By Terri Ginsberg
The Historical Dictionary of heart japanese Cinema covers the creation and exhibition of cinema within the heart East and in groups whose historical past is from the zone and whose movies typically mirror this history. It covers the cinemas of Morocco, Algeria, Tunisia, Egypt, Palestine, Jordan, Lebanon, Syria, Iraq, the United Arab Emirates, Saudi Arabia, and Yemen. furthermore, it contains the non-Arab states of Turkey and Iran, in addition to the Jewish kingdom of Israel.
To a considerable measure, cinema has served to outline the nature of the peoples and international locations of the center East. With that during brain, the content material and association of entries during this quantity works to introduce and emphasize either the nationwide and transnational personality of heart jap cinema, including not just its indigenous yet its colonial facets besides, either exterior and inner to the nation-states themselves. this can be performed via a chronology, an introductory essay, a bibliography, and over 500 cross-referenced dictionary entries on person motion pictures, filmmakers, and actors. It additionally covers the diversity of cinematic modes, from documentary to fiction, representational to animation, usual to experimental, mainstream to avant-garde, and leisure to propaganda.
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The old Dictionary of center japanese Cinema covers the creation and exhibition of cinema within the center East and in groups whose background is from the quarter and whose motion pictures usually replicate this historical past. It covers the cinemas of Morocco, Algeria, Tunisia, Egypt, Palestine, Jordan, Lebanon, Syria, Iraq, the United Arab Emirates, Saudi Arabia, and Yemen.
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Extra resources for Historical Dictionary of Middle Eastern Cinema (Historical Dictionaries of Literature and the Arts)
Some of Chahine’s films, in particular, celebrate the cosmopolitan character of his birthplace, Alexandria, and a tolerant Islam, personified by Saladin, leader of the Muslim Arabs against the Christian Crusaders, who nevertheless respects Christian values and includes in his army Arab Christians equally opposed to the Crusades. The full Arabic title of Chahine’s Saladin (1963)—El Nasir Salah El Din—explicitly connects Saladin to Gamal Abdel Nasser, the Egyptian president who briefly united his country with Syria to form the United Arab Republic, and who was, for a time, revered throughout the Arab world for his ability not only to redefine his own national ideology, but to adapt it to the wider, pan-Arabist movement, which has inspired political liberationists to this day.
Perhaps the most widely viewed film of this sort is Abdellatif Abdul-Hamid’s Nights of the Jackal (1989). Because of their ostensible support for pan-Arabism, both the NFO and the GOCT have INTRODUCTION • xliii welcomed guest directors from Egypt and other Arab countries in order to lend much-needed caché to their faltering industries and to encourage international diplomacy. , Yemen, and Saudi Arabia have also begun production, despite limited opportunities for exhibition domestically. CINEMA AND NATION IN THE MIDDLE EAST To a substantial degree, cinema has served to define the character of the peoples and nations of the Middle East; it has been a prominent means, that is, of narrating nationalist histories and ideologies, and thus of presenting a sense of what it means—and doesn’t mean—to be a citizen or subject of a country.
Israfest is founded to promote Israeli cinema in the United States. Morocco: The Embers, directed by Farida Bourquia, becomes the first Moroccan film directed by a woman. Palestine: The leadership of the PLO is exiled from Lebanon to Tunisia. Turkey: Şerif Gören’s The Way shares the award for best film at the Cannes Film Festival. 1983 Egypt: The Bus Driver (Atef El-Tayeb) is released. It is often credited as announcing the beginning of the New Realist movement, partially a response to Anwar Sadat’s Infitah (“Open Door” policy).