'Filming the Modern Middle East' is the first comparative investigation of how modern American cinema and the cinemas of the Arab world represent Middle Eastern politics to their audiences. Lina Khatib examines the cinematic depictions of major political issues, from the Arab-Israeli conflict to the Gulf War, to Islamic fundamentalism, and covers films made in the USA, in Egypt, Tunisia, Morocco, Lebanon, Syria and Palestine. She explores cinema's role as a tool of nationalism in the USA and the Arab world, and the challenges the Arab cinemas present to Hollywood's dominant representations of Middle Eastern politics. But, she also reveals similarities between supposed contradictory cinemas and - importantly - not only how the 'Orient' is constructed by the 'Occident', but also how the 'Orient' itself in these cinemas represents Self and Others and how it is consumed by internal as well as external struggles. This is a fascinating, original contribution to the burgeoning interest in world cinemas, which also offers a fresh way of seeing Middle East politics through cinematic lenses.
Politics in the Middle East is now 'seen' and the image is playing a central part in processes of political struggle. This is the first book in the literature to engage directly with these changing ways of communicating politics in the region - and particularly with the politics of the image, its power as a political tool. Lina Khatib presents a cross-country examination of emerging trends in the use of visuals in political struggles in the Middle East, from the Cedar Revolution in Lebanon to the Green Movement in Iran, to the Arab Spring in Egypt, Syria and Libya. She demonstrates how states, activists, artists and people 'on the street' are making use of television, the social media and mobile phones, as well as non-electronic forms, including posters, cartoons, billboards and graffiti to convey and mediate political messages. She also draws attention to politics as a visual performance by leaders and citizens alike. With a particular focus on the visual dynamics of the Arab Spring, and based on case studies on the visual dimension of political protest as well as of political campaigning and image management by political parties and political leaders, Image Politics in the Middle East shows how visual expression is at the heart of political struggle in the Middle East today. It is a hard-hitting, enjoyable, groundbreaking book, challenging the traditional ways in which politics in the Middle East is conceived of and analysed.
Storytelling in World Cinemas, Vol. 1: Forms is an innovative collection of essays that discuss how different cinemas of the world tell stories. The book locates European, Asian, African, and Latin American films within their wider cultural and artistic frameworks, showing how storytelling forms in cinema are infused with influences from other artistic, literary, and oral traditions. This volume also reconsiders cinematic storytelling in general, highlighting the hybridity of 'national' forms of storytelling, calling for a rethinking of African cinematic storytelling that goes beyond oral traditions, and addressing films characterised by 'non-narration'. This study is the first in a two-volume project, with the second focusing on the contexts of cinematic storytelling.
Storytelling in World Cinemas, Vol. 2: Contexts addresses the questions of what and why particular stories are told in films around the world, both in terms of the forms of storytelling used, and of the political, religious, historical, and social contexts informing cinematic storytelling. Drawing on films from all five continents, the book approaches storytelling from a cultural/historical multidisciplinary perspective, focusing on the influence of cultural politics, postcolonialism, women's social and cultural positions, and religious contexts on film stories. Like its sister volume, Storytelling in World Cinemas, Vol. 1: Forms, this book is an innovative addition to the academic study of world cinemas.
"Twenty-four essays on individual selected films, many by scholars and writers based in the region. It explores established film cultures such as those of Turkey and Iran, and also nascent cinemas such as those of Israel, Palestine and Syria. ... Selected films include Cairo Station (Egypt, 1958), Umat (Turkey, 1970), The Runner (Iran, 1989) ... Once upon a time, Beriut (Lebanon, 1994), Chronicle of a disappearance (Palestine, 1996), Circle of dreams (Israel, 2000), Ten (Iran, 2002) and Uzak (Turkey, 2003)."--Page 4 of cover.
This book addresses the questions of what and why particular stories are told in films around the world, both in terms of the forms of storytelling used, and of the political, religious, historical, and social contexts informing cinematic storytelling. Drawing on films from all five continents, the book approaches storytelling from a cultural/historical multidisciplinary perspective, focusing on the influence of cultural politics, postcolonialism, women's social and cultural positions, and religious contexts on film stories. Like its sister volume, 'Storytelling in World Cinemas, Vol. 1: Forms', this book is an innovative addition to the academic study of world cinemas.
