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Journal articles on the topic 'Middle East film'

Author: Grafiati

Published: 4 June 2021

Last updated: 2 February 2022

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1

Akser, Murat. "New Media and Film Festivals in the Middle East." CINEJ Cinema Journal 4, no. 1 (2015): 110–21. http://dx.doi.org/10.5195/cinej.2014.120.

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This paper is about two things. On the one hand it tries to observe some of the changes after the digital revolution, changes that had an impact on film festivals. The digital projection and acceptance of digital films to film festivals have been achieved. Yet an aspect of this digitization is under attack. The film submissions through digital portals. The second aspect is often neglected and an under the other topic: short film festivals, especially for and by the young.

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Saglier, Viviane. "Arab Americans in Film: From Hollywood and Egyptian Stereotypes to Self-Representation." Review of Middle East Studies 54, no. 2 (2020): 328–35. http://dx.doi.org/10.1017/rms.2021.7.

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What can film studies bring to the study of Arab culture, politics, and history? The past ten years have seen an increase in historical, theoretical, and methodological exchanges between Middle East studies and film and media studies. The sub-field of “Arab film studies” (Ginsberg and Lippard 2020, viii) has emerged as one possible intersection of these two fields of inquiry. This is illustrated by two recent book series, the Cinema and Media Cultures in the Middle East series at Peter Lang Publishing (edited by Terri Ginsberg and Chris Lippard) and the Palgrave Studies in Arab Cinema series a

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Shemer, Yaron. "Thematics and Hermeneutics in Four Recently Published Books on Middle Eastern/Arab Cinema." Review of Middle East Studies 50, no. 1 (2016): 58–66. http://dx.doi.org/10.1017/rms.2016.68.

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Along with the periodic irreverence towards Area Studies by its disciplinary counterparts, there has also been some discomfort within the narrow confines of Film Studies for scholarship that focuses on individual national or regional cinemas. And yet, the growing interest in the cinema of the Middle East (North Africa included) is unquestionable. The four books reviewed here are part of this trend; dozens of other publications on Middle Eastern cinema have been authored in English alone in the new millennium. Explanations for this (re)ignited interest go beyond the obvious political currents i

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Wessels, Josepha Ivanka. "Cosmopolitanism, Activism and Arab Documentary Film." Middle East Journal of Culture and Communication 13, no. 2 (2020): 210–31. http://dx.doi.org/10.1163/18739865-01302003.

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Abstract Since the 1970s, Arab documentary filmmakers have highlighted struggles for personal freedom, dignity and democracy by those restricted by oppressive systems of colonialism, occupation and authoritarianism. In this article I study four contemporary Arab documentary films to identify a path vital for the rethinking of cosmopolitanism and global citizenship in Middle East studies. After the 2011 global interest in the Arab uprisings, Syrian and Palestinian documentaries rose to acclaim at international film festivals, and won Emmys and Oscar nominations. The often character-led stories

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Kiasatpour, Soleiman M. "The Internet and Film: Teaching Middle East Politics Interactively." PS: Political Science and Politics 32, no. 1 (1999): 83. http://dx.doi.org/10.2307/420755.

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Kiasatpour, Soleiman M. "The Internet and Film: Teaching Middle East Politics Interactively." PS: Political Science & Politics 32, no. 01 (1999): 83–89. http://dx.doi.org/10.1017/s1049096500048903.

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Almughni, Opel, Edward Edward, and Mohammad Fauzi. "Breadwinner’s Propaganda within the English Foreign Movie’s Depiction of Middle-East." Elsya : Journal of English Language Studies 2, no. 2 (2020): 30–34. http://dx.doi.org/10.31849/elsya.v2i2.4929.

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Film is one of media products whose development as art product that have free-expression, it is also one of the mainstream media. The presence of a film provides its own color in other media mass competition to benefit for many people. This study deals with an analysis of propaganda by film techniques used in The Breadwinner film. The purpose of this study is to find out the types, the meanings and the functions of Propaganda used in The Breadwinner film. The data are taken from the script of The Breadwinner, Angelina Jolie as A Producer released on 8th September 2017 and directed by Nora Twom

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Hertzog, Esther. "Anthropological Perspectives on Two Documentary Films on Women in the Middle East." Anthropology of the Middle East 14, no. 1 (2019): 142–50. http://dx.doi.org/10.3167/ame.2019.140109.

