AIFF 2020 Winner May Ghouti Will Nominate Best Documentary and Best Ction
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Ladder to Damascus a Film by Mohamad Malas
Ladder to Damascus a film by Mohamad Malas سلم إلى دمشق (Ladder to Damascus (Sulam Ila Dimashq Content Ghalia is possessed by Zeina’s spirit. Haunted by the life of a girl, who drowned the day she was born, Ghalia travels to Damascus, where she studies acting. There, she meets Fouad, an aspiring film-maker who becomes fascinated by Ghalia's duality. He takes her under his wing and helps her find a place to live. Fouad's love for Ghalia and Zeina blossoms, while the tumultuous events in Syria start unfolding in the streets around them and gradually encroaches on their idyllic isolation. Credits Syria/Lebanon/Qatar 2013, Arabic with English subtitles, Colour, 97 minutes Director Mohammad Malas Producer Georges Schoucair Scriptwriter Mohammad Malas, Samer Mohamed Ismail Cinematographer Joude Gorani Editor Ayhan Ergursel Composer Toufic Farroukh, Charbel Haber Cast Najla El Wazza, Bilal Martini, Gianna Aanid Distribution Rights The distribution rights are with our colleagues of MC Distribution in Beirut. We are happy to put you in contact. Film-maker Mohamad Malas Mohamad Malas was born in 1945 in Quneitra on the Golan Heights. He is a prominent Syrian filmmaker whose films garnered him international recognition. Malas is among the first auteur filmmakers in Syrian cinema. Malas worked as a school teacher between 1965 and 1968 before moving to Moscow to study filmmaking at the Gerasimov Institute of Cinematography (VGIK). During his time at VGIK he directed several short films. After his return to Syria Malas started working at the Syrian Television. There he produced several short films including Quneitra 74, in 1974 and al-Zhakira (The Memory) in 1975. -
Negotiating Dissidence the Pioneering Women of Arab Documentary
NEGOTIATING DISSIDENCE THE PIONEERING WOMEN OF ARAB DOCUMENTARY STEFANIE VAN DE PEER Negotiating Dissidence Negotiating Dissidence The Pioneering Women of Arab Documentary Stefanie Van de Peer For Richie McCaffery Edinburgh University Press is one of the leading university presses in the UK. We publish academic books and journals in our selected subject areas across the humanities and social sciences, combining cutting-edge scholarship with high editorial and production values to produce academic works of lasting importance. For more information visit our website: edinburghuniversitypress.com © Stefanie Van de Peer, 2017 Edinburgh University Press Ltd The Tun – Holyrood Road 12 (2f) Jackson’s Entry Edinburgh EH8 8PJ Typeset in Monotype Ehrhardt by Servis Filmsetting Ltd, Stockport, Cheshire, and printed and bound in Great Britain by CPI Group (UK) Ltd, Croydon CR0 4YY A CIP record for this book is available from the British Library ISBN 978 0 7486 9606 2 (hardback) ISBN 978 0 7486 9607 9 (webready PDF) ISBN 978 1 4744 2338 0 (epub) The right of Stefanie Van de Peer to be identified as author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988 and the Copyright and Related Rights Regulations 2003 (SI No. 2498). Contents List of Figures vi Acknowledgements vii Introduction 1 1 Ateyyat El Abnoudy: Poetic Realism in Egyptian Documentaries 28 2 Jocelyne Saab: Artistic-Journalistic Documentaries in Lebanese Times of War 55 3 Selma Baccar: Non-fiction in Tunisia, the Land of Fictions 83 4 Assia Djebar: -
Critical Nationals: the Paradoxes of Syrian Cinema
This article has been written for and published in the periodical Kosmorama 237. Published by The Danish Film Institute, Copenhagen 2006. @ Rasha Salti and Kosmorama. All rights reserved. Critical Nationals: The Paradoxes of Syrian Cinema Rasha Salti A Cinema of Many a Paradox To Syrian film critics, historians of cinema and filmmakers alike, to speak of Syrian cinema, as a national cinema, smacks of hubris. Invariably, one is met with a retort that is some variation on “there is no Syrian cinema, there are only Syrian films and Syrian filmmakers.” In Meyar al-Roumi's Un Cinéma Muet ( A Silent Cinema , 2001), a documentary