Alia Yunis – författare

Stories of desert landscapes, cutting-edge production facilities, and lavish festivals often dominate narratives about film and digital media on the Arabian Peninsula. However, there is a more complicated history that reflects long-standing interconnections between the Persian Gulf, Arabian Sea, and Indian Ocean. Just as these waters are fluid spaces, so too is the flow of film and digital media between cultures in East Africa, Europe, North Africa, South Asia, Southwest Asia, and Southeast Asia.Reorienting the Middle East examines past and contemporary aspects of film and digital media in the Gulf that might not otherwise be apparent in dominant frameworks. Contributors consider oil companies that brought film exhibition to this area in the 1930s, the first Indian film produced on the Arabian Peninsula in the late 1970s, blackness in Iranian films, the role of Western funding in reshaping stories, Dubai's emergence in global film production, uses of online platforms for performance art, the development of film festivals and cinemas, and short films made by citizens and migrants that turn a lens on racism, sexism, national identity, and other rarely discussed social issues.Reorienting the Middle East offers new methods to analyze the often-neglected littoral spaces between nation-states and regions and to understand the role of film and digital media in shaping dialogue between area studies and film and media studies. Readers will find new pathways to rethink the limitations of dominant categories and frameworks in both fields.

Stories of desert landscapes, cutting-edge production facilities, and lavish festivals often dominate narratives about film and digital media on the Arabian Peninsula. However, there is a more complicated history that reflects long-standing interconnections between the Persian Gulf, Arabian Sea, and Indian Ocean. Just as these waters are fluid spaces, so too is the flow of film and digital media between cultures in East Africa, Europe, North Africa, South Asia, Southwest Asia, and Southeast Asia.Reorienting the Middle East examines past and contemporary aspects of film and digital media in the Gulf that might not otherwise be apparent in dominant frameworks. Contributors consider oil companies that brought film exhibition to this area in the 1930s, the first Indian film produced on the Arabian Peninsula in the late 1970s, blackness in Iranian films, the role of Western funding in reshaping stories, Dubai's emergence in global film production, uses of online platforms for performance art, the development of film festivals and cinemas, and short films made by citizens and migrants that turn a lens on racism, sexism, national identity, and other rarely discussed social issues.Reorienting the Middle East offers new methods to analyze the often-neglected littoral spaces between nation-states and regions and to understand the role of film and digital media in shaping dialogue between area studies and film and media studies. Readers will find new pathways to rethink the limitations of dominant categories and frameworks in both fields.

After 85 long years, Fatimah Abdullah is dying, and she knows when her time will come. In fact, it should come just nine days from tonight, the 992nd nightly visit of Scheherazade, the beautiful and immortal storyteller from the epic The Arabian Nights.Just as Scheherazade spun magical stories for 1,001 nights to save her own life, Fatima has spent each night telling Scheherazade her life stories, all the while knowing that on the 1,001st night, her storytelling will end forever. But between tonight and night 1,001, Fatima has a few loose ends to tie up. She must find a wife for her openly gay grandson, teach Arabic (and birth control) to her 17-year-old great-granddaughter, make amends with her estranged husband, and decide which of her troublesome children should inherit her family''s home in Lebanon--a house she herself has not seen in nearly 70 years. All this while under the surveillance of two bumbling FBI agents eager to uncover Al Qaeda in Los Angeles.But Fatima’s children are wrapped up in their own chaotic lives and disinterested in their mother or their inheritances. As Fatima weaves the stories of her husband, children, and grandchildren, we meet a visionless psychic, a conflicted U.S. soldier, a gynecologist who has a daughter with a love of shoplifting and a tendency to get unexpectedly pregnant, a Harvard-educated alcoholic cab driver edging towards his fifth marriage, a lovelorn matchmaker, and a Texas homecoming queen. Taken in parts, Fatima’s relations are capricious and steadfast, affectionate and smothering, connected yet terribly alone. Taken all together, they present a striking and surprising tapestry of modern Arab American life.Shifting between the U.S. and Lebanon over the last hundred years, Alia Yunis crafts a bewitching novel imbued with great humanity, imagination, and a touch of magic realism. Be prepared to be utterly charmed.From the Hardcover edition.

Future Stories in the Global Heritage Industry explores what happens to the heritage and memory of communities that find themselves in contact with the rest of the world when they become UNESCO World Heritage Sites.Written by an interdisciplinary group of emerging scholars and heritage professionals connected to these sites through their own heritage, this volume considers how a community can engage with a site’s globalized importance while retaining its own sense of history. Drawing on oral histories, ethnographic methods, film, interviews, and archival research, the book adds to the discourse around Critical Heritage Studies. It does so by putting theories into practice in selected heritage sites in Romania, the UAE/India, Eritrea, China, Mozambique, Tanzania, and Malaysia. The book also contributes toward the dismantlement of the many dichotomies imposed on heritage from the divisions between natural and cultural, or tangible and intangible in the UNESCO Conventions and Eurocentric heritage practices. Looking toward the future of the past, the volume asks whether heritage can be objectively or equitably managed, as it increasingly comes into conflict with issues around nation‑building, climate change, social class, ethnicity, religion, and gender.Future Stories in the Global Heritage Industry will be of great interest to academics and students engaged in the study of heritage, sociology, public history, history, international studies, sociology, and anthropology.

Future Stories in the Global Heritage Industry explores what happens to the heritage and memory of communities that find themselves in contact with the rest of the world when they become UNESCO World Heritage Sites.Written by an interdisciplinary group of emerging scholars and heritage professionals connected to these sites through their own heritage, this volume considers how a community can engage with a site’s globalized importance while retaining its own sense of history. Drawing on oral histories, ethnographic methods, film, interviews, and archival research, the book adds to the discourse around Critical Heritage Studies. It does so by putting theories into practice in selected heritage sites in Romania, the UAE/India, Eritrea, China, Mozambique, Tanzania, and Malaysia. The book also contributes toward the dismantlement of the many dichotomies imposed on heritage from the divisions between natural and cultural, or tangible and intangible in the UNESCO Conventions and Eurocentric heritage practices. Looking toward the future of the past, the volume asks whether heritage can be objectively or equitably managed, as it increasingly comes into conflict with issues around nation‑building, climate change, social class, ethnicity, religion, and gender.Future Stories in the Global Heritage Industry will be of great interest to academics and students engaged in the study of heritage, sociology, public history, history, international studies, sociology, and anthropology.