Program in Middle Eastern Studies
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A Film Festivalcelebratingdiversity and Culture Inleitrimtoday
cinema ^ north ^ west Programme at a Glance All screenings are FREE admission. Screenings take place in new roots the Leitrim Cinemobile on the following dates in Manorhamilton (New Line), 4th - 6th February; ALL TICKETS Ballinamore (Sports Complex), 11th - 13th February; FREE Carrick-on-Shannon (The Dock), 18th - 20th February. Friday 2.00pm Leaps and Bounds Friday 6.30pm Here to Stay Friday 8.30pm The Reverse Saturday 3.00pm Kirikou and the Sorceress ity Saturday 5.30pm Le Grand Voyage vers Saturday 8.00pm The Last Temptation of Christ g di tin y. Sunday 5.00pm Kundun elebra oda A film festival c m t Sunday 8.00pm The Front Line Leitri and culture in To book, tel: 086 604 9365 or email: [email protected] All screenings are free admission. Post-film audience discussions will be led by people from relevant communities and/or filmmakers Tickets also available on the door. Booking recommended for groups More Information: www.cinemanorthwest.com Projection: Tommy Ahearne Marketing and Publicity: Bua Marketing Design: Daragh Stewart Festival Director: Nóirín Hennessy Leitrim County Council Comhairle Chontae Liatroma 4 - 6 Feb Manorhamilton European Union Northern Ireland 11 - 13 Feb Ballinamore European Regional Development Fund Executive 18 - 20 Feb Carrick-on-Shannon Investing in your future www.northernireland.gov.uk This project has been funded by the PEACE lll Programme through the European Union's European Regional www.cinemanorthwest.com Development Fund managed for the Special EU Programmes Body by Leitrim County Council on behalf of County Leitrim Peace lll Partnership Programme note Cinema North West brings cinema to rural communities and celebrates local filmmaking. -
Catalog 2010
FILM MOVEMENT CATALOG 2010 A b o The Company u t Launched in 2003, Film Movement is a full-service North American distributor of U award-winning American independent and foreign films, based in New York City. s Film Movement has released more than 90 feature films from 40 countries on six continents, including top prize winners from Sundance, Cannes, Venice, Toronto, Berlin, Tribeca, SXSW and other prestigious film festivals. Mission Statement Why did we launch Film Movement? As fans of American independent and for- eign cinema, we had become increasingly frustrated by the lack of access to the year's most critically acclaimed films. We kept reading about films from the ma- jor film festivals, such as Cannes and Sundance, that the top critics raved about, but never reached a theater near you. Film choices are dictated to us by a smaller and smaller group of major studios, which decide to release films based mostly on their star quotient and “marketability”. Many of the films that we want to see get squeezed out of thea- ters by Hollywood blockbusters and face skyrocketing marketing costs that make it daunting—if not impossible—to reach appreciative audiences. We created Film Movement because the system of releasing independent, foreign and documentary films needed to be changed. At its heart, Film Movement is dedicated to getting great films seen by as many people as possible, and providing intelligent, beautiful and compelling art to an ever-growing audience, who does not necessarily live in the top ten metropolitan areas, and who want more than the standard Hollywood fare. -
GOTT-DISSERTATION.Pdf (1.059Mb)
Copyright by Michael Robert Gott 2011 The Dissertation Committee for Michael Gott Certifies that this is the approved version of the following dissertation: Re-charting French Space: Transnationalism, Travel and Identity from the Postcolonial Banlieue to post-Wall Europe Committee: Hélène Tissières, Supervisor Dina Sherzer, Co-Supervisor Michael Johnson Madhavi Mallapragada ___________________________________ Andrea Loselle Re-charting French Space: Transnationalism, Travel and Identity from the Postcolonial Banlieue to post-Wall Europe by Michael Robert Gott, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2011 Acknowledgements I would like to thank all of my committee members and in particular my supervisor Hélène Tissières and in my co-supervisor Dina Sherzer. iv Re-charting French Space: Transnationalism, Travel and Identity from the Postcolonial Banlieue to post-Wall Europe Michael Robert Gott, PhD. The University of Texas at Austin, 2011 Supervisor: Hélène Tissières Co-supervisor: Dina Sherzer Contemporary French identity issues are often conceived spatially in popular imagination and political discourse. France and French identity have been mapped into a series of imagined exclusionary spaces through media representations and political rhetoric. This dissertation argues that artists in the fields of film, rap music and fiction are actively yet often indirectly intervening in French identity debates by reframing the question of “integration” and by demonstrating that not only can one be simultaneously French and “other,” but that French identity is always already more complex and transnational than prevailing discourses of “imagined” identity will admit. -