Ideal for students and general readers, this single-volume work serves as a ready-reference guide to pop culture in countries in North Africa and the Middle East, covering subjects ranging from the latest young adult book craze in Egypt to the hottest movies in Saudi Arabia. • Allows readers to make cross-cultural comparisons by relating pop culture in the Islamic world to pop culture in the United States • Supplies highly relatable content for young adult readers that is presented in a fun and engaging way • Provides information that students can use in daily life, such as renting a popular or acclaimed Middle Eastern film or watching a YouTube video of Egyptian music • Enables students to better understand the uneasy paradox that is pop culture in the Islamic world
In this landmark dictionary, Roy Armes details the scope and diversity of filmmaking across the Arab Middle East. Listing more than 550 feature films by more than 250 filmmakers, and short and documentary films by another 900 filmmakers, this volume covers the film production in Iraq, Jordan, Lebanon, Palestine, Syria, and the Gulf States. An introduction by Armes locates film and filmmaking traditions in the region from early efforts in the silent era to state-funded productions by isolated filmmakers and politically engaged documentarians. Part 1 lists biographical information about the filmmakers and their feature films. Part 2 details key feature films from the countries represented. Part 3 indexes feature-film titles in English and French with details about the director, date, and country of origin.
"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"--
This edited volume offers the first extended, cross-disciplinary exploration of the cumulative problems and increasing importance of various forms of media in the Middle East. Leading scholars with expertise in Middle Eastern studies discuss their views and perceptions of the media’s influence on regional and global change. Focusing on aspects of economy, digital news, online businesses, gender-related issues, social media, and film, the contributors of this volume detail media’s role in political movements throughout the Middle East. The volume illustrates how the increase in Internet connections and mobile applications have resulted in an emergence of indispensable tools for information acquisition, dissemination, and activism.
This book explores the body and the production process of popular culture in, and on, the Middle East and North Africa, Turkey, and Iran in the first decade of the 21st century, and up to the current historical moment. Essays consider gender, racial, political, and cultural issues in film, cartoons, music, dance, photo-tattoos, graphic novels, fiction, and advertisements. Contributors to the volume span an array of specializations ranging across literary, postcolonial, gender, media, and Middle Eastern studies and contextualize their views within a larger historical and political moment, analyzing the emergence of a popular expression in the Middle East and North Africa region in recent years, and drawing conclusions pertaining to the direction of popular culture within a geopolitical context. The importance of this book lies in presenting a fresh perspective on popular culture, combining media that are not often combined and offering a topical examination of recent popular production, aiming to counter stereotypical representations of Islamophobia and otherness by bringing together the perspectives of scholars from different cultural backgrounds and disciplines. The collection shows that popular culture can effect changes and alter perceptions and stereotypes, constituting an area where people of different ethnicities, genders, and orientations can find common grounds for expression and connection.
While Middle Eastern culture does not tend to be associated with laughter and levity in the global imagination, humor—often satirical—has long been a staple of mainstream Arabic film. In Humor in Middle Eastern Cinema, editors Gayatri Devi and Najat Rahman shed light on this tradition, as well as humor and laughter motivated by other intent—including parody, irony, the absurd, burlesque, and dark comedy. Contributors trace the proliferation of humor in contemporary Middle Eastern cinema in the works of individual directors and from the perspectives of genre, national cinemas, and diasporic cinema. Humor in Middle Eastern Cinema explores what humor theorists have identified as an “emancipatory,” “liberatory,” even “revolutionary” function to humor. Among the questions contributors ask are: How does Middle Eastern cinema and media highlight the stakes and place of humor in art and in life? What is its relation to the political? Can humor in cinematic art be emancipatory? What are its limits for its intervention or transformation? Contributors examine the region’s masterful auteurs, such as Abbas Kiarostami, Youssef Chahine, and Elia Suleiman and cover a range of cinematic settings, including Egypt, Iran, Israel, Lebanon, Palestine, Syria, Tunisia, and Turkey. They also trace diasporic issues in the distinctive cinema of India and Pakistan. This insightful collection will introduce readers to a variety of contemporary Middle Eastern cinema that has attracted little critical notice. Scholars of cinema and media studies as well as Middle Eastern cultural history will appreciate this introduction to a complex and fascinating cinema.
