Notes on Contributors

A l i a A r a s o u g h l y is director general of Shashat, a women’s cinema NGO in Palestine, and curator of its annual “Women’s Film Festival in Palestine,” the long est running women’s film festival in the Arab world. She is also a filmmaker and her directing credits include Ba`d As-Sama’ Al-Akhirah ( After the Last Sky , 55 minutes), The Clothesline (14 minutes), and Hay mish Eishi ( This is not Living , 45 minutes), which has been translated into five languages and shown at over 100 international film festivals. Alia has worked as an expert trainer and development professional in the area of media and gender on major projects for international organizations such as UNDP, UNFPA, and UNIFEM. She has been responsible for intensive training/production programs for young women filmmakers in the West Bank and Gaza Strip. In 1996 she co-organized and co-curated, with the Film Society of Lincoln Center, the landmark five-week-long festival, Centennial of Arab Cinema. She also co-organized the First Retreat between Arab women filmmakers and Arab critics in Casablanca, Morocco, in 1997. Alia has taught and lectured internationally on issues of postcolonialism, gender, and national identity in Arab cinemas. She has received prestigious academic fellowships from the Fulbright Program, the Andrew W. Mellon Foundation, and the Ford Foundation. Nicholas Balaisis is lecturer in Cultural Studies at Trent University in Peterborough, Canada. He recently completed a PhD in Communication and Culture at York University, Toronto, writing a dissertation on cinema, spectator- ship, and the Cuban public sphere. His research interests include globalization and the transnational flow of images; media and the reshaping of urban space; melodrama; film and the public sphere; and mobile media. In connection with the latter, he has written about the history of mobile cinema exhibition in Cuba and plans a comparative study of mobile cinema in rural China. Nicholas serves on the Board of Directors and Programming Committee of the Regent Park Film Festival, a free multicultural film festival serving the residents of the Regent Park neighborhood in Toronto, the oldest and largest public housing development in Canada. He is also co-investigator of the Visible City Project + Archive at York University and has published journal articles in Cineaction , Public , and Canadian Journal of Film Studies . Anton Basson holds a cum laude MA in Literature from the University of the Witwatersrand in Johannesburg. He is the head of Curriculum Development 262 NOTES ON CONTRIBUTORS at the South African School of Motion Picture Medium and Live Performance (AFDA). A playwright, poet, lyricist, and short story writer, he taught linguistics and narrative at a number of universities in Johannesburg before joining AFDA as lecturer in Scriptwriting and in various leadership capacities. Gerda Dullaart chairs the Academic Standards Council at the AFDA film school in Johannesburg and Cape Town and lectures on Film Narrative and on Research Methodology. Gerda worked in journalism, copywriting, and script doctoring before joining AFDA in 2003. She wrote her PhD thesis on curriculum objectives for skills and attitudes useful to BA graduates pursuing film and media careers. Armida de la Garza is associate professor in Communication and Media at Xi’an Jiaotong-Liverpool University. She is also co-editor of the Transnational Cinemas journal (Bristol: Intellect). As a researcher, she is interested in film and its rela- tion to cultural identity, especially national identity, and in audience reception. She has published essays on the links between documentary and diaspora (in Miriam Haddu and Joanna Page, Visual Synergies: Fiction and Documentary Filmmaking in Latin America, Palgrave, 2009) and realism in Latin American cinema (in Lú cia Nagib and Cecí lia Mello, Realism in the Audiovisual Media , Palgrave, 2009). She is currently working on a collaborative research project enti- tled Transnational Cinema in Globalising Societies: Asia and Latin America . The focus is on those films that are produced for the global market but still sold as national productions, and on the ways in which audiences engage with them in their countries of origin to make sense of their identity. Mette Hjort is associate vice president and chair professor of Visual Studies at Lingnan University, where she is also director of the Centre for Cinema Studies. She is affiliate professor of Scandinavian Studies at the University of Washington, Seattle, and adjunct professor at the Centre for Modern European Studies, University of Copenhagen. She is the author of The Strategy of Letters (Harvard University Press, 1993), Small Nation, Global Cinema (University of Minnesota Press, 2005), Stanley Kwan´s “Center Stage” (Hong Kong University Press, 2006), and Lone Scherfig’s “Italian for Beginners” (University of Washington Press, 2010). She is the editor or co-editor of a number of books, including, most recently, Film and Risk (Wayne State University Press, 2012), and Creativity and Academic Activism: Instituting Cultural Studies (with Meaghan Morris; Hong Kong University Press, 2012). A third volume in a series of interview books with Danish directors is forthcoming as Danish Directors 3: Dialogues on the New Danish Documentary Cinema (with Ib Bondebjerg and Eva Novrup Redvall; Intellect, 2013). Mette Hjort is foundation fellow of the Hong Kong Academy of the Humanities. She co-edits the Nordic Film Classics Series with Peter Schepelern for the University of Washington Press and Museum Tusculanum. Scott MacKenzie is author of Screening Qu é bec: Qu é b é cois Moving Images, National Identity and the Public Sphere (Manchester University Press, 2004) and Guy Debord for the French Filmmakers Series (Manchester University Press, forthcoming). He is also co-editor of Cinema and Nation (with Mette Hjort; Routledge, 2000), Purity and Provocation: Dogma 95 (with Mette Hjort; NOTES ON CONTRIBUTORS 263

