Routledge Studies in Middle East Film and Media – serie

The essays in this anthology study Israeli television, its different forms of representation, audiences and production processes, past and present, examining Israeli television in both its local, cultural dynamics, and global interfaces.The book looks at Israeli television as a creator, negotiator, guardian and warden of collective Israeli memory, examining instances of Israeli original television exported and circulated to the US and the global markets, as well as instances of American, British, and global TV formats, adapted and translated to the Israeli scene and screen. The trajectory of this volume is to shed light on major themes and issues Israeli television negotiates: history and memory, war and trauma, Zionism and national disillusionment, place and home, ethnicity in its unique local variations of Ashkenazim and Mizrahim, immigrants from the former Soviet Union and Ethiopia, Israeli–Arabs and Palestinians, gender in its unique Israeli formations, specifically masculinity as shaped by the military and constant violent conflict, femininity in this same context as well as within a complex Jewish oriented society, religion, and secularism.Providing multifaceted portraits of Israeli television and culture in its Middle Eastern political and local context, this book will be a key resource to readers interested in media and television studies, cultural studies, Israel, and the Middle East.

The essays in this anthology study Israeli television, its different forms of representation, audiences and production processes, past and present, examining Israeli television in both its local, cultural dynamics, and global interfaces.The book looks at Israeli television as a creator, negotiator, guardian and warden of collective Israeli memory, examining instances of Israeli original television exported and circulated to the US and the global markets, as well as instances of American, British, and global TV formats, adapted and translated to the Israeli scene and screen. The trajectory of this volume is to shed light on major themes and issues Israeli television negotiates: history and memory, war and trauma, Zionism and national disillusionment, place and home, ethnicity in its unique local variations of Ashkenazim and Mizrahim, immigrants from the former Soviet Union and Ethiopia, Israeli–Arabs and Palestinians, gender in its unique Israeli formations, specifically masculinity as shaped by the military and constant violent conflict, femininity in this same context as well as within a complex Jewish oriented society, religion, and secularism.Providing multifaceted portraits of Israeli television and culture in its Middle Eastern political and local context, this book will be a key resource to readers interested in media and television studies, cultural studies, Israel, and the Middle East.

This volume compares the cinemas of Iran and Turkey in terms of the presence and absence of women on both sides of the camera. From a critical point of view, it provides detailed readings of works by both male and female film-makers, emphasizing issues facing women's film-making.Presenting an overview of the modern histories of the two neighbouring countries, the study traces certain similarities and contrasts, particularly in the reception, adaption and representation of Western modernity and cinema. This is followed by the exploration of the images of women on screen with attention to minority women, investigating post-traumatic cinema's approaches to women (Islamic Revolution of 1979 in Iran and the 1980 coup d’état in Turkey) and women's interpretations of post-traumatic experiences. Furthermore, the representations of sexualities and LGBTI identities within cultural, traditional and state-imposed restrictions are also discussed. Investigating border-crossing in physical and metaphorical terms, the research explores the hybridities in the artistic expressions of 'deterritorialized' film-makers negotiating loyalties to both vatan (motherland) and the adopted country. This comprehensive analysis of the cinemas of Iran and Turkey, based on extensive research, fieldwork, interviews and viewing of countless films is a key resource for students and scholars interested in film, gender and cultural studies and the Middle East.

Since 2000, there has been a considerable effort in Turkish cinema to come to terms with the military’s intervention in politics and subsequent national trauma. It has resulted in an outpouring of cinematic texts. This book focuses on women and Turkish cinema in the context of gender politics, cultural identity and representation.The central proposition of this book is that enforced depolticisation introduced after the coup is responsible for uniting feminism and film in 1980s Turkey. The feminist movement was able to flourish precisely because it was not perceived as political or politically significant. In a parallel move in the films of the 1980s there was an increased tendency to focus on the individual, on women’s issues and lives, in order to avoid the overtly political. Women and Turkish Cinema provides a comprehensive view of cinema’s approach to women in a country which straddles European and Middle Eastern cultural conceptions, identities and religious values and will be an invaluable resource for students and scholars of Film Studies, Gender Studies and Middle East Studies, amongst others.