Redefining Beur Cinema: Constituting Subjectivity Through Film
REDEFINING BEUR CINEMA: CONSTITUTING SUBJECTIVITY THROUGH FILM by Yahya Laayouni Licence, English Literature, Mohammed ibn Abdellah University, 2000 DESA, Mohammed ibn Abdellah University, 2003 Submitted to the Graduate Faculty of the Kenneth P. Dietrich Graduate School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2012 UNIVERITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Yahya Laayouni It was defended on April 10th 2012 and approved by Todd Reeser, Associate Professor, French and Italian Mohammed Bamyeh, Professor, Sociology Neil Doshi, Assistant Professor, French and Italian Dissertation Co-advisor: Giuseppina Mecchia, Associate Professor, French and Italian Dissertation Co-advisor: Randall Halle, Klaus W. Jonas Professor, German ii Copyright © by Yahya Laayouni 2012 iii REDEFINING BEUR CINEMA: CONSTITUTING SUBJECTIVITY THROUGH FILM Yahya Laayouni Ph.D. University of Pittsburgh, 2012 This dissertation focuses on Beurs’ modes of identification in France as depicted in film. The term “Beur” is not used as an identity based on birth or citizenship but rather as a socio- cultural construct that serves as an analytical tool to dismantle the notion of Frenchness. This study, thus, investigates how cinema reflects on the experience of the Beurs through filmic narrative. The aim is to trace the changing lives of the Beurs as they have been reconstructed in movies since the early eighties. This process is both synchronic and diachronic. Synchronic as it engages in the analysis of films with respect to their historical context and diachronic as it will permit the distilling of the commonalities between these films to lead to the conception of Beur cinema as a film genre. -
(Analisis Naratif Film Le Grand Voyage) Skripsi
DAKWAH DZATIYAH (AQIDAH) SEORANG MUSLIM DI PERANCIS DALAM MENUNAIKAN IBADAH HAJI (ANALISIS NARATIF FILM LE GRAND VOYAGE) SKRIPSI Diajukan Kepada Fakultas Dakwah dan Ilmu Komunikasi Untuk Memenuhi Persyaratan Memperoleh Gelar Sarjana Sosial (S.Sos) Oleh: Sa’diah NIM: 11150510000130 PROGRAM STUDI KOMUNIKASI DAN PENYIARAN ISLAM FAKULTAS ILMU DAKWAH DAN ILMU KOMUNIKASI UNIVERSITAS ISLAM NEGERI SYARIF HIDAYATULLAH JAKARTA 1441 H/ 2020 DAKWAH DZATIYAH (AQIDAH) SEORANG MUSLIM DI PERANCIS DALAM MENUNAIKAN IBADAH HAJI (ANALISIS NARATIF FILM LE GRAND VOYAGE) SKRIPSI Diajukan Kepada Fakultas Dakwah dan Ilmu Komunikasi Untuk Memenuhi Persyaratan Memperoleh Gelar Sarjana Sosial (S.Sos) Oleh: Sa’diah NIM: 11150510000130 Dosen Pembimbing: Dr. Edi Amin, M.A NIP: 197609082009011010 PROGRAM STUDI KOMUNIKASI DAN PENYIARAN ISLAM FAKULTAS ILMU DAKWAH DAN ILMU KOMUNIKASI UNIVERSITAS ISLAM NEGERI SYARIF HIDAYATULLAH JAKARTA 1441 H/ 2020 PENGESAHAN PANITIA UJIAN Skripsi ini berjudul “Dakwah Dzatiyah (Aqidah) Seorang Muslim di Perancis dalam Menunaikan Ibadah Haji (Analisis Naratif Film Le Grand Voyage).” Disusun oleh Sa’diah dengan NIM 11150510000130. Telah diujikan dan dinyatakan lulus dalam sidang munaqasah Fakultas Ilmu Dakwah dan Ilmu Komunikasi UIN Syarif Hidayatullah Jakarta pada tanggal 22 Juli 2020. Skripsi ini telah diterima sebagai salah satu syarat memperoleh gelar Sarjana Sosial (S.Sos) dalam bidang Komunikasi dan Penyiaran Islam. Jakarta, 22 Juli 2020 Tim Ujian Munaqasah Tanggal Tanda Tangan Ketua Dr. Armawati Arbi, M.Si. ........... ……………………. NIP. 196502071991032 Sekretaris Miftachur Rosyidah, M.Pd.I. ........... ……………………. NIP. 197207201999032002 Penguji 1 Drs. Wahidin Saputra, M.Si. ........... ……………………. NIP. 1977009031996031 Penguji 2 Dr. Dudun Ubaedullah, M.Ag. ........... ……………………. 197505082008011012 Mengetahui, Dekan, Suparto, M. Ed, Ph. D NIP. 197103301998031004 LEMBAR PERNYATAAN Dengan ini saya menyatakan: 1. -
Eurimages Supports 14 European Co-Productions / Change of Deadlines for 2006