BFI, 2003) and The Perils of Pedagogy: The Films and Videos of John Greyson (with Brenda Longfellow and Thomas Waugh; McGill-Queens University Press, forthcoming). He is co-investigator of the Visible City Project + Archive at York University and has published in such journals as Cineaction , Public , Canadian Journal of Film Studies, and Screen . Christopher Meir is lecturer in Film at the University of the West Indies, St. Augustine in Trinidad and Tobago, where he has been teaching since 2008. He completed a PhD project at the University of Warwick on the production and international circulation of Scottish cinema. He is currently preparing a manu- script based on his doctoral thesis for Manchester University Press and working on a comparative study of the film industries of the nations of the Commonwealth. T o b y M i l l e r is professor of Cultural Industries in the Centre for Cultural Policy and Management at the City University of London. He is the author of numer- ous books, including The Well-Tempered Self: Citizenship, Culture, and the Postmodern Subject (The Johns Hopkins University Press, 1993), Contemporary Australian Television (with Stuart Cunningham; University of New South Wales Press, 1994), The Avengers (BFI, 1997/Indiana University Press, 1998), Technologies of Truth: Cultural Citizenship and the Popular Media (University of Minnesota Press, 1998), Popular Culture & Everyday Life (with Alec McHoul; Sage, 1998), Global Hollywood (with Nitin Govil, John McMurria, and Richard Maxwell; BFI/University of California Press, 2001) and Cultural Policy (with George Y ú dice; Sage, 2002). His edited or co-edited books include SportCult (with Randy Martin; University of Minnesota Press, 1999), A Companion to Film Theory (with Robert Stam; Blackwell, 1999), Film and Theory: An Anthology (with Robert Stam; Blackwell, 2000), A Companion to Cultural Studies (Blackwell, 2001). His most recent books are Greening the Media (Oxford University Press, 2012), with Richard Maxwell, and Blow Up the Humanities (Temple University Press, 2012). His work can be followed at tobymiller.org. Hamid Naficy is the John Evans Professor of Communication, teaching screen cultures courses in the Department of Radio, Television, and Film, at Northwestern University. His areas of research and teaching include documentary and ethno- graphic films; cultural studies of diaspora, exile, and postcolonial cinemas and media; and Iranian and Middle Eastern cinemas. He has published extensively on these and related topics. His English language books are: Iran Media Index (Greenwood Press, 1984), The Making of Exile Cultures: Iranian Television in Los Angeles (University of Minnesota Press, 1993), An Accented Cinema: Exilic and Diasporic Filmmaking (Princeton University Press, 2001), Home, Exile, Homeland: Film, Media, and the Politics of Place (edited, Routledge, 1998), Otherness and the Media: the Ethnography of the Imagined and the Imaged (co-edited, Harwood Academic, 1993), and, most recently, the four-volume project entitled A Social History of a Century of Iranian Cinema (Duke University Press, 2011–2012). He has also published extensively in Persian, including a two-volume book on the theory and history of documentary cinema, Film-e Mostanad (Entesharate-e Daneshgah-eAzad-e Iran, 1978). He has lectured widely internationally and his 264 NOTES ON CONTRIBUTORS works have been cited and reprinted extensively and translated into many lan- guages, including French, German, Turkish, Italian, and Persian. Osakue Stevenson Omoera is lecturer at the Department of Theatre and Media Arts at Ambrose Alli University, Ekpoma, Edo State, Nigeria, where he currently coordinates the Students’ Industrial Work Experience Scheme. He is an expo- nent of the Benin video film aspect of Nollywood studies and has abiding aca- demic interests in Media Sociology, Nollywood/Benin Video Film, Theater for Development, and African Cultural and Performance Studies. Rod Stoneman is director of the Huston School of Film & Digital Media at the National University of Ireland, Galway. He was chief executive of Bord Scanná n na h É ireann / The Irish Film Board until September 2003 and previously dep- uty commissioning editor in the Independent Film and Video Department at Channel 4 Television. He has made a number of documentaries including Ireland: The Silent Voices (1983), Italy: the Image Business (1984), 12,000 Years of Blindness (2007), and The Spindle: How Life Works (2009), and has written exten- sively on film and television. He is the author of Ch á vez: The Revolution Will Not Be Televised: A Case Study of Politics and the Media (Wallflower, 2008) and Seeing is Believing: The Politics of the Visual (Black Dog Publishing, 2013). He is the co-editor, with Seá n Crosson, of The Quiet Man . . . and Beyond: Reflections on a Classic Film, John Ford and Ireland (Liffey Press, 2009) and of Scottish Cinema Now , with Jonathan Murray and Fidelma Farley (Cambridge Scholars Publishing, 2009). Keyan Tomaselli is senior professor and director in the Centre for Communication, Media and Society, University of KwaZulu-Natal, Durban. He is co-editor of Journal of African Cinemas, editor of Critical Arts: A Journal for Cultural Studies , and author of Encountering Modernity: 20th Century South African Cinemas (Rozenberg, 2006) and The Cinema of Apartheid: Race and Class in South African Film (Routledge, 1989). He has produced numerous videos screened on South African television and is a member of the AFDA MFA Advisory Board and a corresponding member of CILECT. Tomaselli co-wrote the Film Development Strategy—the White Paper on Film (1996). He served as the chair of the SA Film and TV Technicians Association in the late 1970s and early 1980s. He has taught cinema studies at three South African and at two US universities. G e o r g e Y ú d i c e is professor of Modern Languages and Literatures, and Latin American Studies, at the University of Miami. His research interests include new aesthetic phenomena in the digital age; globalization and transnational pro- cesses; the role of intellectuals, artists, and activists in national and transnational institutions; contemporary Central America; and cultural policy. In connection with the latter, he has formed the Miami Observatory on Communication and Creative Industries, which brings together researchers from UM and FIU (Florida International University). He is the author of Vicente Huidobro y la motivaci ó n del lenguaje po é tico (Galerna, 1977); Cultural Policy, co-authored with Toby Miller (Sage, 2002), in Spanish, Pol í tica Cultural (Gedisa, 2004); El recurso de la cultura (Gedisa, 2003), in English The Expediency of Culture (Duke University NOTES ON CONTRIBUTORS 265

Press, 2004), and Portuguese A Conveni ê ncia da Cultura (Editora da UFMG); Nuevas tecnolog í as, m ú sica y experiencia (Gedisa, 2007), and Culturas emergen- tes en el mundo hispano de Estados Unidos (Fundaci ó n Alternativas, 2009). He has in progress Culture and Value: Essays on Latin American Literarature and Culture and Cultura y pol í tica cultural en Am é rica Central: 1990 a 2012 (Editorial de la Universidad de Costa Rica). He is also co-editor (with Jean Franco and Juan Flores) of On Edge: The Crisis of Contemporary Latin American Culture (University of Minnesota Press, 1992). Bibliography

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Aad, Serena Abi, 135, 146 Ali, Hafiz Ali, 92 A Arca dos Zo’é (Meeting Ancestors, Al Jazeera Arabic newsroom, and Jassim 1993), 252 Al-Rumaihi, 96 Abaq al-Thalal (A Scent of a Shadow; dir. Al Jazeera International Documentary Ali Ali Hafiz, 2009), 92 Film Festival, 130 Above the Ground, Beneath the Sky (dir. All Fall Down (dir. Philip Hoffman, 2009), Simon Lering Wilmont, 2008), 139 173 Abu Dhabi Authority for Culture and Along the Way (dir. Sine Skibsholt, 2010), Heritage, and The New York Film 143, 144 Academy, 87 Alqam, Hani, 140–1 Abu Dhabi Film Commission, 87 Al-Quds 2009 Capital of Arab Culture Aburto, Sonia, 222 Fund, 118 see also Juguemos a Grabar Al-Quds University, and Shashat, 113, 114, Abusharif, Ibrahim, on teaching at 115, 116 NU-Q, 92 Aly, Doa, 134 actor-network theory, 163 Amata, Fred, 47, 52 Adesuwa (dir. Lancelot Imasuen, 2012), 45 Amata, Jeta, 47 Advance Party Project, 13 Amazing Grace (dir. Jeta Amata, 2006), 47 affinities, transnational, and small Ambo, Phie, on “de-film-schoolification,” 5 nations, 11–14 American University in Dubai, affinitive transnationalism, 13, 128 Mohammed Bin Rashid School for affordances, 126, 129, 137, 139, 141, 143, 146 Communication, 87 Afolayan, Kunle, 47 Amores Perros (Love’s a Bitch; dir. Africa International Film Festival, 14 Alejandro González Iñárritu, 2000), African media production, as outside the 241 rubric of Western film training, 41 anecdotes, suggestive, from the field of Afro Reggae, 244 practice, 1–2 agit prop, 68 anglophone Caribbean, particularities Akin, Fatih, 91 and problems, 205–8 Akindele, Funke, 47 Anih, Tony, and Africa Movie Academy Akpola Films, 50 Awards (AMAA), 49 Al-Aqsa University, Gaza, and Shashat, An-Najah National University, Nablus, 113 and Media Center funded by Kuwaiti Al Arabyia, 61 Fund, Shashat, 104, 113, 114, 116, 118 Alasti, Ahmad, 135, 137 Annual Student Academy Awards, 33rd, Alas y Raíces a los Niños (Wings and and AFDA, 32 Roots for Children), and Juguemos a apartheid, and the end of, implications for Grabar, 233 film training in South Africa, 25, 26, Albana, Maya, 139 27, 28, 34, 35 288 INDEX

