DOCSLIB.ORG

Moma Mapping Subjectivity Experimentation in Arab Cinema

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Moma Mapping Subjectivity Experimentation in Arab Cinema MoMA AND ArteEast ANNOUNCE THREE-YEAR FILM INITIATIVE EXPLORING AVANT-GARDE FILMMAKING ACROSS ARAB COUNTRIES OVER THE LAST FIVE DECADES Annual Film Exhibitions to Include New Discoveries, Recoveries and Restorations Mapping Subjectivity: Experimentation in Arab Cinema, 1960s-Now PART 1: October 28-November 22, 2010 The Roy and Niuta Titus Theaters NEW YORK, September 7, 2010— The Museum of Modern Art launches Mapping Subjectivity: Experimentation in Arab Cinema, 1960s-Now, a three-year program of annual screenings of groundbreaking films and videos, celebrated masterworks, and modern cinema from Algeria, Egypt, Iraq, Lebanon, Palestine, Morocco, Syria and more, beginning this fall. This in-depth initiative aims to map the largely unknown heritage of personal, artistic, and innovative cinema from the Arab world. In the 1960s, galvanized by a broader global vanguard of countercultural experimentation in the arts, filmmakers in these countries began to craft a language and form that broke away from established conventions and commercial considerations, ultimately clearing the ground for boldly subjective cinematic expressions. The Museum will screen each annual exhibition the Roy and Niuta Titus Theaters and selections of the program will travel to the Abu Dhabi Film Festival and Tate Modern in London, and subsequently touring throughout the Middle East and internationally. Mapping Subjectivity is a collaboration between The Museum of Modern Art and ArteEast, and is organized by Jytte Jensen, Curator, Department of Film, The Museum of Modern Art, and Rasha Salti, Curator and Artistic Director, ArteEast. ―Much of the daring and formally challenging filmmaking at work today in the Arab world has its roots—both acknowledged and not—in this pioneering drive to experiment with narrative, representation, and the production of images,‖ says Ms. Jensen. ―Together, these films are sure to inspire new ways of thinking about and appreciating modernity in art and cinema from the Arab world.‖ ―Three years of research have gone into making this program possible,‖ says Rasha Salti, who is also a programmer at the Abu Dhabi Film Festival. ―It will not only instigate a re-writing of film history, but give contemporary and emerging filmmakers the strength to continue in taking risks, artistically and politically.‖ The first installment of Mapping Subjectivity, October 28 through November 22, 2010, is organized in clusters that reflect thematic and aesthetic kinship rather than considerations of chronology and geography, highlighting intangible connections and conversations among the selected works. The October 28 opening night screening is acclaimed director Elia Suleiman‘s Al Zaman al Baqi (Time that Remains) (Palestine/Great Britain/Italy/Belgium/France, 2009), slated for release later this year by IFC Films. Suleiman will introduce this insightful and at times heartbreaking film, which is set among the Israeli Palestinian community and was inspired by his father‘s diaries, and letters which his mother had sent to family members who had fled the Israeli occupation. Suleiman will also introduce his two earlier films in the trilogy, Sijil Ikhtifa’ (Chronicle of a Disappearance) (Palestine/France/USA/Germany/Israel, 1996) and Yadon ilaheyya (Divine Intervention) (Palestine/France/Morocco, 2002), the following day, marking the first time the trilogy will be seen in its entirety. Highlights include a number of films that had been lost or forgotten, as was the case with Sayf Sab‘een (Summer 70) (Egypt/Italy, 1972), the radically experimental first and only film by Naji Shaker and Paolo Isaja. A meditation on freedom at the turn of the 1960s that uses the full vocabulary of experimental filmmaking, it has gone virtually unseen for the past 20 years, and only now has been rediscovered and restored specifically for