Terri Ginsberg – författare

A Companion to German Cinema A Companion to German Cinema regards the shifting terrain of German filmmaking and film studies against their larger social contexts with twenty-two newly commissioned essays by well-established and younger scholars in the field. While several of these focus on classic topics such as Weimar cinema, Fifties cinema, New German Cinema and its legacy, and Holocaust film, the collection is distinguished by its focus on new developments and the innovative light they may shed on earlier practices. A Companion to German Cinema includes essays on Berlin Film, Neue Heimat Film, New Comedy, post-Wall documentaries, the post-Wende RAF genre, and Rabenmutter imagery, as well as on the persistently overlooked and under-theorized Indianerfilme, post-AIDS documentaries, sexploitation films, and new multicultural and transnational films produced in Germany under the auspices of the European Union. Organized into three “movements” representing the significance of these developments for their aesthetic theorization, A Companion to German Cinema challenges its readers to address critical gaps in the field with the aim of opening it further onto new terrains of intellectual engagement.

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.

Forthcoming Spring 2026

Forthcoming Spring 2026

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.

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.

This book places long overdue focus on the Palestine solidarity films of two important Arab women directors whose cinematic works have never received due attention within the scholarly literature or the cultural public sphere.

This book offers a much-needed focus on Palestine solidarity films, supplying a critical theoretical framework whose intellectual thrust is rooted in the challenges facing scholars censored for attempting to rectify and reverse the silencing of a subject matter about which much of the world would remain uninformed without cinematic and televisual mediation. Its innovative focus on Palestine solidarity films spans a selected array of works which began to emerge during the 1970s, made by directors located outside Palestine/Israel who professed support for Palestinian liberation. Visualizing the Palestinian Struggle analyzes Palestine solidarity films hailing from countries such as Canada, the United Kingdom, Egypt, Iran, Palestine/Israel, Mexico, and the United States. Visualizing the Palestinian Struggle is an effort to insist, constructively, upon a rectification and reversal of the glaring and disproportionate minimization and distortionof discourse critical of Zionism and Israeli policy in the cinematic and televisual public sphere.