Apocalypse Now (dir. Francis Ford Bartas, Šarūnas, as anti-institutional Coppola, USA, 1979), 66, 67 activist, 16 Aqareb Al-Saah (Clockwise; dir. Khalifa Beach, The (dir. Danny Boyle), 2 Almuraikhi, 2010), 93 Beauvoir, Simone de, 1 Arab American University, Jenin, and Behind the Walls (dir. Zainab Sultan, Amit Shashat, 113, 114 Chowdhury, and Nazneen Zahan), 95 Arab Comes to Town, An (2008), and Beijing Film Academy (BFA), 10, 15, 153, collaboration between Ahmad 161 Ghossein and Georg Larsen, 133 Beirut DC, 134, 135 Arab Fund for Arts and Culture (AFAC), Benin city, and film production, 50 118 Benin video film, 40, 42, 44, 45, 46, 49, 50, Arab Institute of Film (AIF), 126, 127, 132, 52, 53, 54 134 Benjamin, Walter, and democratizing Aram Bash va ta Hatf Beshmar (Be Calm potential of the film medium, 221 and Count to Seven; dir. Ramin Berrie, Gillian, and Sigma Films, 13 Lavafipour, 2008), 92 Bethlehem University, and Shashat, 113 Aramotu (dir. Niji Akanni, 2011), 47 Beyond Borders, training program, 64 Arasoughly, Alia, and Shashat, 10, 19, 126 Bier, Susanne, 130 Arinze, Segun, 52 Big Fish, 27 Artistic setup Bim (dir. Hugh Robertson, 1975), 214 equal encounter with another creative Birri, Fernando, and Santa Fe being, and NFSD, in the Middle East, documentary school, 253 138–42 Birzeit University, and Shashat, 114, 115 one voice, 144–7 Björk, and The Video Diary of Ricardo in principle, no money, 142–4 Lopez (dir. Sami Saif, 2000), 1 Astruc, Alexandre, 172 Black Gold: Struggle for the Niger Delta Ateliers Varan workshops, and Video in (dir. Jeta Amata, 2011), 47 the Villages, 252 Blackhawk Down (dir. Ridley Scott, USA, Athayde, Celso, founder of CUFA, 245 2001), 67 audiovisual education, in the peripheries, Bollywood, and distribution, 60 247–50 Bologna Accord, 4 audiovisual production in the peripheries, Born into Brothels (dir. Zana Briski and contextualizing of, 240–3 Ross Kauffman, 2004), 63 Australian Film, Television and Radio Bouchoucha, Dora, 63–4 School, The (AFTRS), 8 Boyd, Don, 14 Ava and Gabriel (dir. Felix de Rooy, 1990), Braester, Yomi, on practice-based film 203 education, People’s Republic of Avatar (dir. James Cameron, 2009), 62 China, 10, 12 Azari, Shoja, 92 Brains of Empowerment (dir. Amna Azugbene, Loveth OKH, 50 Al-Khalaf), 95 branch campuses Bader (dir. Sara Al-Saadi, Latifa Abdulla benefits arising from, 85 Al Darwish, and Maaria Assami), 95 brand, globalization of, 83, 85, 126 Bairro Escola (Schooling in the embraced by Arab and Muslim women, Neighborhood) program, 248 86, 90 Ballard, Daniel, director general, global network paradigm, 125 Paris-Sorbonne University in Hamid Naficy’s involvement in Abu Dhabi, 85 development of, 7 Bamigboye, Mike, 47 problematizing of neocolonial Bank of Industry (BOI), 52 formulation of, 94 INDEX 289

transferring/transplanting of, to global Chaabane, Lina, 64 south, 83–6 Challenge for Change, 169 branch universities, western, and economic see also National Film Board of and political fluctuations, 86 Canada Bresson, Robert, 68, 175, 216 Chanan, Michael, 187 Brin, Sergey, Google cofounder, 82 Channel 4, 10, 72 Bro, Arne, 126, 128 Africa on Africa, 69 Roos prize, 131, 135, 137, 143, 145, 146 Cinema of Three Continents, 60, 73–4 see also National Film School of coproduction funds, 72 Denmark direct speech, 65, 69 Browne, Chris, 212 People to People, 60 Buainaine, Abdullah, 93 South, 60 Burch, Noël, 68, 71 Vietnam Cinema, programming of, Bus 174 (2002), 242 65–7 Chan Yuk-Shee, xiii, 18 Caméra-etc, 3 Chávez, Hugo, 62 see also Jean-Luc Slock Che Guevara, 187 Cameron, James, director of Titanic, 62 Chen Kaige, director of The Promise, 2 Camre, Henning, 16, 126, 131 Chen, Steven, YouTube co-founder, 83 Caochangdi Station, 10 Cidade de Deus (City of God, 2002), 242, Captifs d’amour (directed by John 243, 245, 246, 247 Greyson, 2011), 173 Cidade dos Homens (City of Men, 2007), Carelli, Vincent, founder of Video in the 242, 243 Villages, 251–2 Cinélink, 3, 14 Caribbean Institute of Media and Cinema Nosso (Our Cinema), 243–4 Communication (CARIMAC), 205, see also Kátia Lund 209, 217 Cinema Novo, 246 Caribbean region, racial makeup Cinémobile, 3 of, 207 Cinomade, 14 CARICOM, undermining of, 207 Circuito Fora do Eixo (Off-Axis Circuit), Cartoon Crisis, 132 251 Casa Muda, La (dir. Gustavo Hernández, Curto Circuito Fora do Eixo (Fora do 2010), 217 Eixo Short Circuit), 251 Casé, Regina, 244 City of God, Carandiru (dir. Hector Castro, Fidel, 187, 195 Babenco, 2003), 246 Castro, Raoul, 185, 195 CityVarsity, 27 Cave Hill Film Society, on UWI campus Cizek, Katerina, and NFB’s Filmmaker-in- in Barbados, 212 Residence programme, 170 Center for Kultur og Udvikling / CKU cognitariat, the, 159, 160, 161 (Danish Center for Culture and Collateral Murder, released by Development/DCCD), 9 Wikileaks, 67 Central da Periferia, 244 colonial era, and misperceptions of Central do Brasil (Central Station; dir. southern cultures, 60 Walter Salles, 1998), 246 color film, history of development Central Única das Favelas / Central Union of, 65 of Slums, 7, 244–6 Columbia University, and international Centre for Cinema Studies, Lingnan students, 82 University, goals of, 18–19 Community Video Education Trust, and Centro de Trabalho Indigenista (Center of community video production, in Indigenous Labor), 252 South Africa, 27 290 INDEX