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In this essay, I refer to two documentaries demonstrating some common features of male violence against women in the Jewish and Palestinian societies in Israel. Abeer Zaibak Haddad’s film about ‘honor killing’ illustrates the profound threat on girls’ and women’s physical safety. Yael Katzir’s film is about Jewish women’s struggle for religious rights. It is argued that being subjugated to patriarchal control, both Arab and Jewish women are denied fundamental rights. This understanding implies that, despite basic differences in socio-economic conditions and civil rights, women’s oppression is

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Yaqub, Nadia. "Teaching with Film and Photography in Introductory Middle East Courses." Review of Middle East Studies 51, no. 1 (2017): 50–54. http://dx.doi.org/10.1017/rms.2017.53.

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Some years ago, a colleague from another institution told me how much she was looking forward to screening Nasser 56 in her introductory Middle East history course. Students had just finished reading about the Nasser era, and the screening of Muhamad Fadel's stylish biopic starring the charismatic film star Ahmed Zaki would serve as an enjoyable way to round out the unit. I was surprised, not at my colleague's use of the film in her class, but at her timing. Released in 1996, Nasser 56 is very much the product of the Mubarak era. It offers rich opportunities to discuss the particular challenge

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Dadar, Taraneh. "Film in the Middle East and North Africa: Creative Dissidence." British Journal of Middle Eastern Studies 41, no. 4 (2014): 526–27. http://dx.doi.org/10.1080/13530194.2014.957478.

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Gallouët, Catherine. "A Review of “Film in the Middle East and North Africa”." Quarterly Review of Film and Video 30, no. 4 (2013): 400–404. http://dx.doi.org/10.1080/10509208.2011.650051.

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Van de Peer, Stefanie. "Fragments of War and Animation: Dahna Abourahme’s Kingdom of Women and Soudade Kaadan’s Damascus Roofs: Tales of Paradise." Middle East Journal of Culture and Communication 6, no. 2 (2013): 151–77. http://dx.doi.org/10.1163/18739865-00602003.

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In this article, the author addresses the meaning of animated fragments in documentary films. She analyzes a Syrian and a Lebanese film, and illustrates the role and function of the hybrid form as a means through which women are now able to express themselves. Dahna Abourahme’s film Ein El Hilweh: Kingdom of Women (Lebanon, 2010) and Soudade Kaadan’s film Damascus Roofs: Tales of Paradise (Syria, 2010) are used as recent examples of documentaries addressing taboo issues by way of animated fragments. The author places these films in the wider context of the contemporary developments in animatio

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Salsabila, Nada, and Diah Ayu Candraningrum. "Representasi Kearifan Lokal Budaya Timur Tengah dalam Film “Aladdin (2019)” Produksi Walt Disney Pictures." Koneksi 4, no. 1 (2020): 7. http://dx.doi.org/10.24912/kn.v4i1.6494.

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This research examines the representation of Middle Eastern culture local wisdom contained in the film "Aladdin 2019" produced by Walt Disney Pictures. This study aims to examine the cultural symbols of the Middle East. The research method used in this study is a qualitative method with Charles Sanders Peirce's semiotic analysis which divides the sign into three elements namely sign, object and interpretant. Semiotics is the science that discusses or examines the meaning of a sign. The results showed that Middle Eastern cultural symbols in the film "Aladdin 2019" were displayed through 10 scen

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Andayani, Ambar, and Jupriono Jupriono. "REPRESENTATION OF NYI RORO KIDUL IN MYTH, LEGEND, AND POPULAR CULTURE." ANAPHORA: Journal of Language, Literary and Cultural Studies 2, no. 1 (2019): 28–36. http://dx.doi.org/10.30996/anaphora.v2i1.2724.

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Nyi Roro Kidul, Nyai Loro Kidul, or Nyai Ratu Kidul is a character of folk legend which has existedÂ all along south coast of Java land: from East Java, to Middle Java and Jogjakarta, then to West Java and Banten. People along the south coast of Java island believe to myth of this legendary character as a beautiful and supernatural woman who has authority of devil realm in Indonesian Ocean (Indian Ocen) or Segoro Kidul (South Sea). The popularity of Nyi Roro Kidul has also become motivation for national film-making and TV media to produce many films and drama about this character. Although the

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Temple, Walter S. "Transitions Within Queer North African Cinema." Screen Bodies 2, no. 2 (2017): 64–77. http://dx.doi.org/10.3167/screen.2017.020205.

