssef Chahine, Mohamed Chouikh, Michel Khleifi,
Nabil Maleh, Yousry Nasrallah, Jocelyne Saab, and Elia Suleiman.
Ten Arab Filmmakers provides an up-to-date overview of the best of
Arab cinema, offering studies of leading directors and in-depth
analyses of their most important films. The filmmakers profiled
here represent principal national cinemas of the Arab
world—Algeria, Egypt, Lebanon, Morocco, Palestine, and Syria.
Although they have produced many of the region's most-renowned
films and gained recognition at major international festivals, with
few exceptions these filmmakers have received little critical
attention. All ten share a concern with giving image and voice to
people struggling against authoritarian regimes, patriarchal
traditions, or religious fundamentalism—theirs is a cinéma
engagé. The featured directors are Daoud Abd El-Sayed, Merzak
Allouache, Nabil Ayouch, Youssef Chahine, Mohamed Chouikh, Michel
Khleifi, Nabil Maleh, Yousry Nasrallah, Jocelyne Saab, and Elia
Suleiman.
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