Comunicación Communitaria, 223–4 Devenish, Ross, critical films of, 26 workshops, 226–32 Dewey, John, 33, 221 see also Irma Avila Pietrasanta, and Diegues, Carlos, 246, 247 practice-based film education, for digital cinema, and Nigeria, 54 children, in Mexico directors, male, and cutting of female Conexões Urbanas (Urban Connections), actors’ bodies, 156 created and hosted by José Júnior, 244 Direct Service TV (DStv), South Africa’s Copenhagen Film and Photo School role in provision of, 27 Rampen, 12 disenfranchised groups, teaching of video Coppola, Francis Ford, 187 production to, in Canada, 169 cosmetics of hunger, in contrast with see also National Film Board of Canada aesthetics of hunger, 245 Doha Tribeca Film Festival, and “Made in Cotera, Liset, 222, 224, 225 Qatar” series, 95 see also La Matatena Doha Tribeca Film Institute, 94 CPH:DOX, 126 Dolls—A Woman from Damascus (dir. DOX:LAB, 126 Diana El-Jeiroudi, 2007), 133 creativity, under constraint, 6, 12 Dox Box festival, Syria, 126, 132, 133 crisis, “Boko Haram,” in northern Dziga Vertov Group, 100 Nigeria, 48 Cuba, in transition, 185–6 Ebuwa 1 & 2 (dir. Lancelot Imasuen, Cuban and New Latin American 2009), 45 Left, 186 École supérieure d’études cultural industry, and modes of cinématographiques (ESEC), and representation, 59 Gaston Kaboré, 4 cybercrime (“Yahoo Yahoo”), 40 economy, nonformal or informal sector of, 41 Damijo, Richard Mofe, 52 Education, An (dir. Lone Scherfig), 1 Danfaso Culture and Development Education City, Doha, Qatar, 90, 96 Programme for Burkina Faso, 9 Science and Technology Park, 86 Danish Broadcasting Corporation (DR), Education of the Filmmaker Project 132 (EOFP), goals of, 17–18 Danish Centre for Culture and practitioner-scholars, 6, 19 Development (DCCD), 131–2 team, 19–20 Danish International Development Eghianruwa, Johnbull, 50 Agency (DANIDA), 100, 131 EICTV Danish Ministry of Foreign Affairs, and every world, 192–6 “Arab Initiative,” 135 new vistas onto Cuba, 197 Dansereau, Fernand, and Challenge for rural immersion and experiential Change, 170 filmmaking in the Sierra Maestra, Dar Al-Kalima College, and Shashat, 113, 188–92 115 as school of three worlds, 186–8 Dead Birds (dir. Robert Gardner, 1964), 91 shift away from older paradigm of Debord, Guy, 68, 180 Third Cinema and nationalism, 197 Del-York International, and the New York Television Serrana, 189 Film Academy, in Lagos, Nigeria, 46 utopia beyond Manichaeism, 198–9 Dencik, Daniel, 135 Eisenstein, Sergei, 68, 195, 215, 216 Den tid vi har (The Time We Have; dir. Ejiro, Chico, 47, 52 Mira Jargil, 2011), 130 Ejiro, Zeb, 47, 52 Deren, Maya, 68, 175 El Chidiac, Anthony, 137, 142, 145, 146–7 development, problem of, in Nigeria, 40 elites, political, in the Middle East, 125 INDEX 291

El Jeiroudi, Diana, 132–3, 134 film education El Ouargui, Najat, and C:ntact, Betty ecology of, 8, 10, 11 Nansen Theater, 132 history of, in Canada, 169 El Raheb, Eliane, 135 history of, in South Africa, 25–8 El-Zubaidi, Qais, 100 knowledge transfer, in Nigeria, 42 Embrafilme, elimination of, 246 models of, 9, 10, 14, 15, 16, 32, 33, 171, Encuentro de hombrecitos (Meeting of 181 Little Men; dir. Alejandro Legaspi, Nigeria, 45–7 1987), 254 specialist crafts, and empowerment of entrepreneurship, and need for self- Nigerian youth, 53 reliance skills, in South Africa, 35 systematic study of, 15 Equal Men (dir. Anthony El Chidiac, University of the West Indies, 204–5 2010), 146–7 values, xiv, 7, 8, 9, 14, 16, 18, 19, 25, 28, Escola Livre de Cinema / Free Cinema 51, 130, 131, 209, 234 School, 248–51, 255 why bother?, 171–2 see also Point of Culture Film Festival Research Network Escuela Internacional de Cine y TV, Cuba, (FFRN), 17 8, 185–99 see also Skadi Loist, Marijke de Valck Eternal Night, The (dir. Rania Tawfik), filmic creativity and output, students’, at Silver New Horizon Award, Al NU-Q, 94–7 Jazeera International Documentary film industry, in South Africa, 25, 26 , 27, Festival, 130 28, 29, 31, 32, 33, 36 Eu já fui o seu irmão (We Gather as a filmmaking, ecologically destructive, 3 Family, 1993), 252 film schools European Audiovisual Entrepreneurs EICTV, Cuba, 186–99 (EAVE), 63 graduates of American, and work, see also film workshops 158–61 Eurocentric canon, alternatives to, in the history of conservatoire-style, 14 Caribbean, 216 Pentagon, 160, 161 European Documentary Network positive images of violent technocracy, (EDN), 133 160 European Film College, Ebeltoft, 12 private, in South Africa, 25, 27, 34 privately owned, in Nigeria, 45 Falcão, Meninos do Tráfico, as response to state-owned enterprises (SOEs), in City of God by Meirelles, 246 South Africa, 35 Falcon, a Revolution, A (dir. Jassim Super 16, as alternative to Al-Rumaihi and Rezwan Islam), conservatoire-style, 12, 13 95, 96 transformation, required to counter Faustini, Marcus Vinícius, founder of sexism, militarism, and exploitation, Escola Livre de Cinema, 248 in the United States, 162–4 Favela Rising (2005), 244 tuition, at American, 161–2 FESPACO, 3, 9, 13, 14, 68 United States, 15, 84, 88, 89, 107, 153–64 Imagine newsreel 3, 3 Film Studies, and institutional turn, 16–17 newsreel workshops, 13, 14, 68 film training Field, Syd, scripting models, as compared absence of well developed system of, in with Philip Hoffman’s approach, 174 Malta, 8 Figurine: Araromire, The (directed by Arab television stations, 99 Kunle Afolayan, 2012), 47 artisanal centers, in Nigeria, 46, 50 Film and Broadcast Academy (FABA), in Australian Film, Television and Radio Ozoro, Nigeria, 45 School (AFTRS), 8 292 INDEX film training—Continued Pretoria Technikon Film School, 26 Beijing Film Academy (BFA), 10, 153, public interest, 154 161 Red Sea Institute of Cinematic Arts Big Fish, 27 (RSICA), 87, 88, 118, 121 branch campus initiatives, 81–97 resistance, 116, 120, 179 Caochangdi Station, 10 rules, 13, 126, 128, 129, 138, 141, 143, CityVarsity, 27 145 collaboration, between Napier scale, 47, 59, 63, 126, 130, 206, 208, University and Edinburgh College of 210 Art, 10 scholarships, 99, 116, 194 film festivals, 29, 33, 95, 105, 107, 108, School of Motion Picture Medium and 210 Live Performance in Cape Town, global monoculture, 59 The, South Africa (AFDA), 25–36 Gothenburg region, Sweden, 10 Shashat, Palestine, 99–123 Griffith Film School, 8 socialization of boys, in Palestine, history of, in Palestine, 104–7 113–14 Hong Kong International Film Festival transnational, 8, 10, 13, 18, 47, 126, 127, (HKIFF) Society’s Jockey Club Cine 128, 129, 131, 187 Academy, 12 University of Cape Town, 27 Hong Kong Television Broadcasts University of California Los Angeles Limited (HKTVB), 12 (UCLA), 153 Imagine, 3, 9, 10, 13, 14, 68 University of Southern California Independent Imaging Retreat (or Film (USC), 71, 82, 88, 125, 153 Farm), 169–82 values, xiv, 7, 8, 9, 14, 16, 18, 19, 25, 28, informal communities of filmmakers, 51, 130, 131, 209, 234 in Japan, 8 Film and TV Academy of the Performing informal, in Nigeria, 49 Arts (FAMU), 5 ISIS (Institut Supérieur de l’Image et du Film Workshop, Copenhagen, 12 Son), Burkina Faso, 9 film workshops lack of gender sensitivity, in Palestine, capacity creation, 63–5 114 filmmakers from the south, 59 Li Xianting Film School, 10 indigenous forms, 64 London Film School, 13, 14, 15 Shashat, 101–2, 103–4, 111–23 Matatena, La, 224–6 timespan, 71 Media Lab, Jadavpur University, see also European Audiovisual Calcutta, 9 Entrepreneurs (EAVE), Med Film National Board for Technical Education Development, Med Film Factory (NBTE), in Nigeria, 45 Final Cut Productions, 127, 133 National Film School of Denmark, 1, 5, 5 Films from the Middle East (The 8, 12, 13, 125–47 National Film School of Denmark / New York Film Academy Abu Dhabi IMS, 2008), 127 (NYFA), 87 5 Spells (dir. Helen Hill, 2000), 173 New York University (NYU), 82, 83, 86, 5 x Favela, Agora por Nós Mesmos (5 88, 125, 153 Times Favela, Now by Ourselves, Nigeria, 39–54 2010), remake of 5 x Favela (5 Times Northwestern University, Qatar, 7, Favela, 1962), 246 81–97 Fondo Nacional para el Fomento de las notion of value added, 52 Artesanías (FONART), 223 Open Window, 27 Forgan, Liz, as head of Factual power relations, 59 Programmes, Channel 4, 65 INDEX 293