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In recent years, North African queer cinema has become increasingly visible both within and beyond Arabo-Orientale spaces. A number of critical factors have contributed to a global awareness of queer identities in contemporary Maghrebi cinema, including the dissemination of films through social media outlets and during international film festivals. Such tout contemporain representations of queer sexuality characterize a robust wave of films in the Middle East and North Africa (MENA) region, inciting a new discourse on the condition of the marginalized traveler struggling to locate new forms of

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Akvani, Hamdallah, Abdolvahed Zarifi, and Hossein Fakhraei. "A Critical Analysis of the Political Discourse of Exceptionalism in the American Sniper Movie." Medijske studije 11, no. 21 (2020): 24–43. http://dx.doi.org/10.20901/ms.11.21.2.

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Political discourse usually tends to diffuse itself in other discursive fields. One of the areas through which the political field can be reproduced is the field of popular culture, especially films. Moreover, language serves as the intermediate variable in which political discourses in the media offer themselves more or less ideologically. In this paper, the language of the film American Sniper and its relation to the exceptionalism discourse in the politics of the United States is reviewed. It addresses the major question of how the discourse of American Sniper is related to the three layers

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Gordon, Joel. "POP CULTURE ROUNDUP." International Journal of Middle East Studies 50, no. 4 (2018): 787–94. http://dx.doi.org/10.1017/s0020743818000843.

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Two decades ago I published an article in this journal about Egyptian biographical films. It was the first study published inIJMESabout Arab/Middle East film and the first to feature photographic illustrations. The editor sent it to four reviewers, some presumably to check my history, others my cultural scope. Three approved wholeheartedly, but one protested thatIJMESshould not publish a piece that was not based upon “Arabic sources.” Admittedly, there was little critical literature in Arabic on this topic; my primary theorization came from a recent study of Hollywood “biopics.” But Stephen Hu

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Skare, Roswitha. ""Kann jemand, der diese Musik gehört hat, […] noch ein schlechter Mensch sein?" – om Wieslers forandring og kunstens påståtte rolle i denne prosessen." Nordlit 16, no. 2 (2012): 35. http://dx.doi.org/10.7557/13.2371.

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The Life of Others (2006) has been a successful film, winning the Oscar for Best Foreign Feature in 2007. It is a film about surveillance, but also about the lives of artists and writers in East Berlin in the middle of the 1980s, and about what role literature and art played in the GDR and in the events of autumn 1989. The article focuses on the way the film portrays Wiesler’s transformation from hard-boiled Stasi officer into the guardian angel of his target, and shows how art – both literature and music – plays an important role in this process.

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Palucka, Tim. "World’s biggest science film festival expands in Southeast Asia, North Africa, and the Middle East." MRS Bulletin 42, no. 04 (2017): 270–72. http://dx.doi.org/10.1557/mrs.2017.78.

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Fisanov, Volodymyr. "Problems of international governance in the middle east during the cold war period." Науковий вісник Чернівецького національного університету імені Юрія Федьковича. Історія 1, no. 49 (2019): 101–8. http://dx.doi.org/10.31861/hj2019.49.101-108.

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The article is devoted to little-known aspects of the political and military developments in the Middle East during the Cold War – from the division of Palestine into two states and until the mid-1950s. The focus is on the confrontation between the two superpowers of the United States and the USSR for their influence on Arab countries. This article uses little-known documentary material, as well as the display of some of the described international events in contemporary film documentaries. It was clarified that in the investigated period the first steps of the policy of large fore

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Zvijer, Nemanja. "Hollywood industry: Correlation between film production and political discourse." Sociologija 47, no. 1 (2005): 45–66. http://dx.doi.org/10.2298/soc0501045z.

