Palgrave Studies in Arab Cinema – serie

This book covers Mai Masri’s three decades documenting iconic moments of Palestinian and Lebanese linked history. Her films, unique for giving agency to her subjects, tell much about the untold, unseen people, namely women and children, who lived these experiences of war and occupation. Former Lebanese political prisoner Soha Bechara praised her feature film 3000 Nights as “the ‘Lest we forget’ of Palestine." Her focus on the social and political climates of the vivid lives of unseen people connects to the deepening violence in Palestine today.

This book covers Mai Masri’s three decades documenting iconic moments of Palestinian and Lebanese linked history. Her films, unique for giving agency to her subjects, tell much about the untold, unseen people, namely women and children, who lived these experiences of war and occupation. Former Lebanese political prisoner Soha Bechara praised her feature film 3000 Nights as “the ‘Lest we forget’ of Palestine." Her focus on the social and political climates of the vivid lives of unseen people connects to the deepening violence in Palestine today.

The book examines the war of images between France and Algeria. Discussing the role of the United States during the war, it covers topics such the presence of American reporters in Algeria, John F. Kennedy’s support for Algerian independence while a senator, the broadcasting of documentaries on the Algerian war on public television, and reporting in the press. Even half a century after Algerian independence, there remains a need for both film and literature on the war from both sides of the Mediterranean. This might seem surprising, particularly to media professionals, given the quantity of output on the subject, but both French and Algerian portrayals of the war remain flawed and shackled to their respective ideologies.The generation of FLN leaders recognized early on the importance of images, and established a clandestine film structure that would bring the Algerian cause to the world stage.The book offers an insightful and timely contribution not just to thefield of North African studies but also to other disciplines, such as film and media studies, anthropology, history, journalism, and political science. Providing a rich source of research topics and viable ideas for film and documentary projects, it is a must-read for students, scholars and media professionals alike.

The book examines the war of images between France and Algeria. Discussing the role of the United States during the war, it covers topics such the presence of American reporters in Algeria, John F. Kennedy’s support for Algerian independence while a senator, the broadcasting of documentaries on the Algerian war on public television, and reporting in the press. Even half a century after Algerian independence, there remains a need for both film and literature on the war from both sides of the Mediterranean. This might seem surprising, particularly to media professionals, given the quantity of output on the subject, but both French and Algerian portrayals of the war remain flawed and shackled to their respective ideologies.The generation of FLN leaders recognized early on the importance of images, and established a clandestine film structure that would bring the Algerian cause to the world stage.The book offers an insightful and timely contribution not just to thefield of North African studies but also to other disciplines, such as film and media studies, anthropology, history, journalism, and political science. Providing a rich source of research topics and viable ideas for film and documentary projects, it is a must-read for students, scholars and media professionals alike.

Brilliantly introduced by Nezar Andary, this book is a work of creative nonfiction that approaches writing on film in a fresh and provocative way. It draws on academic, literary, and personal material to start a dialogue with the Egyptian filmmaker Shadi Abdel Salam’s The Mummy (1969), tracing the many meanings of Egypt’s postcolonial modernity and touching on Arab, Muslim, and ancient Egyptian identities through watching the film.

Brilliantly introduced by Nezar Andary, this book is a work of creative nonfiction that approaches writing on film in a fresh and provocative way. It draws on academic, literary, and personal material to start a dialogue with the Egyptian filmmaker Shadi Abdel Salam’s The Mummy (1969), tracing the many meanings of Egypt’s postcolonial modernity and touching on Arab, Muslim, and ancient Egyptian identities through watching the film.

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. Through an analysis that situates these largely overlooked films within the matrix of an anti-Zionist critique of cinematic ontology, this book offers a materialist feminist appreciation of their political aesthetics while critiquing the ideological enabling conditions of their academic absenting. The study of these daring films fosters a much-needed, sustained understanding of the meaning and significance of Palestine solidarity filmmaking for and within the Arab world.