Forget, Robert, and Challenge for Change, Grace (dir. Mira Jargil, 2010), 47, 130 in Canada, 170 graduates, of film school, and porn Franco, James, “D” grade at NYU, 155 movies, 158 dismissal of José Angel Santana, 155 Great Events Organizers (Nig) Limited, 50 Freire, Paulo, 221 Green Berets, The (dir. John Wayne and see also pedagogy of hope and pedagogy Ray Kellogg, USA, 1968), 66 of the oppressed Gregorio (directed by Fernando Espinoza From Palestine with Love (dir. Mahasen and Alejandro Legaspi, 1984), 254 Nasser-Eldin and Camilla Magid, Griffith Film School, 8 2010), and DOX:LAB, 126 Grupo Chaski, 253–4 Fugard, Athol, critical films of, 26 Grupo Ukamau, 253 fuji, as a musical form, 41 Guerra, Ciro, 212 Full Spectrum Warrior, as military Gulf Cooperation Council countries recruitment tool, and Saddam (CCC), investment in for-profit Hussein Abd al-Majid al-Tikriti, 160 knowledge villages and education University of Southern California, 160 malls, 84 Fung, Richard, working from industrial Gyorki Film Studio, and Ousmane bases outside the Caribbean, 206 Sembène, 4

Gadjigo, Samba, see The Making of Haarløv Johnsen, Ditte, 139, 140, 141 Moolaadé, 3 Hajjar, Rafiq, 100 Galal, Hala, 134, 147 Hamouri, Omaima, and Shashat, 121 Garvey, Marcus, 203 Harder They Come, The (dir. Perry Gegen die Wand (Head On; dir. Fatih Henzel, 1972), 203 Akin, 2004), 91 Hassaan, Ethar, 95, 96 Gehman, Chris, on the Independent Hawal, Qassem, 100 Imaging Retreat, 176 Hebron University, and Shashat, 113, 115, George Mason University, closing of Ras 116 Al-Khaimah campus, United Arab Hénaut, Dorothy, and Challenge for Emirates, 86 Change, in Canada, 170 Ghazil—The Story of Rashed & Jawajer higher education (dir. Sarah Al-Derham), 95 American and European, Gibson, Ben, as director of London Film internationalization of, and Middle School, 13 East, 81 gift culture, 13, 138 future of, in South Africa, 34–6 Gini coefficient, and South Africa, 35 learning outcomes and skills as goal, Girls and the Sea (dir. Taghreed El-Azza), 171 120 Hindi cinema, in the Caribbean, 207 Givanni, June, 14 Hoffman, Philip, and Independent global south, and factual genres, 60 Imaging Retreat (aka Film Farm), 7, global universities, small and large 169–82 universities vying for status as, 83 Hollywood-Mosfilm, Jean-Luc Godard Glover, Danny, 187 on, 172 Godard, Jean-Luc, 65, 67, 68, 72, 100, 172 Hollywood movies, and Arabs, 87 Goethe Institute Ramallah, 116 Hollywood technicians, and color Gomez, Sarah, 215 consciousness, 65 Gopalakrishnan, Adoor, 212 Holmquist, PeA, 115 Gorin, Jean-Pierre, 100 Hong Kong International Film Festival Göteborg International Film Festival, and (HKIFF) Society, and Jockey Club Shashat, 116 Cine Academy, 12 294 INDEX

Hong Kong Television Broadcasts Limited Department of Film, Television, and (HKTVB), 12 Media Studies’ Screen Production Hopland, Anita, 133, 136 Program at University of Horanyi, Nicole, 140 Auckland, 6 Hroch, Miroslav, 11 Escuela Internacional de Cine y TV, Huillet, Danièle, 68 Cuba, 8 Huston School of Film & Digital Media in ISIS, Burkina Faso, 9 Galway, Ireland, 3 membership, 5 see also Rod Stoneman National Film School of Denmark, 8 International Centre of Films for Ikoka 1, 2 & 3 (dir. Peddie Okao, Children and Youth (CIFEJ, Centre 2003), 45 International de Film pour l’Enfance Ikuemitin (dir. Lancelot Imasuen, et la Jeunesse), 224–5 2007), 47 International Day of the World’s Illinois Institute of Technology, and Indigenous Peoples (IDWIP), 50 worries about international students internationalization, recruiting of foreign after 9/11, 82 students, as compared with campus Imagine, 3, 9, 10, 13, 14, 68 transplantation, 81 see also Gaston Kaboré International Media Support (IMS), 133, Imasuen, Lancelot, 45, 47, 50 134, 135, 136, 137 imperfect cinema, 250 International Monetary Fund, 3 Iñárritu, Alejandro González, 241 international relations, the imposition Independent Imaging Retreat (aka Film from elsewhere, 59–63 Farm), 169–82 international students, contribution to the artisanal filmmaking, 179 American economy, 82 experimental writing workshop, or Intifada, first, 105 Book Farm, 180–1 Iordanova, Dina, and “Dynamics of World globalized, 180–1 Cinema,” 17 International School of Film and Iranian studies, and philanthropy, 83 Television (EICTV), Cuba, 181 ISIS (Institut Supérieur de l’Image et du manifesto, 173–4 Son), Burkina Faso, 9 material process, celebration of, 178 Islamic Museum of Art, Doha, Qatar, and process cinema, 174–6 I.M. Pei, 94 program adapted for children, 181 Islamic University, in Gaza, and Shashat, techno-fetishism, liberation from, 177 113 women, 177 Isong, Emem, 47 workshop, 174–6 Italian for Beginners (dir. Lone Scherfig), 1 Indiana Jones and the Last Crusade (dir. It Was Better Tomorrow (dir. Hinde Steven Spielberg, 1989), 87 Boujemaa, Tunisia, 2012), 64 Indian Cine-Club, St. Augustine campus, UWI, 216 Jacir, Annemarie, 92 Indignado movement, 76 Jalal, Naissam, 139 institutions, non-local, in the Middle James, C.L.R., 203 East, 125 Jia Zhangke, as dean of the Busan International Academic City, in Dubai, 84 International Film Festival’s Asian International Association of Film and TV Film Academy (AFA), 2 Schools (CILECT), 5 mentoring, through Xstream Pictures, 2 AFDA, 8, 29 Jockey Club Cine Academy (JCCA), Hong Australian members of, 8 Kong, 12 conference on values, 5 Johnson, Mercy, 47 INDEX 295