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The paper focuses on the relation between Hollywood industry and political establishment of the USA, particularly US foreign policy and the military intervention as its specific form. Only the biggest and the most significant US military interventions were considered: World War Two, Korean War, Vietnam War, military interventions in Latin America, in the Middle East, Asia, Africa and on Balkan, concerning their treatment in Hollywood movies without analyzing them in broader socio-political context. In addition, the anticommunism in Hollywood is also considered, which was perhaps the most peren

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Karim, Lanja Najmalddin. "Kurdish National Identity in the films of Yilmaz Guney and Bahmani Ghobadi." Journal of University of Human Development 7, no. 3 (2021): 69–73. http://dx.doi.org/10.21928/juhd.v7n3y2021.pp69-73.

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this essay explores the conceptualization of Kurdish identity in the works of Kurdish film makers, namely Bahmani Ghobadi and Yikmaz Guney, whose films established a unified Kurdish National Cinema beyond the borders and statelessness in a transnational space. This essay delineates the ways Kurdishness is expressed in the cinematic techniques of the two Kurdish film makers who used similar subtle techniques to incorporate their Kurdish identity into the films they made. The Kurds, as one of the largest stateless ethnic group in the Middle East have suffered violent oppression, state perpetuate

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Hudson, Dale. "Toward a Cinema of Contact Zones." Afterimage 47, no. 4 (2020): 26–49. http://dx.doi.org/10.1525/aft.2020.47.4.26.

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Dubai is often defined by aerial shots of its landmark architecture in Bollywood and Hollywood films. By activating fantasies of seeing the whole city, the lived social realities of the city’s inhabitants fade from view. With Ali F. Mostafa’s City of Life (Dar al-haya, 2009, United Arab Emirates) as an example, this article explores the possibility of a cinema of contact zones, drawing upon Dubai’s historical interconnections with the world through intersecting globalizations. The film offers parallel narratives about different classes of residents that overlap, mingle, compete, align, and rea

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Allagui, Ilhem, and Abeer Najjar. "Framing Political Islam in Popular Egyptian Cinema." Middle East Journal of Culture and Communication 4, no. 2 (2011): 203–24. http://dx.doi.org/10.1163/187398611x571373.

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AbstractPolitical Islam has been at the forefront of political discussions in and of the Middle East and has often been associated with violence and 'terrorism'. Much has been written on political Islam, but there has been little work on how Arab audiences respond to and view political Islam and the groups seen to be acting under this generic framework, including al-Qa'eda. In the absence of serious audience research that would give us a better idea about attitudes, this article examines how Arab popular culture frames active Islamist groups; in particular we focus on Egyptian films that help

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Hatton, Brynn. "On Impossibility: Finding Vietnam in a Jordanian-Soviet Film Archive." ARTMargins 9, no. 2 (2020): 7–32. http://dx.doi.org/10.1162/artm_a_00261.

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In 2014, an abandoned collection of over 900 16mm and 35mm film canisters was uncovered in a storage locker in Amman, Jordan. Initial findings show that the films were likely exported from Russia to Jordan between the late 1960s and early 1990s as part of a Soviet cultural exchange program, and among them are are a number of propaganda films made to highlight relations between Vietnam, Russia, and concurrent political struggles in the Arab Middle East. Work on the archive continues despite recent restrictions on researcher access levied by state custodians. This essay positions the entire arch

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Arnold, Sarah, and Anne O'Brien. "Doing women’s film & television history." Alphaville: Journal of Film and Screen Media, no. 20 (January 27, 2021): 3–11. http://dx.doi.org/10.33178/alpha.20.01.

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The scholarship collected in this issue of Alphaville represents a selection of the research that was to be presented at the 2020 Doing Women’s Film & Television History conference, which was one of the many events cancelled as a result of the Covid-19 pandemic. The pandemic itself greatly impeded academic life and our capacity to carry out and share research among colleagues, students and the public. Covid-19 was even more problematic for women, who shouldered a disproportionate care burden throughout the pandemic. Therefore, we are particularly delighted to be able to present an issue th

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Khater, Akram, and Jeffrey Culang. "EDITORIAL FOREWORD." International Journal of Middle East Studies 47, no. 3 (2015): 421–23. http://dx.doi.org/10.1017/s0020743815000471.