that interrogates the place relegated by the government to films and film production in contemporary social life in Syria, Syrian film critic Bandar Abdul-Hamid reiterates that claim. He speaks from the privileged position of first-hand, insider knowledge. If, objectively, Syrian cinema does not bear any of the attributes associated with a national cinema, an industry, or a sector in production of culture, when one views a significant selection of Syrian films from the past three decades, it is nonetheless very difficult to discount the cogent body of work produced by Syrian filmmakers as mere collection of “Syrian films and Syrian filmmakers.” That body of work performs the role of a national repository of aspirations and sentiments, the record of lived experience, collective memory and the realm where the saga of collective national traumas and shared canons find expression, representation and signification. This is the first paradox. Nothing about the structure of film production, distribution, dissemination or the social life afforded to these films suggests that there is an industry to speak of: film production is almost entirely controlled by the state, resources are scarce, and the output is as humble as one or two films per year. -
The Night (Al-Leil) a Film by Mohamad Malas
6 The Night (al-Leil) a film by Mohamad Malas الليـــل (The Night (al-Leil Content In the destroyed city of Quneitra is the grave of a resistance fighter for Palestine. His son, the director, tries to restore the dead man’s history by mixing echoes of his mother’s memory and his desire to give his father a more honorable death. Through the daily lives, dreams, fears and hopes of its citizens, Malas chronicles his hometown Quneitra in the Golan Heights between 1936, the year of the first revolts against the British and Zionists in Palestine untill the year of the city’s destruction. He seeks to exorcise a feeling of shame and humiliation that long accompanied the image of his father and also his town, occupied by Israelis in 1967. Credits Syria 1992, color, wide screen, 116 min, Arabic with English, German or French subtitles Director Mohammad Malas Script Mohammad Malas & Ossama Mohamad Director of Photography Yussef Ben Yussef Editor Kais Al-Zubeidi Musical arrangement Vahe Demergian Sound Sophie Bastein Mixing Thierry Sabatier Cast Sabah Jazairy, Fares Helou, Rafik Sbei’I, Riad Charhrour, Omar Malas, Maher Sleibi, Hazar Awad, Raja Kotrach, Abdulilah Dawleh | Production National Film Organization, Damascus – Syria | Maram for Cinema & Television, Beirut – Lebanon | Co-Production La Sept Cinema, France, Channel 4, England From the press Rightly the main award of the festival was given to the Syrian film AL LEIL by Mohamad Malas. (NZZ) From the interwoven layers of time extremely deep images, which also visually always symbolize a clear view to something else, unearth details of a much more complex biography in which the history from below irrefutable unmasks the history from above as well as the individual and national life lies. -
Press Kit Index
16º INTERNATIONAL FilM FESTIVAL PRESS KIT INDEX Doclisboa’18 in numbers 3 Doclisboa'18 5 Programme Opening Session and Closing Session 7 International Competition 8 Portuguese Competition 10 New Visions 12 Luis Ospina Retrospective 17 Focus: Sailing The Euphrates, 24 Travelling The Time Of The World Heart Beat 28 From The Earth To The Moon 29 Cinema of urgency 33 Green Years 34 Arché 37 Jury 39 Guests 44 Partners 57 DOCLISBOA’18 IN NUMBERS 243 FILMS 54 COUNTRIES 68 WORLD PREMIERES 22 INTERNATIONAL PREMIERES 59 PORTUGUESE FILMS 22 FIRST WORKS NUMBER OF FILMS BY SECTION: Opening Session 1 Closing Session 1 International Competition 22 Portuguese Competition 18 New Visions 43 Heart Beat 27 From the Earth to the Moon 23 Luis Ospina Retrospective 33 Luis Ospina: Carte Blanche 10 Focus Euphrates 20 Cinema of Urgency 3 Green Years 23 Green Years – Special Sessions KASK 12 NUMBER OF PREMIERES BY SECTION: Opening Session 1 Portuguese Closing Session 1 Portuguese International Competition 10 World | 12 International Portuguese Competition 