This book is an account of the creation of the Palestine Film Unit (PFU) and the stories of its founding members, from the initial development of a photography department in the early years of the Palestinian revolution (1967-1968) to its evolution in the mid-1970s into the Palestinian Cinema Institution. Author Khadijeh Habashneh weaves her own memories into excerpts from letters and other communications of survivors, friends and PFU members, accompanied by scholarly analysis of  the work and contributions of this remarkable film movement from the late 1960s to the early 1980s. As such, this book offers a unique perspective on this aspect of Palestine film history - which ended in mid-1980s with the loss of its archive - providing details that have not been previously published in English.

This book analyzes the rise of socially and politically engaged Algerian documentaries, created in the period immediately following the end of the Algerian civil war (1991-1999). It uses case studies to highlight the works of four Algerian filmmakers, and devotes a chapter to each: Malek Bensmaïl, Hassen Ferhani, Djamel Kerkar, and Karim Sayad. The book makes visible productions that have been overlooked not only in distribution circuits but also within academia, and examines the political significance and the esthetic power of some of the most influential Algerian documentaries produced since the 2000s.

This book project unfolds and analyzes the work of Moroccan director, producer, and scriptwriter Farida Benlyazid, whose career extends from the beginning of cinema in independent Morocco to the present. This study of her work and career provides a unique perspective on an under-represented cinema, the gender politics of cinema in Morocco, and the contribution of Arab women directors to global cinema and to a gendered understanding of Muslim ethics and aesthetics in film. A pioneer in Moroccan cinema, Farida Benlyazid has been successful at negotiating the sometimes abrupt turns of Morocco’s rocky 20th century history: from Morocco under French occupation to the advent of Moroccan independence in 1956; the end of the international status of Tangier, her native city, in 1959; the “years of lead” under the reign of Hassan II; and finally Mohamed VI’s current reign since 1999. As a result, she has a long view of Morocco’s politics of self-representation as well as of the representation of Moroccan women on screen

This book brings to light a lesser-explored facet of cultural globalization by unearthing Bollywood films circulations in the Middle East. Delving into the intricacies of South-South cinematic circuits, it unveils the networks linking the Bombay film industry with the Arab world. Through a blend of historical analysis and ethnographic insights, the book offers an exploration of how film circulations have evolved amidst geopolitical shifts and technological advancements. By reframing our perspective to view Arab cinema cultures through the lens of the Bombay film industry, it challenges prevailing Orientalist narratives, offering a nuanced and refreshing portrayal of the Arab-speaking region.

This book brings to light a lesser-explored facet of cultural globalization by unearthing Bollywood films circulations in the Middle East. Delving into the intricacies of South-South cinematic circuits, it unveils the networks linking the Bombay film industry with the Arab world. Through a blend of historical analysis and ethnographic insights, the book offers an exploration of how film circulations have evolved amidst geopolitical shifts and technological advancements. By reframing our perspective to view Arab cinema cultures through the lens of the Bombay film industry, it challenges prevailing Orientalist narratives, offering a nuanced and refreshing portrayal of the Arab-speaking region.

The Afterlife of Palestinian Images is a groundbreaking study of how colonial violence alters and changes visual objects - which in turn affects how a society and culture relates to its own images. Based on the practice-based creative methodology of Palestinian filmmaker and researcher Azza El Hassan, this book explores the re-use and re-appropriation of photos, film and media equipment that have survived looting and destruction, objects which become a constant reminder of what was and what has been lost. El Hassan goes beyond using these visual remains as simple evidence, demonstrating how artistic engagement can reconfigure them into new narratives and establish a renewed sense of cultural identity. While previous research has explored why colonial structures practice native archive plundering, as well as into how a culture reckons with the absence of archival records, this book uniquely addresses how plundered cultures relate to the actual remains of their archives. As a scholar and an artist, El Hassan reconciles a problematic past and present in the search for a new visual experience emerging out of the ruins, finding ways to move forward after destruction.Additional video content for this book is available through the SN More Media App.