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The cover image for this issue, from Moroccan artist Mounir Fatmi's installation Modern Times, depicts architectural structures and the cogs of a machine filled in with Arabic calligraphy, representing rapid architectural development and industrialization across the modern and contemporary Middle East. The title derives from the eponymous 1936 Charlie Chaplin film in which Chaplin's character Little Tramp is a factory worker during the Great Depression who, trying to keep up with the acceleration of the assembly line, is quickly overcome and succumbs to a nervous breakdown. Like the film, Fatm

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Dobronravin, Nikolai. "Design Elements and Illuminations in Nigerian “Market Literature” in Arabic and ʿAjamī". Islamic Africa 8, № 1-2 (2017): 43–69. http://dx.doi.org/10.1163/21540993-00801001.

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“Market literature” in Arabic and ʿAjamī is a particular variety of West African Islamic book culture, which is especially strong in northern Nigerian states. Arabic-script “Nithography” (by analogy to Nollywood, the modern Nigerian film industry) represents a unique phenomenon, although it is reminiscent of the nineteenth-century Islamic lithography in the Middle East. Nigerian “market literature” in Arabic and ʿAjamī has mostly followed the pre-colonial manuscript tradition of Central Sudanic Africa, including writing styles, colophons and glosses. In contrast to Middle Eastern book culture,

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Bokhari, Kamran A. "The 36th Annual Meeting of the Middle East Studies Association of North America." American Journal of Islam and Society 20, no. 1 (2003): 163–66. http://dx.doi.org/10.35632/ajis.v20i1.1889.

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The 36th annual meeting of the Middle East Studies Association of NorthAmerica (MESA), was held at the Wardman Park Hotel, Washington, DC,November 23-26, 2002. This conference, possibly the largest gathering ofscholars and students of the Middle East, took place in an atmosphere saturatedby 9/11 and Washington’s plans for an all-out war against Iraq, aswell as considerable right-wing and pro-Zionist pressure applied by suchmembers of the epistemic community of scholars, journalists, and policyanalysts as Daniel Pipes (the Middle East Forum) and Martin Kramer, aone-time director and currently a

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Kazurova, Natalia V., and Ekaterina Y. Trushkina. "THE ROAD MOVIE GENRE IN THE WEST MOVIES AND THE MUSLIM EAST CINEMATOGRAPHY." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 4 (2021): 126–42. http://dx.doi.org/10.28995/2686-7249-2021-4-126-142.

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The article analyzes specific features of the Road Movie genre in a historical perspective on the example of the Western countries film production and Iran national cinematography. To that end the authors focus on genre and semantic variety of classical movies, a «proto-road-movie» and the Road Movies of nowadays. A comparative approach to the study of the genre formula provides for revealing the nuances in the stylistic techniques of directors and defining the national features of the semantic core of the Road Movie genre in both the Western movies (created in Europe and the USA) and in the f

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Whatley, Edward. "Book Review: Pop Culture in Asia and Oceania." Reference & User Services Quarterly 56, no. 3 (2017): 219. http://dx.doi.org/10.5860/rusq.56n3.219a.

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Pop Culture in Asia and Oceania provides readers with a broad but surprisingly detailed overview of popular culture in Asia (excluding the Middle East), Australia, and New Zealand. Though the geographic focus of coverage may be somewhat narrow, the forms of pop culture covered in the single volume are quite varied and reveal a rich cultural tapestry that may be unfamiliar to many Western readers. Pop culture is of course intended for mass consumption, and the mediums and entertainments covered in Pop Culture in Asia and Oceania reflect that intent. They include: popular music, books and contem

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Hasbullah, Hasbullah, and Gede Pasek Putra Adnyana Yasa. "MAKNA KODE VISUAL DALAM SCENE FILM ANIMASI “ BATTLE OF SURABAYA”." Jurnal Bahasa Rupa 3, no. 2 (2020): 124–29. http://dx.doi.org/10.31598/bahasarupa.v3i2.460.

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The animated film "Battle of Surabaya" is one of the nation's children's work that is able to win various awards, both at national and international levels. In some scenes in this animated film, there is a visual code that contains information or messages delivered to the audience (audience). Through observing several scenes, it is found that there is a meaning of the visual codes contained in the scene. This study aims to analyze the aesthetic visual codes contained in the first, middle and end scenes of the animated film "Battle of Surabaya". Data collected through observation and literature

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Van de Peer, Stefanie. "Joseph Gugler (ed.) (2011) Film in the Middle East and North Africa: Creative Dissidence, University of Texas Press, Austin, TX." Journal for Cultural Research 16, no. 2-3 (2012): 327–31. http://dx.doi.org/10.1080/14797585.2012.647758.