this program by averda, a leading environmental services company in the Middle East, as a gift to MoMA‘s collection. Other rarities include Qays al-Zubaidi‘s Al-Yazerli (Iraq/Syria, 1972), a film that explores a young boy‘s inner turmoil at the prospect of a destiny that seems bound to poverty and manual labor and was screened only once in Syria, where it was filmed; El-Chergui, al-Samt al-‘Aneef (The East Wind or The Violent Silence) (Morocco, 1975) considered a classic and recently restored by the Centre Cinématographique Marocain; and Al-Moumia’ (The Mummy/Night of Counting the Years) (Egypt, 1973), the most famous of Egyptian auteur movies, directed by Shadi Abdel Salam and restored by the World Cinema Foundation and Cineteca di Bologna. Two new works, with funding and support provided by the Abu Dhabi Film Festival, Maher Abi Samra‘s Sheoeyin Kenna (We Were Communists) (Lebanon, 2009) and Mina’ al-Thakira (Port of Memory) (Palestine/Germany/France/UAE, 2009), written and directed by Kamal Aljafari, follow in the footsteps of their predecessors, pushing the boundaries of filmmaking both artistically and in terms of subject matter. Each director will introduce his film. Mapping Subjectivity features a number of pioneering women directors and artists, including Hala Alabdalla (with Ammar el-Beik), whose film Ana Alati Tahmol Azouhour Ila Qabriha (I Am the One Who Brings Flowers to Her Grave) (Syria/France, 2006) follows three Syrian women, and ultimately creates a moving and formally inventive monument to humankind‘s resilience in the face of loss, exile, and death. Domestic Tourism II (Egypt, 2009), by rising director and artist Maha Maamoun, who will introduce her film, explores the ways in which iconic, historical monuments in Egypt are re-appropriated from the timelessness of the tourist postcard; and Joana Hadjithomas, an artist and director whose film Yawmon Akhar (A Perfect Day) (Lebanon/France, 2005), co-written and directed with Khalil Joreige, looks at a mother and son coming to terms with the disappearance of their husband and father. Mapping Subjectivity will include two Modern Mondays, weekly programming by MoMA which brings contemporary, innovative film and moving-image works to the public and provides a forum for viewers to engage in dialogue and debate with contemporary filmmakers and artists. The November 1 Modern Monday will feature Hala Alabdalla and Omar Amiralay; November 15 will feature Joana Hadjithomas and Khalil Joreige. This exhibition has been co-organized by The Museum of Modern Art and ArteEast. It is curated by Jytte Jensen, Curator, Department of Film, MoMA, and Rasha Salti, Curator and Artistic Director, ArteEast. It is made possible through the generous support of averda. The program is organized in association with the Abu Dhabi Film Festival. Additional support has been provided by the Cultural Services of the French Embassy in the United States. ArteEast receives additional funding from The Andy Warhol Foundation for the Visual Arts, the New York State Council on the Arts, and New York City‘s Department of Cultural Affairs. Press Contacts: MoMA D‘Arcy Drollinger, (212) 708-9747, [email protected] MoMA Margaret Doyle, (212) 408-6400, [email protected] ArteEast Mahdis Keshavarz, (425) 591-8781, [email protected] Abu Dhabi Film Festival Steve Grenyo, (917) 545-0487, [email protected] For downloadable images, please visit http://press.moma.org Hours: Films are screened Wednesday-Monday. For screening schedules, please visit www.moma.org or www.arteeast.org Film Admission: $10 adults; $8 seniors, 65 years and over with I.D. $6 full-time students with current I.D. (For admittance to film programs only.) The price of a film ticket may be applied toward the price of a Museum admission ticket when a film ticket stub is presented at the Lobby Information Desk within 30 days of the date on the stub (does not apply during Target Free Friday Nights, 4:00–8:00 p.m.). Admission is free for Museum members and for Museum ticketholders. The public may call (212) 708-9400 for detailed Museum information. Visit us at www.moma.org Screening Schedule Mapping Subjectivity: Experimentation in Arab Cinema, 1960s-Now October 28-November 22, 2010 Thursday, October 28 7:00 Irtebak (Awkward). 