Jihan El-Tahri – författare

Since the creation of the state of Israel in 1948, the region has been the scene of fierce power struggles, injustice and tragic events - a situation which persists to this day. Now for the first time, an Israeli-Arab author collaboration is tackling one of the world's most controversial situations.Published to accompany a six-part BBC television series by the makers of the award-winning DEATH OF YUGOSLAVIA, this myth-breaking book draws on candid interviews with key protagonists in the struggles - many of whom have never before spoken out - to reveal behind-the-scenes events and put the record straight. This is a definitive insiders' account of war and peace in the Middle East.

Since the creation of the state of Israel in 1948, the region has been the scene of fierce power struggles, injustice and tragic events - a situation which persists to this day. Now for the first time, an Israeli-Arab author collaboration is tackling one of the world's most controversial situations.Published to accompany a six-part BBC television series by the makers of the award-winning DEATH OF YUGOSLAVIA, this myth-breaking book draws on candid interviews with key protagonists in the struggles - many of whom have never before spoken out - to reveal behind-the-scenes events and put the record straight. This is a definitive insiders' account of war and peace in the Middle East.

Gaze Regimes is a bricolage of essays and interviews showcasing the experiences of women working in film, either directly as practitioners or in other areas as curators, festival programme directors or fundraisers. It does not shy away from questioning the relations of power in the practice of filmmaking and the power invested in the gaze itself. Who is looking and who is being looked at, who is telling women’s stories in Africa and what governs the mechanics of making those films on the continent?The interviews with film practitioners such as Tsitsi Dangarembga, Taghreed Elsanhouri, Jihan El-Tahri, Anita Khanna, Isabel Noronhe, Arya Lalloo and Shannon Walsh demonstrate the contradictory points of departure of women in film – from their understanding of feminisms in relation to lived-experiences and the realpolitik of women working as cultural practitioners.The disciplines of gender studies, postcolonial theory, and film theory provide the framework for the book’s essays. Jyoti Mistry, Antje Schuhmann, Nobunye Levin, Dorothee Wenner and Christina von Braun are some of the contributors who provide valuable context, analysis and insight into, among other things, the politics of representation, the role of film festivals and the collective and individual experiences of trauma and marginality which contribute to the layered and complex filmic responses of Africa’s film practitioners.

Gaze Regimes is a bricolage of essays and interviews showcasing the experiences of women working in film, either directly as practitioners or in other areas as curators, festival programme directors or fundraisers. It does not shy away from questioning the relations of power in the practice of filmmaking and the power invested in the gaze itself. Who is looking and who is being looked at, who is telling women’s stories in Africa and what governs the mechanics of making those films on the continent?The interviews with film practitioners such as Tsitsi Dangarembga, Taghreed Elsanhouri, Jihan El-Tahri, Anita Khanna, Isabel Noronhe, Arya Lalloo and Shannon Walsh demonstrate the contradictory points of departure of women in film – from their understanding of feminisms in relation to lived-experiences and the realpolitik of women working as cultural practitioners.The disciplines of gender studies, postcolonial theory, and film theory provide the framework for the book’s essays. Jyoti Mistry, Antje Schuhmann, Nobunye Levin, Dorothee Wenner and Christina von Braun are some of the contributors who provide valuable context, analysis and insight into, among other things, the politics of representation, the role of film festivals and the collective and individual experiences of trauma and marginality which contribute to the layered and complex filmic responses of Africa’s film practitioners.