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Poljarevic, Emin. "Les Salafistes and a French Reproduction of Certainties in a World of Uncertainties." American Journal of Islam and Society 33, no. 2 (2016): 145–55. http://dx.doi.org/10.35632/ajis.v33i2.915.

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The new French documentary Les Salafistes (The Salafis) that premieredJanuary 26, 2016, in a small number of French theaters offersiconographic imagery seldom seen in the public space: a stringof interviews with some of the leading jihadist militants in Mali,Tunisia, Algeria, and Iraq coupled with ghastly images of violenceperpetrated by militant groups. The intention appears to be to showthe irrationality of and paradox in the jihadis’ discourse and actions.Unfortunately, the directors have succeeded only in reproducing alreadyexisting stereotypes of Salafis. The lack of any appropriatecontex

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GÖKDEMİR, Aylin. "THE PLACE OF WOMEN IN THE MIDDLE EAST AND THEIR REPRESENTATION IN THE CINEMA: FILM ANALYSIS OF STONING THE SORAYA M." Journal of Communication Science Researches 1, no. 2 (2021): 81–96. http://dx.doi.org/10.7456/100102100/001.

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Coates, Oliver. "New Perspectives on West Africa and World War Two." Journal of African Military History 4, no. 1-2 (2020): 5–39. http://dx.doi.org/10.1163/24680966-00401007.

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Abstract Focusing on Anglophone West Africa, particularly Nigeria and the Gold Coast (Ghana), this article analyses the historiography of World War Two, examining recruitment, civil defence, intelligence gathering, combat, demobilisation, and the predicament of ex-servicemen. It argues that we must avoid an overly homogeneous notion of African participation in the war, and that we should instead attempt to distinguish between combatants and non-combatants, as well as differentiating in terms of geography and education, all variables that made a significant difference to wartime labour conditio

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Tialiou, Kelley. "Inhabiting Liminality: Cosmopolitan World-Making in Naeem Mohaiemen’s Tripoli Cancelled." Humanities 8, no. 2 (2019): 117. http://dx.doi.org/10.3390/h8020117.

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Motivated by “the need to embody … the palpable tension between the North and the South as it is reflected, articulated, and interpreted in contemporary cultural production”, documenta 14’s selection of Athens as a “vantage point … where Europe, Africa, the Middle East, and Asia face each other” is in line with the ancient Greek concept of the ‘cosmopolite’, a term that Diogenes first coined “as a means of overcoming the usual dualism Hellene/Barbarian”. In this article, I suggest that Naeem Mohaiemen’s feature film, Tripoli Cancelled (2017), commissioned by documenta 14 and premiered at the N

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Hummel, Daniel G. "His Landand the Origins of the Jewish-Evangelical Israel Lobby." Church History 87, no. 4 (2018): 1119–51. http://dx.doi.org/10.1017/s0009640718002391.

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The 1970 release ofHis Land, a religious documentary about Israel produced by Billy Graham's film studio, World Wide Pictures, took the evangelical world by storm. It was shown to hundreds of thousands, perhaps millions, of churchgoers and encapsulated the mix of prophecy beliefs and cultural arguments that cohered a decade later into the Christian Zionist movement—a major component of the religious right. Surprisingly, American evangelicals were not the only fans ofHis Land. American Jews, led by the American Jewish Committee(AJC), helped make the film an international success. AJC officials

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Pajović, Uroš, and Naeem Mohaiemen. "Southward and Otherwise." ARTMargins 8, no. 2 (2019): 79–89. http://dx.doi.org/10.1162/artm_a_00237.

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This project comes out of a conversation between Mohaiemen and Pajović, about the relative absence of Non-Aligned Movement co-founder Josip Broz Tito, from the three-channel film Two Meetings and a Funeral (2017, dir: Mohaiemen). In the film, a series of conversations between Vijay Prashad, Samia Zennadi, Atef Berredjem, Amirul Islam, and Zonayed Saki sketch out the shadow play of warring forces inside the Non-Aligned Movement, especially around the decolonizing nations of the Middle East, Africa, and Asia that found an option to look toward an "Islamic" supra-national identity. Because of tha

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Antic, Marija. "Beyond the Voice of Egypt: Reclaiming Women’s Histories and Female Authorship in Shirin Neshat’s Looking for Oum Kulthum (2017)." European Journal of Life Writing 10 (September 8, 2021): WLS169—WLS189. http://dx.doi.org/10.21827/ejlw.10.37918.