14 World | 4 Portuguese New Visions 10 World | 2 International | 3 European | 15 Portuguese Luis Ospina Retrospective 1 World | 1 International | 6 European | 23 Portuguese Focus Euphrates 1 World From the Earth to the Moon 5 World | 2 International | 1 European | 13 Portuguese Heart Beat 4 World | 14 Portuguese Green Years 20 World Green Years – Special Sessions KASK 5 World | 6 International | 1 Portuguese NUMBER OF COUNTRIES BY SECTION: Opening Session 1 Closing Session 1 International Competition 22 Portuguese Competition 8 New Visions 16 Luis Ospina Retrospective 1 Luis Ospina: Carte Blanche 2 Focus Euphrates 9 From the Earth to the Moon 23 Heart Beat 14 Cinema of Urgency 4 Green Years 8 Green Years – Special Sessions KASK 5 DOCLISBOA'18 Filmmaker Luis Ospina, whose full retrospective we present, provided us with some of the key tools to think about films. -
Historical Dictionary of Middle Eastern Cinema
Historical Dictionaries of Literature and the Arts Jon Woronoff, Series Editor 1. Science Fiction Literature, by Brian Stableford, 2004. 2. Hong Kong Cinema, by Lisa Odham Stokes, 2007. 3. American Radio Soap Operas, by Jim Cox, 2005. 4. Japanese Traditional Theatre, by Samuel L. Leiter, 2006. 5. Fantasy Literature, by Brian Stableford, 2005. 6. Australian and New Zealand Cinema, by Albert Moran and Errol Vieth, 2006. 7. African-American Television, by Kathleen Fearn-Banks, 2006. 8. Lesbian Literature, by Meredith Miller, 2006. 9. Scandinavian Literature and Theater, by Jan Sjåvik, 2006. 10. British Radio, by Seán Street, 2006. 11. German Theater, by William Grange, 2006. 12. African American Cinema, by S. Torriano Berry and Venise Berry, 2006. 13. Sacred Music, by Joseph P. Swain, 2006. 14. Russian Theater, by Laurence Senelick, 2007. 15. French Cinema, by Dayna Oscherwitz and MaryEllen Higgins, 2007. 16. Postmodernist Literature and Theater, by Fran Mason, 2007. 17. Irish Cinema, by Roderick Flynn and Pat Brereton, 2007. 18. Australian Radio and Television, by Albert Moran and Chris Keat- ing, 2007. 19. Polish Cinema, by Marek Haltof, 2007. 20. Old Time Radio, by Robert C. Reinehr and Jon D. Swartz, 2008. 21. Renaissance Art, by Lilian H. Zirpolo, 2008. 22. Broadway Musical, by William A. Everett and Paul R. Laird, 2008. 23. American Theater: Modernism, by James Fisher and Felicia Hardi- son Londré, 2008. 24. German Cinema, by Robert C. Reimer and Carol J. Reimer, 2008. 25. Horror Cinema, by Peter Hutchings, 2008. 26. Westerns in Cinema, by Paul Varner, 2008. 27. Chinese Theater, by Tan Ye, 2008. -
Saving Bruce African and Arab Cinema Lee in the Era of Soviet Cultural Diplomacy (A Prologue) Protagonists
SAVING BRUCE AFRICAN AND ARAB CINEMA LEE IN THE ERA OF SOVIET CULTURAL DIPLOMACY (A PROLOGUE) PROTAGONISTS Mohammad Abouelouakar (Morocco) Abdoulaye Ascofaré (Mali) Hassen Bouabdellah (Algeria) Rabah Bouberras (Algeria) Souleymane Cissé (Mali) Khalifa Condé (Guinea) Jean-Baptiste Elanga (Congo Republic) Sonallah Ibrahim (Egypt) Salim Mohammad Ibrahim al-Noor (Sudan) Daouda Keita (Guinea) Mohammad Malas (Syria) Sarah Maldoror (Guadeloupe) Azzedine Meddour (Algeria) Oussama Mohammed (Syria) Ousmane Sembène (Senegal) Abderrahmane Sissako (Mauritania/Mali) Nasir al-Tayyeb al-Mak (Sudan) Curated by Koyo Kouoh and Rasha Salti in collaboration with Alexander Markov and Philippe Rekacewicz 1 “I WAS A TEENAGER WATCHING A BRUCE LEE FLICK WITH MY FRIENDS AT THE CINEMA IN ABIDJAN. BRUCE LEE WAS OUR HERO THEN. AT SOME POINT IN THE PLOT, ONE OF THE BAD GUYS WAS COMING TO ATTACK BRUCE LEE FROM BEHIND WHILE HE WAS UNAWARE, AND SUDDENLY ONE OF THE SPECTATORS IN THE THEATER LEAPT TO THE STAGE AND DUG A KNIFE THROUGH THE BAD GUY’S PROJECTION ON SCREEN. THAT WAS MY FIRST LESSON IN CINEMA.” Philippe Lacôte, filmmaker, Côte d’Ivoire 2 CURATORIAL CONCEPT During the Cold War, the African continent and the Arab world were contested territories for the strategic deployment of influence and allegiance between the Soviet Union and the USA. Cultural diplomacy represented an important realm in which that contest was manifested, specifically through granting scholarships in higher education and the creation of specialized professional national elites whose allegiance would be organically bound to either power. Under the aegis of “international socialist friendship,” the Soviet Union used channels of diplomacy to host a remarkable number of students at universities in Moscow and other cities. -