2007. Palestine/France. Directed by Elia Suleiman. With Leonid Alexeenko. This is an extended cut of Suleiman‘s segment from the omnibus film Chacun son cinéma (To Each His Own Cinema), which was commissioned by the Cannes International Film Festival to explore different directors‘ feelings about cinema. In Arabic; English subtitles. 7 min. Al Zaman al Baqi (The Time That Remains). 2009. Palestine/Great Britain/Italy/Belgium/France. Written and directed by Elia Suleiman. With Saleh Bakri, Tarek Qubti, Suleiman. Subtitled ―Chronicle of a Present Absentee,‖ this humorous, heartbreaking film (the final installment in a trilogy) is set among the Israeli Arab community and shot largely in homes and places in which Suleiman‘s family once lived. Inspired by his father‘s diaries, letters his mother sent to family members who had fled the Israeli occupation, and the director‘s own recollections, the film spans from 1948 until the present, recounting the saga of Suleiman‘s family in elegantly stylized episodes. Inserting himself as a silent observer reminiscent of Buster Keaton, Suleiman trains a keen eye on the absurdities of life in Nazareth. Print courtesy IFC Films. In Arabic, Hebrew; English subtitles. 109 min. Introduced by Suleiman. Friday, October 29 4:30 Sijil Ikhtifa’ (Chronicle of a Disappearance). 1996. Palestine/France/USA/Germany/Israel. Written and directed by Elia Suleiman. With Suleiman, Ola Tabari, Jamal Daher. Suleiman‘s acclaimed directorial debut is a meditative search for what it means to be Palestinian. Constructed as a series of witty vignettes, some contemplative, others laced with satirical humor, the film expresses Suleiman‘s emotions and state of mind as he observes daily life in Nazareth, Jerusalem, and outlying areas. The director leads us on an evocative journey from an apartment in West Jerusalem to a Holy Land souvenir shop to a group of old women gossiping about their relatives. Print courtesy International Film Circuit.
Load more

Recommended publications
  • Elia Suliman, the TIME THAT REMAINS (2009, 109 Min)
    November 17, 2015 (XXXI:12) Elia Suliman, THE TIME THAT REMAINS (2009, 109 min) (The version of this handout on the website has color images and hot urls.) Asia Pacific Screen Awards in 2009, Elia Suleiman won Jury Grand Prize for The Time that Remains (2009) and the film was also nominated for Best Film that same year. Cannes Film Festival 2009 Nominated for a Palme d'Or to Elia Suleiman Directed and written by Elia Suleiman Produced by Michael Gentile and Elia Suleiman Cinematography by Marc-André Batigne Film Editing by Véronique Lange Cast Ali Suliman…Eliza's Boyfriend Saleh Bakri…Fuad Doraid Liddawi…Ramalla IDF officer Elia Suleiman…ES Menashe Noy…Taxi Driver Ehab Assal…Man With Cell Phone / Tank Tarik Kopty…Neighbor Ziyad Bakri…Jamal Cannes Film Festival for The Time that Remains (2009). At the Maisa Abd Elhadi…Woman in West Bank taxi Cannes Film Festival in 2002, Suleiman won the Jury Prize and the Avi Kleinberger…Government Official Prize Competition for Divine Intervention (2002). He was also Baher Agbariya…Iraqi soldier nominated that same year for the Palme d'Or for Divine Yaniv Biton…Haganah Soldier Intervention (2002). At the 1996 Venice Film Festival he won the Nati Ravitz…IDF Commander Luigi De Laurentiis Award for Chronicle of a Disappearance Zuhair Abu Hanna…ES Child (1996). Suleiman wrote, directed, acted and produced in The Time George Khleifi…Mayor that Remains (2009) and Divine Intervention (2002); additionally, Lutuf Nouasser…Abu Elias (as Lotuf Neusser) he wrote, directed and produced Chronicle of a Disappearance Yasmine Haj…Nadia (1996), in addition to writing directing 7 Days in Havana (2012, Alon Leshem…IDF Officer segment "Diary of a Beginner") and Cyber Palestine (1999).