ED168a05 Eurimages supports 14 European co-productions / Change of Deadlines for 2006 STRASBOURG, 13.12.2005 - At its 98th meeting held from 4 to 8 December in Paris, the Council of Europe Eurimages Fund Board of Management agreed to support 14 feature films for a total amount of 4.492 Million Euros. The feature films are : Ayse'yi Kim Sevmiyor (Who Does Not Love Ayse) - Elfe Uluç (Turkish) (Turkey, France) Bathory - Juraj Jakubisko (Slovak) (Slovakia, Czech Republic, Hungary, United Kingdom) Dennis P. - Pieter Kuijpers (Dutch) (Netherlands, Belgium) Erik Nietzsche - de unge ar - Lone Scherfig (Danish) (Denmark, Sweden, France) Fantom - Jovan Todorovic (Serbia and Montenegro) (Serbia and Montenegro, Hungary, Bulgaria) Fine Pena Mai - Davide Barletti (Italian) & Lorenzo Conte (Italian) (Italy, France) Jas sum od Titov Veles - Teona Strugar Mitevska (Macedonian) ("The former Yugoslav Republic of Macedonia", France, Slovenia, Germany) Klopka - Srdan Golubovic (Serbia and Montenegro) (Serbia and Montenegro, Germany, Hungary) Mia et le Migou - Jacques-Rémy Girerd (French) (France, Italy) Mon Colonel - Laurent Herbiet (French) (France, Belgium) Petites Peurs Partagées - Alain Resnais (French) (France, Italy) Un Secret - Claude Miller (French) (France, Germany) Takva - Özer Kiziltan (Turkish) (Turkey, Germany) Verliebt in eine Leiche - Markus Stein (German) & Milan Puzic (Serbia and Montenegro) (Germany, Austria, Croatia) Support was awarded to the following distributors : ART COMPANY (Bosnia and Herzegovina) for the distribution of the film(s) -
JAC LAST the Sacrificial Dora Carpenter-Latiri.Pdf
The sacrificial sheep in three French-North African film: displacements and reappropriations Dora Carpenter-Latiri http://arts.brighton.ac.uk/staff/dora-carpenter-latiri Abstract In this article I will examine three films featuring Maghrebi migrant families between the 1960s and the present day, Le Gone du Chaâba (1997) by Christophe Ruggia, Inch’Allah Dimanche (2001) by Yamina Benguigui and Le Grand Voyage (2004) by Ismaël Ferroukhi. Each film portrays tensions between generations, between sexes, between societies and between beliefs and values. The tradition of the sacrifice of a sheep in Islam features in all three films and I use this theme to highlight how different members of the families sacrifice themselves or are sacrificed in the process of accommodating to a new way of life. I also deconstruct other subtextual references to Islamic culture and belief as representations of dilemmas and forms of reconciliation and belonging. In this paper, I will explore the symbols and representations of the sacrificial sheep in three French-North African films. North-African families are represented, the characters are migrant parents and their children and the context is France with references to the country of origin: Algeria for Le Gone du Chaâba and Inch’Allah Dimanche, Morocco for Le Grand Voyage. Le Grand Voyage is also a ‘road movie’, with other countries passed through on the car journey from the south of France to Saudi Arabia. In all three films, the father character is a North-African migrant worker. The element of class is present in the three films but although these films would be examples of the ‘cinema ouvrier’ – and Cadé (2004) does incorporate Le Gone du Chaâba (1997) in the filmography of French cinema representing the working class in 20th and early 21st century – these three films deal more with identity, transmission and belonging and could be described as ‘Migration French-North African films’. -
Cinema's Proximity to Morocco
Cinema’s proximity to Morocco, Morocco’s cinema of proximity By: Latif Adnane To define the essence of Moroccan cinema in a few words is a difficult task. This difficulty is due to the fact that the Moroccan identity itself is not clear. Indigenous Amazighi groups, Arabs coming with Islam from the Arabian Peninsula, Andalusia’s refugees from Spain, Africans, all these elements, plus the heterogeneous result of their mixture, compose a Moroccan identity that, once we try to circumscribe, we grant it automatically a political color and we risk falling in with the classifying clichés. Thus, as Moroccan filmmaker Saad Chraibi points out, the question of Moroccan identity is that it is in constant evolution, and imposes on Moroccan cinema a constant rectification of vision and plan of action. The author of the film Chronicle of Normal Life (1991)concluded that we cannot create a cinema, but cinemas that respond to different aspirations and