This monograph explores and investigates key issues facing Middle Eastern societies, including religion and sectarianism, history and collective memory, urban space and socioeconomic difference, policing and securitization, and gender relations.In the Middle East, television drama creators serve as public intellectuals who, with uncanny prescience, tell the world something. As this volume demonstrates, fictional television provides a crucial space for social and political debate in much of the region. Writing from a range disciplines—anthropology, communication, folklore, gender studies, history, and law— contributors include seasoned academics who have dedicated their careers to researching Middle Eastern media and emerging scholars who build on earlier work and introduce fresh perspectives. Together, they provide an invaluable overview of Middle Eastern serial television and their political impact, drawing examples from Afghanistan, Egypt, Iran, Syria, and Turkey.Bringing together a diverse range of academic perspectives, this book will be of key interest to students and scholars in media and communication studies, Middle Eastern Studies, and popular culture studies.

This monograph explores and investigates key issues facing Middle Eastern societies, including religion and sectarianism, history and collective memory, urban space and socioeconomic difference, policing and securitization, and gender relations.In the Middle East, television drama creators serve as public intellectuals who, with uncanny prescience, tell the world something. As this volume demonstrates, fictional television provides a crucial space for social and political debate in much of the region. Writing from a range disciplines—anthropology, communication, folklore, gender studies, history, and law— contributors include seasoned academics who have dedicated their careers to researching Middle Eastern media and emerging scholars who build on earlier work and introduce fresh perspectives. Together, they provide an invaluable overview of Middle Eastern serial television and their political impact, drawing examples from Afghanistan, Egypt, Iran, Syria, and Turkey.Bringing together a diverse range of academic perspectives, this book will be of key interest to students and scholars in media and communication studies, Middle Eastern Studies, and popular culture studies.

Situated within an emerging academic interest in documentary film in the Middle East and North Africa, this book studies the development of diverse documentary forms in relation to revolutionary and emancipatory movements that took place across the twentieth century in the so-called Arab World. Inspired by Deleuze and Guattari’s image of a “rhizome,” the author takes a de-territorialized approach to revolutionary filmmaking, embracing the diversity and fluidity of revolutionary works in the “Arab World.” As well as outlining the documentary film histories of the main film-producing nations of the region – Syria, Lebanon, Palestine, Egypt, Tunisia, Algeria and Morocco – the book analyzes the formal and esthetic features of individual works in relation to specific socio-political historical developments. Topics addressed include de-colonization, the wars of liberation, the Tricontinental movement, the Palestinian question, the Rif Uprising, the Leaden and Black Years, civil war in Lebanon, the recent Arab revolutions, state authoritarianism and totalitarianism, gender, collectivism and political subjectivity. Ultimately, the book contributes to a general theory of revolutionary documentary film forms by studying the works of consecutive periods from different ideological contexts. The book is much-needed reading for students and academics interested in film and media studies and the history, culture and politics of the Middle East and North Africa (MENA) region.

Situated within an emerging academic interest in documentary film in the Middle East and North Africa, this book studies the development of diverse documentary forms in relation to revolutionary and emancipatory movements that took place across the twentieth century in the so-called Arab World. Inspired by Deleuze and Guattari’s image of a “rhizome,” the author takes a de-territorialized approach to revolutionary filmmaking, embracing the diversity and fluidity of revolutionary works in the “Arab World.” As well as outlining the documentary film histories of the main film-producing nations of the region – Syria, Lebanon, Palestine, Egypt, Tunisia, Algeria and Morocco – the book analyzes the formal and esthetic features of individual works in relation to specific socio-political historical developments. Topics addressed include de-colonization, the wars of liberation, the Tricontinental movement, the Palestinian question, the Rif Uprising, the Leaden and Black Years, civil war in Lebanon, the recent Arab revolutions, state authoritarianism and totalitarianism, gender, collectivism and political subjectivity. Ultimately, the book contributes to a general theory of revolutionary documentary film forms by studying the works of consecutive periods from different ideological contexts. The book is much-needed reading for students and academics interested in film and media studies and the history, culture and politics of the Middle East and North Africa (MENA) region.