The Cinema of Mohamad Malas the Cinema of Mohamad Malas
www.calihomes.com The cinema of Mohamad Malas The cinema of Mohamad Malas mec film is serving as agent to the films of renown Syrian film-maker Mohamad Malas. Together with Dunia Film in Damascus we make copies available or connect you to the distributor for your territory. Mohamad Malas’ Œuvre, short and feature length, documentary and fiction, forms a deep chronicle of Syria in the 20th and early 21st century. We are happy to help organizing retrospectives of Mohamad Malas’ work. Contact: mec film Irit Neidhardt Emdener Str. 48d 10551 Berlin Germany T 49-(0)30-66766700 F 49-(0)30-66766699 irit@mecfilm.de http://www.mecfilm.de The cinema of Mohamad Malas Film-maker Mohamad Malas Since his first two fiction movies Dreams of the City and The Night, director Mohammad Malas was acclaimed as the “Arabic Cinema Poet”, in addition to being recognized as the pioneer of Auteur Cinema in Syria. Mohamad Malas was born in 1945 in Quneitra on the Golan Heights. He is a prominent Syrian filmmaker whose films garnered him international recognition. Malas is among the first auteur filmmakers in Syrian cinema. Malas worked as a school teacher between 1965 and 1968 before moving to Moscow to study filmmaking at the Gerasimov Institute of Cinematography (VGIK). During his time at VGIK he directed several short films. After his return to Syria Malas started working at the Syrian Television. There he produced several short films including Quneitra 74, in 1974 and al-Zhakira (The Memory) in 1977. Along with Omar Amiralay he co-founded the Damascus Cinema Club. -
Dreams of the City a Film by Mohamad Malas
Dreams of the City a film by Mohamad Malas أحـﻻم المدينة (Dreams of the City (Ahlam al-Medina Content When his father dies, Dib, his younger brother and their mother (Yasmine Khlat) move away from their hometown Quneitra to Damascus. The mother’s despotic father reluctantly takes them in and tries to force the mother to remarry. Overwhelmed by the magic of the city, Dib wants to discover everything and is full of dreams. His daily life is shaped by insults and punishments however. Dib grows up against a backdrop of the political upheavals of the 1950s (the end of the military dictatorship in Syria and the nationalization of the Suez Canal, Nasser’s taking of power in Cairo, Egyptian and Syrian unification in 1958) and loses his childish illusions in the face of such violence and brutality. The dreams of the city prove to be a nightmare. Mohammad Malas’ partly autobiographical debut film marked the transition to auteur cinema in Syria. Credits Syria 1984, 130 min, color, Arabic with Engl. or French ST Director Mohamad Malas Script Mohamad Malas & Samir Zirka Director of Photography Urdijan Engin Editor Haitham Kouatly Line Production Georges Bishara Production National Film Organization Cast Yasmine Khlat, Rafik Sbeit, Bassel el Abdiadh, Hisham Khcheifati, Talhat Hamdi, Adnan Barakat, Naji Jabr, Adib Chhadeh, Ayman Zeidan, Nazir Sarhan, Raja Kotrach, Hasan Dakkak Awards (selection) Carthage Film Festival: Tanit d'Or, 1985 Berlin International Film Festival: Interfilm Award - Honorable Mention, 1985 Valencia Festival of Mediterranean Cinema: Golden Palm, 1985 Film-maker Mohamad Malas Mohamad Malas was born in 1945 in Quneitra on the Golan Heights. -
Narrative Transformation from Text to Screen a Study of the Adaptation of the Novel in Arabic Cinema