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By drawing on postcolonial feminist discourse and Hamid Naficy’s (2001) notion of ‘accented’ cinema, in particular his approach of combining the interstitial position of exilic and diasporic filmmakers with concepts of authorship and genre, this paper explores the intersection between biographical film, gendered rewriting of history, and self-narrative as a site of resistance to nationalist and patriarchal ideologies in Shirin Neshat’s Looking for Oum Kulthum (2017). I argue that Neshat’s authorial style and her position as an exilic artist inflect the biographical film in its traditional form

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Larkin, Brian. "Indian films and Nigerian lovers: media and the creation of parallel modernities." Africa 67, no. 3 (1997): 406–40. http://dx.doi.org/10.2307/1161182.

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AbstractThis article discusses the significance of Indian films in revealing a relatively ignored aspect of the transnational flow of culture. The intra-Third World circulation of Indian film offers Hausa viewers a way of imaginatively engaging with forms of tradition different from their own at the same time as conceiving of a modernity that comes without the political and ideological significance of that of the West. After discussing reasons for the popularity of Indian films in a Hausa context, it accounts for this imaginative investment of viewers by looking at narrative as a mode of socia

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Rasmus, Agnieszka. "What bloody film is this? "Macbeth" for our time." Multicultural Shakespeare: Translation, Appropriation and Performance 18, no. 33 (2018): 115–28. http://dx.doi.org/10.18778/2083-8530.18.08.

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When Roman Polanski’s Macbeth hit the screens in 1971, its bloody imagery, pessimism, violence and nudity were often perceived as excessive or at least highly controversial. While the film was initially analysed mostly in relation to Polanski’s personal life, his past as a WWII child survivor and the husband of the murdered pregnant wife, Sharon Tate, in retrospect its bleak imagery speaks not only for his unique personal experience but also serves as a powerful comment on the American malaise, fears and paranoia that were triggered, amongst other things, by the brutal act of the Manson Family

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Nadel, Alan. "God's Law and the Wide Screen: The Ten Commandments as Cold War “Epic”." Publications of the Modern Language Association of America 108, no. 3 (1993): 415–30. http://dx.doi.org/10.1632/462612.

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Cecil B. deMille's Ten Commandments can be read as a major product of American cold war ideology, highlighting and localizing the foci of America's political, theological, and economic conflicts. The apparatus of wide-screen technology resolves these conflicts visually by mediating a series of gazes in an economy that equates God's perspective with American interests during the cold war and those interests with the rigidity of gender roles, the commodification of women, the representation of “true” Jews as proto-Christians, and the reclamation of the Middle East as legitimately within the Amer

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Suleiman, Elia. "The Occupation (and Life) Through an Absurdist Lens." Journal of Palestine Studies 32, no. 2 (2003): 63–73. http://dx.doi.org/10.1525/jps.2003.32.2.63.

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Elia Suleiman, born in Nazareth in 1960, is the first Palestinian filmmaker to be selected for the "official competition" of the Cannes International Film Festival: his Divine Intervention: A Chronicle of Love and Pain was not only one of the twenty-one films out of 939 entries chosen for the fifty-fifth festival in May 2002, it also won the Jury Prize and the Interna tional Critics Prize. Suleiman had already come to the attention of the 2001 Cannes Festival, where his short Cyber Palestine was shown at the "Directors' Fortnight." Though without formal training, Suleiman has been winning priz

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Rice, D. Andy. "Weaponizing Affect: A Film Phenomenology of 3D Military Training Simulations during the Iraq War." Catalyst: Feminism, Theory, Technoscience 2, no. 1 (2016): 1–39. http://dx.doi.org/10.28968/cftt.v2i1.28830.