Algerian Cinema in Forty Five Lessons offers a fresh approach to examine the history of Algerian cinema, from its inception to the present day, providing in-depth analysis of forty five key films. While most scholarly and critical work on Algerian cinema continues to centre on the War of Independence and those films engaging with it, Dr Ahmed Bedjaoui argues that this thematic dominance has overshadowed many other important aspects of Algerian film history. Further, Bedjaoui examines how "revolutionary" films have frequently depicted an idealized image of a heroic, flawless and fearless figure which has been strategically crafted to legitimize national authority at different points in time.This book offers a new reading, which involves rehabilitating some major but underestimated works, as well as questioning other films primarily known for their contribution to the Algerian national story. Among the works studied, certain productions offer a less Manichean vision of the War of Independence, while explaining the process that led to it. Above all, Bedjaoui strives to bring out of the shadows films of great artistic value (sometimes produced by state television), and compares the productions of the so-called golden age (1960s and 1970s) with the films made by the following generations, in terms of both creativity and capacity to reflect the specificity of Algerian society.Through a contextualization of forty specific films, this book provides a deep analysis of the changes which occurred in the heart of Algerian society, moving from an all-socialist to an all-protectionist state, before being later threatened by religious fundamentalism. Engaging and accessibly written, and including coverage of many films never written about in English-language histories of Algerian cinema, this book is an essential resource for understanding this dynamic and vital film culture.

Algerian Cinema in Forty Five Lessons offers a fresh approach to examine the history of Algerian cinema, from its inception to the present day, providing in-depth analysis of forty five key films. While most scholarly and critical work on Algerian cinema continues to centre on the War of Independence and those films engaging with it, Dr Ahmed Bedjaoui argues that this thematic dominance has overshadowed many other important aspects of Algerian film history. Further, Bedjaoui examines how "revolutionary" films have frequently depicted an idealized image of a heroic, flawless and fearless figure which has been strategically crafted to legitimize national authority at different points in time.This book offers a new reading, which involves rehabilitating some major but underestimated works, as well as questioning other films primarily known for their contribution to the Algerian national story. Among the works studied, certain productions offer a less Manichean vision of the War of Independence, while explaining the process that led to it. Above all, Bedjaoui strives to bring out of the shadows films of great artistic value (sometimes produced by state television), and compares the productions of the so-called golden age (1960s and 1970s) with the films made by the following generations, in terms of both creativity and capacity to reflect the specificity of Algerian society.Through a contextualization of forty specific films, this book provides a deep analysis of the changes which occurred in the heart of Algerian society, moving from an all-socialist to an all-protectionist state, before being later threatened by religious fundamentalism. Engaging and accessibly written, and including coverage of many films never written about in English-language histories of Algerian cinema, this book is an essential resource for understanding this dynamic and vital film culture.

Based on extended field research and meetings with members of Morocco’s film world, this book traces the development of Moroccan cinema over the past three decades. Drawing from his extensive work on Moroccan cinema, Kevin Dwyer discusses important aspects of Moroccan film culture such as freedom of expression, the role of women, cultural diversity, the promotion of culture, the role of humor, the shifting emphasis on the urban, autobiographical aspects of films, and the development of documentary films. Dwyer closely analyzes a significant number of Moroccan films, providing crucial details about filmmakers; historical context; and comparisons with the cinemas of Tunisia, Algeria, and Egypt.

Based on extended field research and meetings with members of Morocco’s film world, this book traces the development of Moroccan cinema over the past three decades. Drawing from his extensive work on Moroccan cinema, Kevin Dwyer discusses important aspects of Moroccan film culture such as freedom of expression, the role of women, cultural diversity, the promotion of culture, the role of humor, the shifting emphasis on the urban, autobiographical aspects of films, and the development of documentary films. Dwyer closely analyzes a significant number of Moroccan films, providing crucial details about filmmakers; historical context; and comparisons with the cinemas of Tunisia, Algeria, and Egypt.

This book provides an in-depth and intimate study of the cinema of Muhammad Malas. One of the well-known auteurs of Arab and Syrian cinema, Malas’s distinctive cinematic project has always confronted the social and political issues of his time. From feature films Dreams of the City, The Night, Bab al Maqam (Passion), and Ladder to Damascus to documentaries such as The Dream and Aleppo: Maqamat of Pleasure, Malas’s films challenge and explore Arab culture and history. Archival images run through the chapters of this book which combines insightful interviews with excerpts from Malas’s literary works and critical explorations of his cinematic style and thematic concerns. The book concludes with Malas’s own words, sharing the treatment of his film project Cinema al-Dunya.