    [Show full text]
  • Forgotten Palestinians
    1 2 3 4 5 6 7 8 9 THE FORGOTTEN PALESTINIANS 10 1 2 3 4 5 6x 7 8 9 20 1 2 3 4 5 6 7 8 9 30 1 2 3 4 5 36x 1 2 3 4 5 6 7 8 9 10 1 2 3 4 5 6 7 8 9 20 1 2 3 4 5 6 7 8 9 30 1 2 3 4 5 36x 1 2 3 4 5 THE FORGOTTEN 6 PALESTINIANS 7 8 A History of the Palestinians in Israel 9 10 1 2 3 Ilan Pappé 4 5 6x 7 8 9 20 1 2 3 4 5 6 7 8 9 30 1 2 3 4 YALE UNIVERSITY PRESS 5 NEW HAVEN AND LONDON 36x 1 In memory of the thirteen Palestinian citizens who were shot dead by the 2 Israeli police in October 2000 3 4 5 6 7 8 9 10 1 2 3 4 5 Copyright © 2011 Ilan Pappé 6 The right of Ilan Pappé to be identified as author of this work has been asserted by 7 him in accordance with the Copyright, Designs and Patents Act 1988. 8 All rights reserved. This book may not be reproduced in whole or in part, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright 9 Law and except by reviewers for the public press) without written permission from 20 the publishers. 1 For information about this and other Yale University Press publications, 2 please contact: U.S.
    [Show full text]
  • Modern Palestinian Filmmaking in a Global World Sarah Frances Hudson University of Arkansas, Fayetteville
    University of Arkansas, Fayetteville ScholarWorks@UARK Theses and Dissertations 5-2017 Modern Palestinian Filmmaking in a Global World Sarah Frances Hudson University of Arkansas, Fayetteville Follow this and additional works at: http://scholarworks.uark.edu/etd Part of the Near and Middle Eastern Studies Commons, and the Visual Studies Commons Recommended Citation Hudson, Sarah Frances, "Modern Palestinian Filmmaking in a Global World" (2017). Theses and Dissertations. 1872. http://scholarworks.uark.edu/etd/1872 This Dissertation is brought to you for free and open access by ScholarWorks@UARK. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of ScholarWorks@UARK. For more information, please contact [email protected], [email protected]. Modern Palestinian Filmmaking in a Global World A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Comparative Literature and Cultural Studies by Sarah Hudson Hendrix College Bachelor of Arts in English Literature, 2007 University of Arkansas Master of Arts in Comparative Literature and Cultural Studies, 2011 May 2017 University of Arkansas This thesis/dissertation is approved for recommendation to the Graduate Council: ____________________________________________ Dr. Mohja Kahf Dissertation Director ____________________________________________ Dr. Ted Swedenburg Committee Member ____________________________________________ Dr. Keith Booker Committee Member Abstract This dissertation employs a comprehensive approach to analyze the cinematic accent of feature length, fictional Palestinian cinema and offers concrete criteria to define the genre of Palestinian fictional film that go beyond traditional, nation-centered approaches to defining films. Employing Arjun Appardurai’s concepts of financescapes, technoscapes, mediascapes, ethnoscapes, and ideoscapes, I analyze the filmic accent of six Palestinian filmmakers: Michel Khleifi, Rashid Masharawi, Ali Nassar, Elia Suleiman, Hany Abu Assad, and Annemarie Jacir.