This timely new monograph takes as its starting point the provocative contention that Holocaust film scholarship has been marginalized academically despite the crucial role Holocaust film has played in fostering international awareness of the Nazi genocide and scholarly understandings of cinematic power. The book suggests political and economic motivations for this seeming paradox, the ideological parameters of which are evident in debates and controversies over Holocaust films themselves, and around Holocaust culture in general. Lending particular attention to four exemplary Holocaust “art” films (Korczak [Poland, 1990], The Quarrel [Canada, 1990], Entre Nous [France, 1983], and Balagan [Germany, 1994]), this book breaks disciplinary ground by drawing critical connections between public and scholarly debates over Holocaust representation, and the often sophisticated cinematic structures lending aesthetic shape to them in today’s global arena.
This volume provides a multifaceted approach to how meanings of space are created and how they impact individuals’ perceptions, sense of belonging, identity, actions and ideologies. It brings together various contributions that shed light on the multiplicity of voices and narratives on space, on their co-existence and forms of interactions, and on the ways in which they emerged from, and reshaped, relations of power.
Few world regions today are of more pressing social and political interest than the Middle East: hardly a day has passed in the last decade without events there making global news. Understanding the region has never been more important, yet the field of Middle East studies in the United States is in flux, enmeshed in ongoing controversies about the relationship between knowledge and power, the role of the federal government at universities, and ways of knowing “other” cultures and places. Assembling a wide range of scholars immersed in the transformations of their disciplines and the study of this world region, Middle East Studies for the New Millennium explores the big-picture issues affecting the field, from the geopolitics of knowledge production to structural changes in the university to broader political and public contexts. Tracing the development of the field from the early days of the American university to the “Islamophobia” of the present day, this book explores Middle East studies as a discipline and, more generally, its impact on the social sciences and academia. Topics include how different disciplines engage with Middle East scholars, how American universities teach Middle East studies and related fields, and the relationship between scholarship and U.S.-Arab relations, among others. Middle East Studies for the New Millennium presents a comprehensive, authoritative overview of how this crucial field of academic inquiry came to be and where it is going next.
A wide-ranging survey of the subject that celebrates the variety and complexity of film comedy from the ‘silent’ days to the present, this authoritative guide offers an international perspective on the popular genre that explores all facets of its formative social, cultural and political context A wide-ranging collection of 24 essays exploring film comedy from the silent era to the present International in scope, the collection embraces not just American cinema, including Native American and African American, but also comic films from Europe, the Middle East, and Korea Essays explore sub-genres, performers, and cultural perspectives such as gender, politics, and history in addition to individual works Engages with different strands of comedy including slapstick, romantic, satirical and ironic Features original entries from a diverse group of multidisciplinary international contributors
Comprised of 43 innovative contributions, this companion is both an overview of, and intervention into the field of cinema and gender. The essays included here address a variety of geographical contexts, from an analysis of cinema. Islam and women and television under Eastern European socialism, to female audience reception in Nigeria, to changing class and race norms in Bollywood dance sequences. A special focus is on women directors in a global context that includes films and filmmakers from Asia, Africa, Australia, Europe, North and South America. The collection also offers a solid overview of feminist contributions to thinking on genre from the "chick flick" to the action or Western film, to film noir and the slasher. Readers will find contributions on a variety of approaches to spectatorship, reception studies and fandom, as well as transnational approaches to star studies and essays addressing the relationship between feminist film theory and new media. Other topics include queer and trans* cinema, eco-cinema and the post-human. Finally, readers interested in the history of film will find essays addressing the methodological dimensions of feminist film history, essays on silent and studio era women in film, and histories of female filmmakers in a variety of non-Western contexts.