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This article critically considers the relation between simulation design and human experience through the analysis of three-dimensional military training simulation scenarios developed between 2003 and 2012 at the Fort Irwin National Training Center in the Mojave Desert of California. Following news reports of torture at Abu Ghraib, the US military began to implement “cultural awareness” training for all troops set to deploy to the Middle East. The military contracted with Hollywood special-effects studios to develop a series of counterinsurgency warfare immersive-training simulations, includi

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Md Idris, Izra Inna, Mohamad Saleeh Rahamad, and Md Azalanshah Md Syed. "Perbincangan Orientalisme Melalui Analisis Semiotika dalam Animasi." Jurnal Komunikasi: Malaysian Journal of Communication 37, no. 1 (2021): 295–313. http://dx.doi.org/10.17576/jkmjc-2021-3701-17.

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Discussion of Orientalism through Semiotic Analysis in Animation ABSTRACT This study reveals, interprets and understands the oriental influence in Saladin: The Animated Series through the semiotic analysis of Roland Barthes. This study looks at the semiotic elements found in the animated series through a system of signs and this conceptual framework of Barthes is divided into two components, signifier and signified. This sign system is used to look at the symbols through frames in this animation. The analysis of this study examines the changes in the title, poster, use of language, which led t

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Yebra, José. "Iraq Wars from the other Side: Transmodern Reconciliation in Sinan Antoon’s The Corpse Washer." Societies 8, no. 3 (2018): 79. http://dx.doi.org/10.3390/soc8030079.

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In the last years, more and more literary accounts of recent and current wars in the Middle East have been published. In most cases, they are authored from a Western viewpoint and provide a narrow account of the Muslim world. This article focuses on Sinan Antoon’s The Corpse Washer because it opens the scope. That is, it constitutes an alternative to the imagery of the American film industry. Moreover, as Antoon is a Christian, his account of contemporary Iraq is particularly peripheral and hybrid. To analyse the novel, this article makes use of Transmodernity, a concept coined by Rosa María R

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Davis, Jim. "Imperial Transgressions: the Ideology of Drury Lane Pantomime in the Late Nineteenth Century." New Theatre Quarterly 12, no. 46 (1996): 147–55. http://dx.doi.org/10.1017/s0266464x00009970.

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How far do popular theatre forms express popular sentiments, and how far populist? This is one of the issues explored in the following article, in which Jim Davis looks at the ideology, explicit and underlying, of the spectacular Drury Lane pantomimes of the late nineteenth century. At once imperialist and redolent of Little England, the pantomimes often displayed an ambiguous attitude to the moral concerns of the time, from temperance reform to ‘the woman question’ – to the influence of the music hall from which they drew their most popular performers. The prevailing tone, it becomes clear, w

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Haugbolle, Sune. "Moving Through the Interregnum." Middle East Journal of Culture and Communication 8, no. 1 (2015): 13–36. http://dx.doi.org/10.1163/18739865-00801003.

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This article analyzes the iconic Syrian writer and activist Yassin al-Haj Saleh. It analyzes the film Baladna al-rahib [Our Terrible Country] by Syrian filmmakers Muhammad Ali Atassi and Ziad Homsy as a way to explore current debates about revolution, exile and representation in Syria and the Middle East. Homsy and Atassi embrace and use Saleh’s stature as an iconic figure whose embodied meaning functions as an ‘aperture’ to a truth beyond his own person; the truth, in this case, about the Syrian revolution. By using theories of iconicity and revolution, the article interrogates current debate

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Zulkarnen, Zulkarnen, Aliudin Mahyudin, Febry P. Y, Vanny Rahmi Putri, and Ririn Widiyastuti. "Deskripsi Pranata Masyarakat Arab dalam Film “Kingdom Of Heaven”." JURNAL Al-AZHAR INDONESIA SERI HUMANIORA 3, no. 4 (2017): 310. http://dx.doi.org/10.36722/sh.v3i4.225.

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<p><em>Abstrak <strong>- </strong></em><strong>Penelitian ini membahas mengenai “</strong><strong>Kingdom of Heaven</strong><strong>” yang </strong><strong>merupakan film yang digarap oleh industri perfilman Hollywood</strong><strong> </strong><strong>yang menceritakan sejarah umat manusia yang pernah terjadi di abad ke-11. Perkembangan situasi di Palestina yang belum juga memperoleh titik damai antara Palestina dan Israel, menjadi titik awal mengapa perindustrian Hollywood </strong><strong

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