    [Show full text]
  • It Must Be Heaven
    IT MUST BE HEAVEN DIRECTED BY ELIA SULEIMAN RECTANGLE PRODUCTIONS, NAZIRA FILMS, PALLAS FILM, POSSIBLES MEDIA and ZEYNO FILM present in association with DOHA FILM INSTITUTE RECTANGLE PRODUCTIONS, NAZIRA FILMS, PALLAS FILM, POSSIBLES MEDIA and ZEYNO FILM present in association with DOHA FILM INSTITUTE IT MUST BE HEAVEN DIRECTED BY ELIA SULEIMAN 97 MIN – FRANCE, QATAR, GERMANY, CANADA, TURKEY, PALESTINE – 2019 – SCOPE – 5.1 INTERNATIONAL SALES WILD BUNCH 5 Square Mérimée – 1st Floor 06400 Cannes www.wildbunch.biz RELATIONS PRESSE Eva Diederix LE PUBLIC SYSTÈME CINÉMA [email protected] Alexis Delage-Toriel & Caroline Aymar Silvia Simonutti [email protected] [email protected] [email protected] Fanny Ostojic Tél.: +33 6 40 73 65 80 [email protected] +33 1 41 34 23 50 SYNOPSIS ES escapes from Palestine seeking an alternative homeland, only to find that Palestine is trailing behind him. The promise of a new life turns into a comedy of errors: however far he travels, from Paris to New York, something always reminds him of home. From award-winning director Elia Suleiman, a comic saga exploring identity, nationality and belonging, in which ES asks the fundamental question: where is the place we can truly call home? DIRECTOR’S NOTE “The man who finds his homeland sweet is still a tender beginner; he to whom every soil is as his native one is already strong; but he is perfect to whom the entire world is a foreign land. The tender soul has fixed his love on one spot in the world; the strong man has extended his love to all places; the perfect man has extinguished his.” Hugh of Saint Victor “Where do the birds fly after the last sky?” Mahmoud Darwich If my previous films tried to present Palestine as a microcosm of the world; my new film It Must Be Heaven tries to show the world as if it were a microcosm of Palestine.
    [Show full text]
  • Staging the Sublimation of Cliché: Elia Suleiman’S Silences in the Time That Remains (2009) Twice the Son Glances at His Mother, Who Gazes Fixedly at the Screen
    Staging the I don’t get so close that you think: Sublimation “Oh my God; this is interesting.” of Cliché: I worked with a certain amount of [Palestinian] actors; some Elia Suleiman’s of them I did not enjoy very Silences in The Time much because they come from a very very severely overacting That Remains (2009) theatrical experience I cannot Tom Hill1 stand. Sometimes when they start to use their… expressions on their faces, I’m like, please… you know, then Palestine the cliché starts: we are victims or we are victors or… we always have to put some angry expression to say how our land was lost, which doesn’t work for me. As you see I don’t use it. A lot of the characters are movements within the frame, and I prefer the choreography, I prefer the musicality that comes from their appearances etc… it would be a lie to say that I directed them, so to speak… Elia Suleiman2 You gave no instructions save to forbid excessive interpretation… [to] beware of those who do not know what weariness is, who interpret too much. Mahmoud Darwish3 An elderly mother and her son sit wordless in a Nazareth living room, facing us. The television screen they are watching, which is never seen, spews the sounds of a raging battle, which neither receives nor seems to require any commentary. [ 78 ] Staging the Sublimation of Cliché: Elia Suleiman’s Silences in The Time That Remains (2009) Twice the son glances at his mother, who gazes fixedly at the screen.
    [Show full text]
  • The Time That Remains