Through analysis of the complex discourse surrounding trauma and loss, this book provides a necessary examination of temporality and ethics in Israeli film and television since the turn of the millennium. The author examines posttraumatic idioms of fragmentation and incoherence, highlighting the rising resistance towards generic categories, and the turn to unconventional and paradoxical structures with unique aesthetics. Maintaining that contemporary Israeli cinema has undergone an ethical shift, the author examines the revealing traumas and denied identities that also seek alternative ways to confront ethical question of accountability. It discusses the relationships between trauma, nationalism, and cinema through the intertwined perspectives of feminism, queer theory, and critical race and postcolonial studies, showing how national traumas are constructed by notions of gendered, sexual, and racial identity. This innovative text highlights the complexities of discourse surrounding trauma and loss, informed by multiple categories of difference. Across each chapter various elements of Israeli film are explored, spanning from strategies used to critically examine victim-perpetrator dynamics, co-existence in temporal space, women’s cinema in Israel, displacement, and queer communities and identity. Beyond its direct contribution to cinema studies and Israel studies, the book will be of interest to trauma and memory studies, postcolonial studies, gender and sexuality studies, Jewish studies, Middle Eastern studies, and cultural studies.

Through analysis of the complex discourse surrounding trauma and loss, this book provides a necessary examination of temporality and ethics in Israeli film and television since the turn of the millennium. The author examines posttraumatic idioms of fragmentation and incoherence, highlighting the rising resistance towards generic categories, and the turn to unconventional and paradoxical structures with unique aesthetics. Maintaining that contemporary Israeli cinema has undergone an ethical shift, the author examines the revealing traumas and denied identities that also seek alternative ways to confront ethical question of accountability. It discusses the relationships between trauma, nationalism, and cinema through the intertwined perspectives of feminism, queer theory, and critical race and postcolonial studies, showing how national traumas are constructed by notions of gendered, sexual, and racial identity. This innovative text highlights the complexities of discourse surrounding trauma and loss, informed by multiple categories of difference. Across each chapter various elements of Israeli film are explored, spanning from strategies used to critically examine victim-perpetrator dynamics, co-existence in temporal space, women’s cinema in Israel, displacement, and queer communities and identity. Beyond its direct contribution to cinema studies and Israel studies, the book will be of interest to trauma and memory studies, postcolonial studies, gender and sexuality studies, Jewish studies, Middle Eastern studies, and cultural studies.

Focused on two networks, Al-Jazeera and BBC Arabic, this study provides an in-depth quantitative and qualitative analysis of different media strategies employed in the coverage of Covid-19.The author draws primarily from Critical Discourse Analysis, supplemented by an analysis of corpora from both Al-Jazeera and BBC, comprising news items, documentaries and discussion shows. An array of key topics are examined for their language and lexis, including political leaders and governments, the public and victims of Covid-19. The two networks’ coverage of these topics are closely compared and contrasted, with both employing strategies of exemplification, nominalisation, functionalisation, naming and labelling. The analysis shows that the two networks have displayed a solidarity discourse throughout the pandemic, emphasising the need to fight the disease. In addition, the networks have consistently stressed the gravity of the pandemic, urging adherence to local regulations. It is ultimately argued that examining the coverage of Covid-19 from a dialectical perspective will enable us to unravel the social, cultural, political, and ideological motives behind the production of pandemic media discourse.The book will appeal to students and researchers in linguistics, media and communications, and Middle Eastern studies, as well as to general readers interested in conflict and pandemic response.

Focused on two networks, Al-Jazeera and BBC Arabic, this study provides an in-depth quantitative and qualitative analysis of different media strategies employed in the coverage of Covid-19.The author draws primarily from Critical Discourse Analysis, supplemented by an analysis of corpora from both Al-Jazeera and BBC, comprising news items, documentaries and discussion shows. An array of key topics are examined for their language and lexis, including political leaders and governments, the public and victims of Covid-19. The two networks’ coverage of these topics are closely compared and contrasted, with both employing strategies of exemplification, nominalisation, functionalisation, naming and labelling. The analysis shows that the two networks have displayed a solidarity discourse throughout the pandemic, emphasising the need to fight the disease. In addition, the networks have consistently stressed the gravity of the pandemic, urging adherence to local regulations. It is ultimately argued that examining the coverage of Covid-19 from a dialectical perspective will enable us to unravel the social, cultural, political, and ideological motives behind the production of pandemic media discourse.The book will appeal to students and researchers in linguistics, media and communications, and Middle Eastern studies, as well as to general readers interested in conflict and pandemic response.