Juguemos a Grabar, 232–3 León, Jorge de, on EICTV’s rural see also Sonia Aburto, and practice- immersion program, 190–1 based film education, for children, in Lering Wilmont, Simon, 139 Mexico Leth, Jørgen, 16 juju, as a musical form, 41 Leung Ping-kwan, 19 Juliana (dir. Grupo Fernando Espinoza liberty and Alejandro Legaspi, 1988), 254 negative conception of, 143 Jumbo, Uche, 47 positive conception of, 142–3 Just Forbidden (dir. Fadya Salah-Aldeen), Lift Above Poverty Organization 121 (LAPO), 52 Light Breeze, A (dir. Rania Tawfik), Kaboré, Gaston, v, 3, 4, 9, 13, 68, 69, 75 winner of Best Short Film Award, see also Imagine Gulf Student Short Competition in Kahiu, Wanuri, 212 Dubai, 130 Kahlo, Frida, 223–4 Little Stones (dir. Tamara Stepanyan, Karim, Jawed, YouTube cofounder, 83 2010), 143 Kestner, Max, 128, 131, 135 Linna, Olavi, 134 Khan, Shahrukh, 207 Li Xianting Film School, 10 Kidscam, 225, 226, 231 local government areas (LGAs), in Benin, Kilani, Liali, and Shashat, 118 Nigeria, 43 Killing My Art (dir. Nicole Horanyi, 2006), Loin du Vietnam (Far From Vietnam; 140–1 dir. Jean-Luc Godard, William Klein, Kiss My Pain Away (dir. Rania Tawfik), Claude Lelouch, Chris Marker, and “Destination Beirut,” 130 Alain Resnais, and Agnes Varda, Kluge, Alexander, 68 1967), 67 knowledge, anglophone conceptions of, as Loist, Skadi, and Film Festival Research institutionally widespread, 64 Network (FFRN), 17 knowledge industry, investment in, in London Film School, 13, 14, 15 Qatar, 84 Lotfi, Nabiha, 100 Kpakpakpa, Benin videographers and Lucas, George, and University of Southern philosophy of production, 50 California (USC), 155 Krogh, Mikala, 131 Lund, Kátia, 244 see also Cinema Nosso labor, contingent, as way of life, 159 Lynch, David, 175 Lancewealth Images, 47 Lyric Revolt, and NU-Q students Ashlene Landrían, Nicolás Guillén, 191 Ramadan, Rana Khaled, Melanie La Niña Mala (The Bad Girl, 2012), 191 Fridgant, and Shannon Farhoud, 95 Last of the High Kings (dir. David Keating, Ireland, 1996), 74 Machlup, Fritz, typologies of Lavafipour, Ramin, 92 postindustrial work, 157 Lebanese Academy of Fine Arts (ALBA), Maher, Ali, 134, 140 137 Mainframe Productions, 47 Lebanese American University, Makavejev, Dušan, 68 Communication Arts at, 143 Making of Moolaadé, The, 3 Legemah, Osagie, 50 see also Samba Gadjigo LeGrice, Malcolm, 68 Manar and the Children in the House Leila, 4 with a Hole in the Roof (dir. Malina see also Imagine, Golda Sellam, and Terkelsen, 2008), 136, 143 Jean-Luc Slock Manitas Mágicas (“Magical Little Lemmon, Jack, 63 Hands”), 223 296 INDEX

Marangmotxíngmo Mïrang—Das crianças Naficy, Hamid, and NU-Q service visit to Ikpeng para o mundo (From the Tanzania, 93 Ikpeng Children to the World), 252 Nasser-Eldin, Mahasen, and Shashat, 126 Marchessault, Janine, 177, 178, 180 National Directorate of Employment see also Independent Imaging Retreat (NDE), 52 Matatena, La, 222, 224–6 National Film Board/Office national du workshops, 226–32 film (NFB/ONF), 169–70 see also Liset Cotera, and practice- “Filmmaker-in-Residence” programme, based film education, for children, in 170 Mexico see also disenfranchised groups, Mathieu, Chris, 15 teaching of video production to, Maurer, Monica, 100 in Canada, and Challenge for Med Film Development, 63, 70, 76 Change Med Film Factory, 64, 70, 75, 76 National Film Institute (NFI), as training media training, in Palestine, and arm of Nigerian Film Corporation international organizations, 100 (NFC), 45 Meirelles, Fernando, 241 National Film School of Denmark Mekas, Jonas, as anti-institutional (NFSD), 126 activist, 16 Danish Ministry of Cultural Affairs, Michel (dir. Anita Hopland, 2010), 136 129 Michigan State University, and financial Documentary & TV Department, 126, crisis in Dubai, 86 127, 128, 130, 131, 134 Middle East Film Festival, Abu Dhabi, 87 Middle East Project, 127–38 Middle East Project, National Film School see also Arne Bro of Denmark’s, phases of, 127–38 National Film and Video Foundation, and Midland Entertainment Centre Nigeria white paper, in South Africa, 34 Limited, 50 National Poverty Eradication Program Migliorin, Cezar, and Escola Livre de (NAPEP), 52 Cinema, 250 Nelson Films Nigeria Limited, 50 Millennium Development Goals, 39, neoliberal colonial paradigm, and global 40, 54 U phenomenon, 85 Ministry of Culture, Arts, and Heritage, Nesgaard, Poul, 128, 130 Qatar, 93 see also National Film School of Missing (dir. Costa Gavras, USA, 1982), 63 Denmark M-Net, growth of, in South Africa, 26 Neshat, Shirin, 92 modes of education, alternative, in Network of Microcines, 240 Canada, 171 Network of Popular Audiovisual Schools centrality of “process,” 171 and Workshops, 249 Montessori, Maria, 221 Festival Audiovisual Visões Periféricas Moolaadé (dir. Ousmane Sembène), 3 (Audiovisual Festival of Visions from Moonlight Video Centre, 50 the Periphery), 249 Mount Zion Productions, 47 networks Mourad, Selim, 137 affinitive, 138 Movement for the Actualization of already actual, 136–7 the Sovereign State of Biafra emergence of, at meta-level, 134 (MASSOB), 48 known, 137 Mulvad, Eva, 126 potential, 137 Mulvey, Laura, 68 yet to be identified, 137 Murch, Walter, 216 New Latin American Cinema (NLAC), as MV Bill, founder of CUFA, 245 compared with post-NLAC, 241 INDEX 297