    new wave films THE TIME THAT REMAINS By Elia Suleiman Palestine, France, Belgium, Italy, UK, 2009, 109 min. Arabic and Hebrew with English Subtitles Official Selection, Cannes Film Festival 2009 Opens Summer 2010 A beautiful, unique, and deeply personal depiction of Palestine since 1948 from the internationally acclaimed director of Divine Intervention. ‘The Time That Remains is a semi-autobiographical film, in four episodes, about a family, my family, from 1948 until recent times. The film is inspired by my father’s private diaries, starting from when he was a resistance fighter in 1948, and by my mother’s letters to family members who were forced to leave the country. Combined with my intimate memories of them and with them, the film attempts to portray the daily life of those Palestinians who remained and were labelled "Israeli-Arabs", living as a minority in their own homeland.’ Elia Suleiman ★★★★★ ‘Suleiman deploys distinctively photographed tableaux, idiosyncratic characters and a stand-up comic's sense of timing to evoke the absurdity of the modern political situation.’ Sukhdev Sandhu The Daily Telegraph ‘poignant and subversively funny... a deadpan delight’ TIME magazine CAST CREW E.S Elia SULEIMAN Directed by Elia SULEIMAN Fuad Saleh BAKRI Screenplay Elia SULEIMAN Mother 1970-80 Samar QUDHA TANUS Producers Michael GENTILE Mother today Shafika BAJJALI Elia SULEIMAN The neighbor Tarek QUBTI Co-producer Hani FARSI E.S as a child Zuhair Abu HANNA E.S as a teenager Ayman ESPANIOLI 1st Assistant directors Jérôme BORENSTEIN Jubran Bilal
    [Show full text]
  • It Must Be Heaven
    It Must be Heaven A film by Elia Suleiman 97 min / France/Qatar/Germany/Canada/Turkey/Palestine In Arabic, French & English with English subtitles / 2019 / Cert. TBC Cannes Film Festival World Premiere (Official Competition) 2019 Winner Special Mention Cannes Film Festival 2019 Showing at the 2019 London Film Festival, release Spring 2020 FOR ALL PRESS ENQUIRIES PLEASE CONTACT: Sue Porter/Lizzie Frith – Porter Frith Ltd Tel. 07940 584066/07825 603705 [email protected] FOR ALL OTHER ENQUIRIES PLEASE CONTACT Robert Beeson – [email protected] Dena Blakeman – [email protected] 79-80 Margaret Street London W1W 8TA Tel. 020 7299 3685 [email protected] SYNOPSIS: ES escapes from Palestine seeking an alternative homeland, only to find that Palestine is trailing behind him. The promise of a new life turns into a comedy of errors for ES: for however far he travels, from Paris to New York, something always reminds him of home. From the award-winning director comes a comic saga exploring identity, nationality and belonging, in which Suleiman asks the fundamental question: where is the place we can truly call home? Further information and downloads here Photo set can be downloaded here CAST Elia Suleiman ELIA SULEIMAN NAZARETH Neighbour's son TARIK KOPT Father KAREEM GHNEIM Waiter GEORGE KHLEIFI Brothers ALI SULIMAN, FARES MUQABAA Sister YASMINE HAJ Bishop NAEL KANJ Bedouin woman ASMAA AZAIZY PARIS Man in the metro GRÉGOIRE COLIN Producer VINCENT MARAVAL Ambulance crew CLAIRE DUMAS, ANTOINE CHOLET Homeless man ERIC CORNET
    [Show full text]
  • It Must Be Heaven 2021 Pressbook
    It Must be Heaven A film by Elia Suleiman 97 min / France/Qatar/Germany/Canada/Turkey/Palestine In Arabic, French & English with English subtitles / 2019 / Cert. TBC Cannes Film Festival World Premiere (Official Competition) 2019 Winner Special Mention Cannes Film Festival 2019 Opens June 18th 2021 FOR ALL PRESS ENQUIRIES PLEASE CONTACT: Sue Porter/Lizzie Frith – Porter Frith Ltd Tel. 07940 584066/07825 603705 [email protected] FOR ALL OTHER ENQUIRIES PLEASE CONTACT Robert Beeson – [email protected] Dena Blakeman – [email protected] Unit 9, Bickels Yard 151-153 Bermondsey St London SE1 3HA Temporary Tel. 07783 629023 [email protected] SYNOPSIS: ES escapes from Palestine seeking an alternative homeland, only to find that Palestine is trailing behind him. The promise of a new life turns into a comedy of errors for ES: for however far he travels, from Paris to New York, something always reminds him of home. From the award-winning director