Chris Lippard – författare

Derek Jarman was one of the most innovative British filmmakers of his generation. Working largely outside the British film establishment and within tight budgetary constraints, he produced a series of features and shorter films that are highly personal and yet responsive to major issues of our time. For Jarman, the most compelling of these was undoubtedly the celebration of gay culture and the battle for gay rights—in which he was prominent until his death. This book brings together seven new essays on Jarman's work, one of the director's last interviews, and supporting filmography and bibliography.This book brings together seven new essays on Jarman's work, one of the director's last interviews, and supporting filmography and bibliography. The contributions examine the full range of his output from Sebastiane (1976) to Blue (1993), and include discussion of his approach to narration, his role as gay activist, his commitment to English artistic traditions and fascination with the age of Shakespeare, and the changing aesthetic preferences of his last films.

Representations of Palestine in Egyptian Cinema: Politics of (In)visibility traces how Egyptian cinema has represented Palestine across three paradigmatic moments in modern Egyptian history: in the years around the 1952 Revolution, which saw Egypt’s transition from monarchy to republic; in the wake of the 1967 Defeat, which signaled the end of Nasser’s pan-Arabist project; and around the turn of the twenty-first century, at which point Egypt had not only normalized relations with Israel but integrated into the neoliberal capitalist economy. Integrating textual analysis with politico-historical contextualization, the book investigates Egypt’s popular commitment and changing foreign policy toward the Palestinian issue, arguing that varied allegorical figurations of Palestine in Egyptian cinema appear as critical reactions to the political status quo. To this end, the book’s chapters analyze, respectively, generic conventions of melodrama, social realism, and transnational cinema, all in relation to their conditions of production—commercial, state-sponsored, and transnationally funded. The book offers a critical reconsideration of an important but largely neglected body of films on a struggle which persists until today.

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.