By Viola Shafik
Because it was once first released in 1998, Viola Shafik’s Arab Cinema: heritage and Cultural identification has turn into an crucial paintings for students of movie and the modern heart East. Combining unique narrative history—economic, ideological, and aesthetic—with thought-provoking research, Arab Cinema offers a entire evaluation of cinema within the Arab international, tracing the industry’s improvement from colonial occasions to the current. It analyzes the ambiguous dating with advertisement western cinema, and the influence of Egyptian industry dominance within the zone. Tracing the impression at the medium of neighborhood and nearby artwork kinds and modes of idea, either classical and renowned, Shafik indicates how indigenous and exterior elements mix in a dynamic technique of “cultural repackaging.”
Now up to date to mirror cultural shifts within the final ten years of cinema, this revised variation encompasses a new afterword highlighting the most recent advancements in renowned movie and in cinéma d’auteur (art condo movies), with a different specialise in Iraq, Lebanon, and Palestine. whereas exploring troublesome matters corresponding to eu co-production for Arab paintings motion pictures, together with their relation to cultural id and their reception within the area and out of the country, this new version introduces readers to a few of the main compelling cinematic works of the decade.
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Extra info for Arab Cinema: History and Cultural Identity
The Palestinian Michel Khleifi received his degree in Brussels and the Iraqi Kaiss al-Zubaidi in Babelsberg, in the former East Germany. The Egyptian director Youssef Chahine (Yusuf Shahin) was one of the very few who were trained in the United States. Only Egypt and Iraq have solved the problem of training satisfactorily. 85 Among the teachers was the Egyptian director Taufik Salih. Already in 1945 a private film school had opened in Cairo,84 but it survived only a short while. Then, in 1959, the Ministry of Culture established the Higher Film Institute that still provides the country 24 The History of Arab Cinema with the necessary young professionals, be they technicians, set designers, scriptwriters, or directors.
Apart from Youssef Chahine's most recent spectacles, The Emigrant (al-Muhagir, 1994) and Destiny (al-Masir, 1997), the projects of young directors such as Yousry Nasrallah, Asma' al-Bakri, Radwan al-Kashif, Khalid alHaggar, and cAtif Hatata have received Western support. However, European coproductions tend to be less successful at the box office than native commercial films, particularly in Egypt. At the same time, coproduced films have succeeded in representing Arab cinema abroad while marginalizing Arab mainstream cinema, not in quantity but in terms of quality and evaluation.
New 44 The History of Arab Cinema The Mountain (al-Djabal, Palestine, 1991) by Hanna Elias (courtesy Institut du Monde Arabe, Paris) directors also appeared in Israel and the occupied territories, including Hanna Elias,, Nizar Hassan, Norma Morcos, and Omar alQattan, most of whom are working on documentaries. Rashid Masharawi, however, gives a fictional insight into life in the refugee camps in The Curfew (Hatta ishcar akhar, 1993) and Haifa (1995). Elia Suleiman attempts in his short fiction Homage by Assassination (1992) and his full-length feature Chronicle of a Disappearance (1997) to deconstruct Western and Arab discourses related to Palestinians.