New York Film Academy Abu Dhabi One Woman Army (dir. Maya Albana, (NYFA), 87 2006), 139 New York University, and global network Opa Williams Productions, 47 university, 125 Open Window, 27 as “Global U,” 83 Opstrup, Mikael, 127, 133 international students, 83 Osagie Mega Plaza Nigeria Limited, 50 NYU Abu Dhabi, 83, 85, 88 Oskouei, Mehrdad, 135 tuition, 161 Oslo Accords, and Palestine, 100, 105, 106 NGOs, international, role of, in Palestine, Ouoba, Daphne (Cinomade), 14 100–1 Ouoba, Motandi, 9 Nigerian Film Corporation (NFC), 45 Ové, Horace, working from industrial Niji, Akanni, 47 base outside the Caribbean, 206 Ninety-Nine Entertainment Centre Oziengbe, Ozin (aka Erhietio Sole Sole), Nigeria Limited, 50 45, 50 no budget concept, 138, 142 Ozin Oziengbe Films, 50 Nollywood accomplished practitioners, 52 Pagter, Helle, 128, 135, 145 apprenticeship, 46 Painting My Secret (dir. Ditte Haarløv Benin language film subsector, 45, 50 Johnsen, 2006), 139–41 boost for, 53 Palestine Broadcasting Corporation, 100 informal training, 42, 47 Palestine Cinema Institute, as Palestine Northwestern University Liberation Organization’s Fatah- international students, 82 operated cinema body, 100 third campus in Doha, Qatar, 81 Palestinian communities, fragmentation Northwestern University Qatar (NU-Q), of, 101 89–90 Palestinian film education, as compared challenges of teaching at, 90–4 with film education for Palestinians, 99 Oh Snap!, 95 Palestinian National Authority, formation NU-Q Film Society, 94 of, 99, 105, 106 Society of Professional Journalists, 95 Palestinian Revolutionary Cinema Period, students’ response to Arab Spring, 95–6 in Lebanon (1968–1982), 99 Notes on Love in Copenhagen (dir. Rania Pang Ho-cheung, and The Renaissance Rafei, 2009), 137 Foundation, 2 Nyrabia, Orwa, 132, 134 Papalote, Museo del Niño (The Kite, Children’s Museum), 232 Observatório das Favelas, Forum of Parra, Pim de la, 212 Popular Audiovisual Experiences, PAS 4 satellite, launch of, in South 249 Africa, 26 Occupy movement, 76 Passchier, Bata, CEO, AFDA, 28, 30, 31, 32 Ociel del Toa (Ociel from Toa; dir. Nicolás pedagogy of hope, 221 Guillén Landrían 1965), 191 see also Paulo Freire Odua People’s Congress (OPC), 48 pedagogy of the oppressed, 221 Okao, Peddie, and Prolens Movies Nigeria see also Paulo Freire Limited, 49 Pencil’s Film and Television Institute O’Keefe, Barbara, on transplantation (PEFTI), in Lagos, Nigeria, 45 of the Northwestern campus to peripheral audiovisual organization, 240 Doha, 86 favela organizations, 240 Omidyar, Pierre, eBay founder, 82 indigenous peoples, 240 Omoregie, Eunice, 45, 50 middle-class youth, 240 127 Hours (dir. Danny Boyle, 2010), 155 migrant communities, 240 298 INDEX peripheral audiovisual production Prince Abdullah of Jordan (King different from post-NLAC, 241 Abdullah II), and Red Sea Institute of field of, 239–55 Cinematic Arts (RSICA), 87 peripheries, definition of, 239 ProAction Film, Damascus, 132, 134 Persepolis, graphic novel by Marjane Project Nigeria, 40 Satrapi, and Qatari customs Prolens Movies, 47, 49, 50 officers, 93 Promise, The, and killing of trees in Persian Gulf states, popularity of film and gardens of Yuanmingyuan, 2 media schools, 87 see also Chen Kaigke Petrobras, funding of Cinema Nosso, 243–4 Qatar Foundation for Education, Science Philips, Caryl, 212 and Community Development, Philipsen, Heidi, 14, 15, 16 funding of programs from Cornell Philp, Katrine, 133, 136, 139 University, Georgetown, Carnegie Phi Phi Islands National Park in Mellon, Texas A & M, Virginia Thailand, 2 Commonwealth, Northwestern, 84 see also The Beach Pictures Communications, 47, 50 Rai, Aishwarya, 207 Pietrasanta, Irma Avila, 222 Rafei, Rania, 137, 145 see also Comunicación Communitaria Rainbow Theatre Troupe, 50 Pioneers Production, Jordan, 134 Rautenbach, Jans, 26 Platoon (dir. Oliver Stone, USA, Ray, Satyajit, 9, 216 1986), 66 Reagan, Ronald, and creative society, 157 Plea for Products of High Necessity, 76 Reble, Jürgen, 175 Point of Culture program, and Gilberto Red Sea Institute of Cinematic Arts Gil, 249 (RSICA), 87, 88, 118, 121, 125 see also Escola Livre de Cinema see also Steven Spielberg and University political developments, post-Oslo, in of Southern California Palestine, 101 Redvall, Eva Novrup, 15 popular arts paradigm, African, 41 Renaissance Foundation, 2 Popular Front for the Liberation of see also Jia Zhangke Palestine, 100 Research-One schools, 153 post-New Latin American Cinema, 241 La Revolución de Juan Escopeta (Juan see also Fernando Meirelles and Escopeta’s Revolution; dir. Jorge A. Alejandro González Iñárritu Estrada, 2011), 226 poverty, in Nigeria Robbe-Grillet, Alain, 175 alleviation/reducation of, 39–40, 42, 47 Roos, Jørgen, and prize, 131, 145 small and medium sized enterprises see also Arne Bro (SMEs), 39 Roshan Center for Persian Studies, practice-based film education University of Maryland, 83 for children, in Mexico, 221–35 Royal Film Commission, Jordan, 64, 71, sites, types, and systems, 7–11 87, 134, 140 practitioner’s agency, 6, 15, 127, 128 Rukov, Mogens, 16 Praise (dir. Barbara Sternberg, 2005), 173 President Collor de Mello, 246 SA Broadcasting Corporation (SABC), 26 President Luiz Inácio “Lula” da Silva, Saif, Sami, 1–2 endorsement of City of God, 245 Saint Joseph University in Lebanon Pretoria Technikon Film School, (IESAV), 137 and whites only policy, in South Salem, Rana, 137 Africa, 26 Salhab, Ghassan, 135 INDEX 299

Samuel Jordan Center for Persian Studies SHASHAT Women’s Cinema, NGO and Culture, and Fariborz Maseeh, 83 absence of a Palestinian National Sanctuary, Gary, 71 Film Center, Film Board, or Film Satin Rouge (Red Satin; dir. Raja Amari, Commission, 104 Tunisia, 2002), 64 “A Day in Palestine,” 104 Saulter, Storm, 212 annual women’s film festival, 102 Saverin, Eduardo, Facebook cofounder, areas of activity, 102–4 82–3 beginning of Palestinian-Palestinian Scherfig, Lone training, 111 An Education, 1 capacity building, 101, 102, 103 Italian for Beginners, 1 “Crossroads,” 119–20 School of Motion Picture Medium and decentralized film libraries, 104 Live Performance in Cape Town, “Documentary Film Day at Palestinian The, South Africa (AFDA) Universities,” 114–16 alumni achievements, as role models, 32 “Films for Everyone,” 104 awards, 32–3 Heinrich Böll Foundation, 120, 121 CILECT conference of 2012, 29 “I am a Woman,” 104, 121–3 curricular responses to globalization, 25 international trainers/training, 105, curriculum of, 31–3 107–11 exchange programs, 35 “Palestine Summer,” 104, 120 inequality, 35 short film collections, 104, 118 learning by doing, 33–4 Stockholm Academy of Dramatic Arts, learning narratives, 31, 32 119 nation building, 28 training/production program Passchier’s theory of entertainment, “Confession,” 116–18 30, 31 “Worlds,” 121 scaffolded learning, 29, 30 Shawi, Corine, 127, 135, 145, 147 success of graduates, 27 Sheikha Mozah bint Nasser Al Missned, ubuntu, philosophy of, 27 chair of Qatar Foundation, 84 values of, 25, 28, 33 Shu Kei, dean of Hong Kong Academy for work-integrated approach of, 28, 33 Performing Arts (HKAPA), 19 Scotland Movie Centre, 50 Sider, Larry, 71 Scratch (dir. Deirdre Logue, 1998) Sidewalk Café, Georgetown, Guyana, 212 Screen Institute Beirut (SIB), 126, 132, 135 Silence in a Noisy World (dir. Katrine Seade, Jesús, xiii, 18 Philp, 2008), 136 Secrets/Anonymes, Les (Buried Secrets; dir. Silver Entertainment, 50 Raja Amari, Tunisia, 2009), 64 6 Documentary Films from Lebanon and Sellam, Golda, 3, 14 Denmark (The National Film School see also Cinélink of Denmark/IMS, 2009), 127 Selvadurai, Naveen, Foursquare 6 Film fra Mellemøsten (6 Films from the cofounder, 83 Middle East, DR/IMS/CKU/The Semat Cairo, 134, 136, 139, 147 National Film School of Denmark, Sembène, Ousmane, 3, 4 2006), 127 see also Moolaadé Skibsholt, Sine, 143, 144 Shadid, Wesam Farouk, 140 Skovgaard-Petersen, Jakob, 136 Shaikh Hamad ben Khalifa, emir of Qatar, Slock, Jean-Luc, 3 and Al Jazeera Satellite Channel, 87 see also Caméra-etc Sharmin and Bijan Mossavar-Rahmani Sluizer, George, 100 Center for Iran and Persian Gulf small nationhood, measures of, 11 Studies, 83 small nations, 6, 11–13, 205–6, 210 300 INDEX