Narrative Transformation from Text to Screen A Study of the Adaptation of the Novel in Arabic Cinema Jaffar Mahajar | Dissertation submitted for the Degree of Doctor of Philosophy t1 School of Oriental and African Studies University of London, 2009 1 ProQuest Number: 11010465 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 11010465 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 To my father; for his enduring support. To my mother. To my stepmother; for doing her best. SPAS LIBRARY] Declaration I declare that the work presented in this thesis is my own work 1 s n • Jaffar M ah ajar Date 3 Abstract The Arabic novel has been a valuable source for a large proportion of feature films in the cinemas of the Arabic speaking world. In fact, the rise of cinema in the Arab world in the last one hundred years has been parallel to the rise and development of the novel in Arabic culture. From its inception, Arabic cinema resorted to making films of highly appreciated literary texts, to provide films with respectability and relevance. -
Download the 35Th Fajr International Film Festival Catalogue
264 In the Name of God Download PDF version of FIFF Festival Catalogue Signs Asian premiere A.P. International premiere Int.p. National premiere N.P. How to use the app World premiere W.P. get.winkere.com Regional premiere R.P. Middle East premiere ME.P Question & Answer Q&A 3 2 1 Original Voice OV Director Of Photography DOP Catalogue of 35th Fajr International Film Festival Tehran, 21st-28th. April. 2017 Supervisor: Kayvan Kassirian Editor-in-chief: Somayeh Alipour With Special Thanks to Amir Esfandiari, Iraj Taghipour, Kamyar Mohs- enin, Ali Eftekhari, Raha Pourghassem English to Persian Translator: Lida Sadrololamayi, Hafez Rouhani, Farzad Mozafari, Ghodratollah Shafiee Persian to English Translator: Ghanbar Naderi, Ahmad Khouzani, Hos- sein Bouye Editor: Masoumeh Alipour Art Manager: Hamidreza Baydaghi Graphics: Afshin Ziaeeian Alipour, Leili Eskandarpour Print Supervisor: Mehrdad Haji Hassani Printing: Senobar The Official apps of FIFF Message of Head of Iranian Cinema Organization 4 Message of the Festival Director 5 About 34th Fajr Film Festival 7 Rules and Regulations of 35th Fajr Festival 11 Juries 15 International Competition 27 Panorama of Films from Asian and Islamic Countries 73 Festival of Festivals 119 Docs in Focus 135 Special Screenings 149 Classics Preserved 177 Korean Cinema 189 Baltic Cinema 197 Shadows of Horror 205 Broken Olive Trees 213 Enviromental Films 225 Interfaith Competition Nominees 227 Here is the Friend’s Home 229 Workshops 239 Organization 255 Index 261 Message of Head Iranian Cinema Organization Deputy Minister of Culture and Islamic Guidance and Head of Iranian Cinema Organization 4 Mohammad Mehdi Heydarian has sent the followin message to the organizers of this year’s Fajr International Film Festival. -
Arab Integration
Arab Integration A 21st Century Development Imperative Arab Integration A 21st Century Development Imperative The opinions expressed are those of the authors and do not necessarily reflect the views of the Secretariat of the United Nations. The designations employed and the presentation of the material in this publication do not imply the expression of any opinion whatsoever on the part of the Secretariat of the United Nations concerning the status of any country, territory, city or area, or of its authorities, or concerning the delimitation of its frontiers or boundaries. Report Team This report is the result of combined efforts in research, analysis and review led by Rima Khalaf, Executive Secretary of ESCWA. An advisory board of Arab thinkers contributed to setting its methodological framework and enriched its material with their valuable inputs. Arab experts participated in drafting the report, and ESCWA staff assisted in providing substantive research, statistics and economic models, as well as in the coordination and support. Advisory board Abdel Wahab al-Afandi, Abdullah al-Sayed Weld Abah, Abou Yaareb Marzouki, Ali al-Qasimi, Atif Kubursi, Baqer Salman al-Najjar, Clovis Maksoud, Essam Sharaf, Ezzedine al-Asbahi, Fahmi Howeidi, Farida Allaghi, Gouda Abdel Khalek, Haifa Zangana, Hamdi Qandil, Hani Fahs, Inaam Bayoud, Islah Jad, Mohammad Abu Rumman, Mohammed Tayyeb al-Tizini, Mustafa Kamel al-Sayed, Rachida Benmessaoud, Radwa Ashour, Rafia Ghubash, Sadek Jawad Sulaiman, Sami Brahem, Taher Kanaan, Tarek Mitri Core team Abdallah al-Dardari,