expectations, taking into consideration all the cultural and artistic components, and configurations of a multiple and richly diversified Morocco. As result to this, filmmakers of Morocco whether are the kind of the local and veteran Mohamed Abderrahman Tazi, or the kind of the young, living abroad, Hassan Legzouli agree on one truth: there are Moroccan films, but no Moroccan cinema. Moroccan cinema(s) To speak of Moroccan national cinema is also misguiding. National cinema, to mention a few ingredients, is often defined by a strong national film industry, massive production specifically for the big screen, ample distribution, and a solid film consumption infrastructure. Morocco produces films indeed, but is this enough? The government support for Moroccan filmmakers residing in Morocco or living abroad has helped increase production by the astonishing number of some 30 to 40 long feature films and more than 80 shorts a year, surpassing their traditionally leading Maghreb neighbors Algeria and Tunisia. -
Reconciling the Secular and the Religious in Le Grand Voyage (The Ib G Trip) (2004) Yahya Laayouni Bloomsburg University of Pennsylvania, [email protected]
Journal of Religion & Film Volume 20 Article 41 Issue 2 April 2016 4-5-2016 From Marseille to Mecca: Reconciling the Secular and the Religious in Le grand voyage (The iB g Trip) (2004) Yahya Laayouni Bloomsburg University of Pennsylvania, [email protected] Recommended Citation Laayouni, Yahya (2016) "From Marseille to Mecca: Reconciling the Secular and the Religious in Le grand voyage (The iB g Trip) (2004)," Journal of Religion & Film: Vol. 20 : Iss. 2 , Article 41. Available at: https://digitalcommons.unomaha.edu/jrf/vol20/iss2/41 This Article is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. From Marseille to Mecca: Reconciling the Secular and the Religious in Le grand voyage (The iB g Trip) (2004) Abstract By the early 1980’s, a generation of children of Maghrebi (North African) parents born and/or raised in France started to become more visible, particularly after they organized a march in 1983 from Marseille to Paris under the slogan “For Equality and against Racism.” This generation was introduced to the public as the “Beur generation.” The orw d ‘Beur,’ coined by this generation, is the result of a Parisian back slang and means ‘Arab.’ It quickly gained popularity and has been used to refer to children of Maghrebi origins living in France. As much as it has been hard for the Beurs to integrate the French society, they have also been rethinking their Maghrebi cultural heritage. -
A Final Cut in Venice 31.08 – 02.09.2019 LABIENNALE.ORG VENICEPRODUCTIONBRIDGE.ORG FINAL CUT in VENICE
A Final Cut in Venice 31.08 – 02.09.2019 LABIENNALE.ORG VENICEPRODUCTIONBRIDGE.ORG FINAL CUT IN VENICE B Venice Production Bridge 2019 76. Mostra Internazionale d’Arte Cinematografica La Biennale di Venezia Final Cut in Venice La Biennale di Venezia Director General Alessandra Speciale and its collaborators for Andrea Del Mercato Final Cut in Venice With the kind support of Erika Giorgianni Artistic Director Thierry Lenouvel Lara González Lobo of the Cinema Department Annouchka De Andrade Laura Kirlum Alberto Barbera Thierry Jobin Eugenia Leonardi Mariachiara Manci Venice Production Bridge Chiara Marin Pascal Diot Alessandro Mezzalira Savina Neirotti Nikolas Montaldi Daniela Persi [email protected] www.labiennale.org veniceproductionbridge.org FINAL CUT IN VENICE 7TH EDITION A workshop to support films in post-production from Africa, Iraq, Jordan, Lebanon, Palestine and Syria. The goal of the project is to enhance the role of the Venice International Film Festival as a bridge builder supporting the production of independent quality films coming from Africa and Arab countries; providing concrete help to film production and promoting the competitiveness of their audiovisual products on the international market. The work-in-progress copies of 6 films from different geographical and cultural areas (Algeria, Central African Republic, Democratic Republic of Congo, Egypt, Iraq, Morocco) will be presented in the presence of directors and producers. Access is reserved exclusively to Gold and Trade accreditations. The one-to-one meetings session between the selected projects and the professionals attending the Venice Production Bridge will be organized on September 2nd. Thanks to Db Logic S.r.l. Festival Scope The Final Cut in Venice brochure for 2019 has been edited using the information assembled by July 18th, 2019.