Snow, C. P., “two cultures”, film schools’ Tarkovsky, Andrei, 68 merging of, 156 Tarnation (dir. Jonathan Caouette, 2003), social movements on the periphery, 217 audiovisual wing of, in Latin Tawfik, Rania, 130 America, 243–47 Teia, collective, 254 Some Movements for Web Camera (dir. O céu sobre os ombros (The Sky over His Olavi Linna), 134 Shoulders), 254 Souaiby, Eli, 137 telenovelas, Globo’s most lucrative, Soul 2 Soul Films Nigeria Limited, 50 featuring favelas, 248 Soundview Films, 50 teleSUR, 61 South African Communication Ten (dir. Abbas Kiarostami, 2002), 217 Association (SACOMM), Terkelsen, Malina, 136, 139, 143 recommendations of, in post- theater arts programs, renaming of Apartheid era, 35 at Ambrose Alli University in South African Film and Television Ekpoma, 46 Awards (SAFTA), and AFDA, 33 at University of Calabar, 46 Spacek, Sissy, 63 at University of Jos, 46 Spider-Man 2 (dir. Sam Raimi, 2004), at University of Nigeria, Nsukka, 46 160 at University of Port Harcourt, 46 Spielberg, Steven, 87, 88 theory, tool box of, 67 state structures, deterioration of, in theory and practice, refusal of split Nigeria, 49 between and Paulo Freire, 221 Steen, Rasmus, 128, 132, 133, 136 ties, strong as compared with weak, Stepanyan, Tamara, 137, 143, 145 129 Steve Film Centre, 50 Tinpis Run (dir. Pengau Nengo, Papua Stjernfelt, Agnete Dorph, 131 New Guinea, 1991), 72, 73–4 Stockholms Dramatiska Högskola Titanic, and chlorination of Baja (Stockholm Academy of Dramatic California, 2 Arts/Dramatiska Institutet), 9 see also James Cameron Stoneman, Rod, 3, 9, 13, 14, 19 Travelling Caribbean Film Showcase, 213, see also Huston School of Film and 216 Digital Media Trier, Lars von, 13, 130 Straub, Jean-Marie, 68 Trinidad and Tobago Film Company Student Academy Awards, 32, 155 (TTFC), 210 students, foreign, recruitment of, Trinidad and Tobago Film Festival at American and European (TTFF), 210–12 universities, 81 Triple ‘O’ Films Nigeria Limited, 50 Studio Film Club, at the UWI, and Troca de Olhares (Exchange of Gazes), painters Peter Doig and Che series, 252 Lovelace, 212 Morrinho (Little Favela), 252–3 Sud Ecriture, 64 Tropa de Elite 1 (The Elite Squad; dir. José Sueños lejanos (Distant Dreams; dir. Padilha, 2007), 242, 246 Alejandro Legaspi, 2007), 254 Tropa de Elite 2 (2010), 242 Sugar Cane Alley (dir. Euzhan Palcy, 12 Documentary films by Lebanese, 1983), 203, 214 Iranian and Danish Directors (The Suissa, Daniele, as teacher at Red Sea National Film School of Denmark/ Institute of Cinematic Arts, 88 IMS, 2010), 127 Super 16, 12, 13 twinning, 126, 128, 131, 132, 133, Supreme Movies, 50 135, 136 INDEX 301

Udefiagbon, as first commonly Valck, Marijke de, and Film Festival acknowledged Benin video drama, 45 Research Network (FFRN) unemployment, in Nigeria, 39, 41, 45, 47, film training and film festivals, 17 48, 49, 51, 53, 54 Van Dael, Joris, founder and director of Uteteneghiabe, Omo-Osagie, 50 Belgian Kidscam, 225, 231 UNESCO Convention on the Protection Ved Havet (Aside the Sea; dir. Sine and Promotion of the Diversity of Skibsholt, 2011), 144 Cultural Expressions, 62 Venezuelan Film Festival, at Cave Hill, United Nations Development Fund for UWI, 216 Women (UNIFEM), 100 Ver Favela, funding from Petrobras, United Nations Development Program 247 (UNDP), 100 Vianna, Hermano, 244 United Nations Human Development Victorian College of the Arts, Melbourne, (UNHD) agency, 40 8 United Nations Industrial Development Video Diary of Ricardo Lopez, The Organization (UNIDO), 52 (dir. Sami Saif, 2000), 1–2 United Nations Population Fund video film industry, in Nigeria, 39, 40, 42, (UNFPA), 100 47, 52, 53, 54 United States Agency for International Vídeo nas Aldeias (Video in the Villages), Development (USAID), 100 249 Universal Films Centre, 50 Video Workshop, in Haderslev, 12 universities, American, and successful Vinterberg, Thomas, 130 international students, 83 Virgo, Clement, working from industrial University of California Los Angeles base outside the Caribbean, 206 (UCLA), and tuition, 161 Vision Machine, and use of digital media University of Cape Town, and nurturing in a therapeutic context, 228 of directorial voices, 27 University City, in Abu Dhabi, 85 Walcott, Derek, 203 University of the West Indies, 204–5 Wale Adenuga Productions, in Nigeria, building critical mass and embracing 45, 47 the digital, 217–18 wa Micheni, Mwenda, 49 devising curricula at, 208–16 We Are Going Home (dir. Jenn Reeves, University of Southern California (USC) 1998), 173 Institute for Creative Technologies Welles, Orson, 69 (ICT), 160 Wells Entertainment, 47 international students, 82 Wend Kuuni, 3, 69 portrait of Greta Garbo, 156 see also Gaston Kaboré tuition, 161 Wenner, Dorothee, as director of the women faculty, 156 Berlinale Talent Campus, 14 see also Red Sea Institute of Cinematic West Indian Federation, doomed in the Arts and Steven Spielberg 1950s, 207 University of York Film Schools Seminar, What I Saw (dir. Ethar Hassaan, 2010), The, 13 95–6 UrbanSim, and Pentagon and University White Dress (dir. Omaima Hamouri, of Southern California, 160 2012), 121 Usinas Culturales / Cultural Factories, 7 Wicht, David, on training for Uwagboe, Omadeli, 45, 50 entertainment, 28 Uyiedo Theatre Troupe, and Aghabiomo Wild Field, The (dir. Hong Sen, Vietnam, Ogbewi, 45 1979), 65–7 302 INDEX

Wollen, Peter, 68 Yglesias, Jorge, Humanities Chair at Wong Yiu-ming, Anthony, 2 EICTV, on challenges of rural see also Renaissance Foundation immersion program, 189 work-integrated learning, and teaching Yoruba traveling theater, 41 film production for the market, at youth, in Benin, Nigeria, 47–9 AFDA, South Africa, 28–33 video film, 49–54 World Bank, 3 YouTube, 32, 60, 83, 158, 239, 252 World Trade Organization, 3 Writing, different types, on practice-based Zanan-e Bedun-e Mardan (Women film education, 14–16 Without Men; dir. Shirin Neshat and Wu Wenguang, and Caochangdi Shoja Azari, 2009), 92 Station, 10 Zan Boko (dir. Gaston Kaboré, Burkina Xingu (dir. Cao Hamburger, 2011), 243 Faso, 1988), 69–70 Zentella, Ricardo, instructor from La Xstream Pictures, 2 Matatena, 229 see also Jia Zhangke Zentropa Film Town, 13 02 Filmes, and production of City of God Yanogo, Serge, 3 and City of Men, 242