Focused on the triangular relationship between rabbis, journalists and the public, this book analyses each group’s role in influencing the agenda around religion in Israel.The book draws upon the author's original research, comprising an analysis of the coverage of religion on four Israeli news websites, a series of surveys of rabbis, journalists, and the public, as well as a large number of interviews conducted with a range of stakeholders: community rabbis, teacher rabbis, and religious court judges; reporters, editors, and spokespersons; and the Israeli Jewish public. Key questions include:What are rabbis’ philosophical views of the media?How does the media define news about Judaism?What aspect of news about religion and spirituality interest the public?How do spokespersons and rabbis influence the news agenda?How is the triangular relationship between rabbis, journalists and the public being altered by the digital age?Despite a lack of understanding about mass media behaviour among many rabbis, and, concurrently, a lack of knowledge about religion among many journalists, it is argued that there is shared interest between the two groups, both in support of mass-media values like the right to know and freedom of expression. It is further argued that the public's attitude to news about religion is significant in determining what journalists should publish.The book will be of interest to those studying mass communications, the media, Judaism and Israeli society, as well as researchers of media and religion.

Focused on two renowned Arabic networks, Al-Jazeera and Al-Arabiyya, this book examines Arabic media discourses and strategies adopted in the coverage of the conflict in Ukraine.Providing an in-depth textual analysis of the coverage of the Russian-Ukrainian conflict, the book focuses on the types of discourse employed, key linguistic devices used, and the representation of different actors, whether directly or indirectly involved. This encompasses the attitudes and perceptions of Russians, Ukrainians, Europeans, Americans, and NATO, as well as the wider international community. The book aims to establish the inextricable link between language and the socio-cultural and political ideologies that contribute to the production of media discourse on conflicts. It is argued that some of these ideologies are represented through language, which itself reflects the networks' policies, the influence of their sponsors, and their individual stances towards the war.The book will be of interest to students and researchers in a range of fields, including Arabic and Middle Eastern Studies, Media and Communications, and Applied Linguistics, as well as to general readers interested in media’s coverage of conflicts.

This volume compares the cinemas of Iran and Turkey in terms of the presence and absence of women on both sides of the camera. From a critical point of view, it provides detailed readings of works by both male and female film-makers, emphasizing issues facing women's film-making.Presenting an overview of the modern histories of the two neighbouring countries, the study traces certain similarities and contrasts, particularly in the reception, adaption and representation of Western modernity and cinema. This is followed by the exploration of the images of women on screen with attention to minority women, investigating post-traumatic cinema's approaches to women (Islamic Revolution of 1979 in Iran and the 1980 coup d’état in Turkey) and women's interpretations of post-traumatic experiences. Furthermore, the representations of sexualities and LGBTI identities within cultural, traditional and state-imposed restrictions are also discussed. Investigating border-crossing in physical and metaphorical terms, the research explores the hybridities in the artistic expressions of 'deterritorialized' film-makers negotiating loyalties to both vatan (motherland) and the adopted country.This comprehensive analysis of the cinemas of Iran and Turkey, based on extensive research, fieldwork, interviews and viewing of countless films is a key resource for students and scholars interested in film, gender and cultural studies and the Middle East.

Focused on the triangular relationship between rabbis, journalists and the public, this book analyses each group’s role in influencing the agenda around religion in Israel.The book draws upon the author's original research, comprising an analysis of the coverage of religion on four Israeli news websites, a series of surveys of rabbis, journalists, and the public, as well as a large number of interviews conducted with a range of stakeholders: community rabbis, teacher rabbis, and religious court judges; reporters, editors, and spokespersons; and the Israeli Jewish public. Key questions include:What are rabbis’ philosophical views of the media?How does the media define news about Judaism?What aspect of news about religion and spirituality interest the public?How do spokespersons and rabbis influence the news agenda?How is the triangular relationship between rabbis, journalists and the public being altered by the digital age?Despite a lack of understanding about mass media behaviour among many rabbis, and, concurrently, a lack of knowledge about religion among many journalists, it is argued that there is shared interest between the two groups, both in support of mass-media values like the right to know and freedom of expression. It is further argued that the public's attitude to news about religion is significant in determining what journalists should publish.The book will be of interest to those studying mass communications, the media, Judaism and Israeli society, as well as researchers of media and religion.