comes a comic saga exploring identity, nationality and belonging, in which Suleiman asks the fundamental question: where is the place we can truly call home? Further information and downloads here Photo set can be downloaded .jpg here or .tif here CAST Elia Suleiman ELIA SULEIMAN NAZARETH Neighbour's son TARIK KOPT Father KAREEM GHNEIM Waiter GEORGE KHLEIFI Brothers ALI SULIMAN, FARES MUQABAA Sister YASMINE HAJ Bishop NAEL KANJ Bedouin woman ASMAA AZAIZY PARIS Man in the metro GRÉGOIRE COLIN Producer VINCENT MARAVAL Ambulance crew CLAIRE DUMAS, ANTOINE CHOLET Homeless man ERIC
    [Show full text]
  • Author Original Manuscripts for Academia
    Absurd avatars, transcultural relations: Elia Suleiman, Franco-Palestinian filmmaking and beyond Article Accepted Version Chamarette, J. ORCID: https://orcid.org/0000-0003-0701-1514 (2014) Absurd avatars, transcultural relations: Elia Suleiman, Franco-Palestinian filmmaking and beyond. Modern & Contemporary France, 22 (1). pp. 85-102. ISSN 0963-9489 doi: https://doi.org/10.1080/09639489.2013.867152 Available at http://centaur.reading.ac.uk/92945/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . To link to this article DOI: http://dx.doi.org/10.1080/09639489.2013.867152 Publisher: Taylor & Francis All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online Author’s Original Manuscript: this article was published in Modern & Contemporary France 22:1 (February 2014) 85-102 Absurd avatars, transcultural relations: Elia Suleiman, Franco-Palestinian filmmaking, and beyond ABSTRACT: This article illuminates the threads of connection drawing together the work of the Palestinian filmmaker Elia Suleiman and French cultural production, while acknowledging the broader international contexts of these connections. The transcultural relations identified in the article title are a means of articulating these concerns. Suleiman’s films, funded by French production companies and supported by French film festivals, have a tacit connection to France. Suleiman’s mute self- representation within his films also draws upon auteurist and absurdist tropes familiar to European literature and art in the 20th century.
    [Show full text]
  • When Saeed Betrays Fuad: Laughing at the Mechanized Occupation
    City University of New York (CUNY) CUNY Academic Works Dissertations, Theses, and Capstone Projects CUNY Graduate Center 9-2021 When Saeed Betrays Fuad: Laughing at the Mechanized Occupation Ezgi Demirors The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/4434 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] WHEN SAEED BETRAYS FUAD: LAUGHING AT THE MECHANIZED OCCUPATION by EZGI DEMIRORS A master’s thesis submitted to the Graduate Faculty in Middle Eastern Studies in partial fulfillment of the requirements for the degree of Master of Arts, The City University of New York 2021 © 2021 EZGI DEMIRORS All Rights Reserved ii When Saeed Betrays Fuad: Laughing at the Mechanized Occupation by Ezgi Demirors This manuscript has been read and accepted for the Graduate Faculty in Middle Eastern Studies in satisfaction of the thesis requirement for the degree of Master of Arts. Date Rebecca Shareah Taleghani Thesis Advisor Date Simon Davis Executive Officer THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT When Saeed Betrays Fuad: Laughing at the Mechanized Occupation by Ezgi Demirors Advisor: Rebecca Shareah Taleghani This thesis comparatively explores the emergence of the comic in the novel The Secret Life of Saeed The Pessoptimist by Emile Habibi and the film The Time That Remains directed by Elia Suleiman, by building on Bergson’s theory of mechanization. By tracing Bergson’s idea that comic effect is created through the creeping up of the mechanical on the living, the establishment of the “mechanical occupation” as a source of the comic will be elucidated.
    [Show full text]
  • Here Are a Lot of Things We Accomplished Over Our First Decade
    20TH ANNIVERSARY YEAR 20TH ANNIVERSARY YEAR Fearless & Fearless & Fabulous 4 WOMEN OF Fabulous STYLE YOU NEED 4 WOMEN OF TO KNOW! STYLE YOU NEED TO KNOW! Day & Day & 20TH ANNIVERSARY YEAR Night Night GLAM FALL Fearless & FASHION HAS GLAM FALL YOU COVERED FASHION HAS Fabulous YOU COVERED 4 WOMEN OF STYLE YOU NEED 2 TO KNOW! Day & Night GLAM FALL FASHION HAS YOU COVERED THE INCOMPARABLE THE INCOMPARABLE LAURA DERN LAURA DERN Brighter Than Ever Brighter Than Ever Plus Lagerfeld’s Last Plus Collection for Lagerfeld’s Last Fendi, Inside the Collection for THE INCOMPARABLE New Four Seasons Fendi, Inside the Hotel Philadelphia New Four Seasons Spa & Beth Buccini Hotel Philadelphia on 20 Years of Spa & Beth Buccini LAURA DERN Kirna Zabête @PHILLYSTYLEZINE on 20 Years of PHILLYSTYLEMAG.COM Kirna Zabête Brighter Than Ever @PHILLYSTYLEZINE PHILLYSTYLEMAG.COM Plus Lagerfeld’s Last Collection for Fendi, Inside the New Four Seasons Hotel Philadelphia Spa & Beth Buccini on 20TH Years of 20Kirna Zabête ANNIVERSARY YEAR @PHILLYSTYLEZINE PHILLYSTYLEMAG.COM 20TH ANNIVERSARY YEAR 20TH ANNIVERSARY YEAR Fearless & Fearless & Fearless & Fabulous Fabulous 4 WOMEN OF Fabulous 4 STYLE YOU NEED 4 WOMEN OF WOMEN OF TO KNOW! STYLE YOU NEED STYLE YOU NEED TO KNOW! TO KNOW! Day & Day & 20TH ANNIVERSARY YEAR Night Night GLAM FALL Day & Fearless & FASHION HAS GLAM FALL YOU COVERED FASHION HAS Fabulous YOU COVERED Night 4 WOMEN OF STYLE YOU NEED TO KNOW! GLAM FALL FASHION HAS Day & YOU COVERED Night GLAM FALL FASHION HAS YOU COVERED THE INCOMPARABLE THE INCOMPARABLE LAURA
    [Show full text]
  • PALESTINIAN CINEMA Landscape,Trauma and Memory
    PALESTINIAN CINEMA Landscape,Trauma and Memory NURITH GERTZ AND GEORGE KHLEIFI PALESTINIAN CINEMA TRADITIONS IN WORLD CINEMA General Editors Linda Badley (Middle Tennessee State University) R. Barton Palmer (Clemson University) Founding Editor Steven Jay Schneider (New York University) Titles in the series include: Traditions in World Cinema by Linda Badley, R. Barton Palmer and Steven Jay Schneider (eds) 978 0 7486 1862 0 (hardback) 978 0 7486 1863 7 (paperback) Japanese Horror Cinema by Jay McRoy (ed.) 978 0 7486 1994 8 (hardback) 978 0 7486 1995 5 (paperback) New Punk Cinema by Nicholas Rombes (ed.) 978 0 7486 2034 0 (hardback) 978 0 7486 2035 7 (paperback) African Filmmaking: North and South of the Sahara by Roy Armes 978 0 7486 2123 1 (hardback) 978 0 7486 2124 8 (paperback) Forthcoming titles include: American Commercial-Independent Cinema by Linda Badley and R. Barton Palmer 978 0 7486 2459 1 (hardback) 978 0 7486 2460 7 (paperback) The Italian Sword-and-Sandal Film by Frank Burke 978 0 7486 1983 2 (hardback) 978 0 7486 1984 9 (paperback) Czech and Slovak Cinema: Theme and Tradition by Peter Hames 978 0 7486 2081 4 (hardback) 978 0 7486 2082 1 (paperback) PALESTINIAN CINEMA Landscape, Trauma and Memory Nurith Gertz and George Khleifi EDINBURGH UNIVERSITY PRESS © Nurith Gertz and George Khleifi, 2008 This book was first published (as Landscape in Mist: Space and Memory in Palestinian Cinema) in Hebrew in 2005 by Am Oved and the Open University, Tel Aviv. Edinburgh University Press Ltd 22 George Square, Edinburgh Typeset in 10/12.5 Adobe Sabon by Servis Filmsetting Ltd, Manchester, and printed and bound in Great Britain by Antony Rowe Ltd, Chippenham, Wilts A CIP record for this book is available from the British Library ISBN 978 0 7486 3407 1 (hardback) ISBN 978 0 7486 3408 8 (paperback) The right of Nurith Gertz and George Khleifi to be identified as authors of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988.
    [Show full text]