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Turkish Journal of Computer and Mathematics Education Vol.12 No. 7 (2021), 2845-2852 Research Article Undermining Colonial Space in Cinematic Discourse
Turkish Journal of Computer and Mathematics Education Vol.12 No. 7 (2021), 2845-2852 Research Article Undermining Colonial Space In Cinematic Discourse Dr. Ammar Ibrahim Mohammed Al-Yasri Television Arts specialization Ministry of Education / General Directorate of Holy Karbala Education [email protected] Article History: Received: 11 January 2021; Revised: 12 February 2021; Accepted: 27 March 2021; Published online: 16 April 2021 Abstract: There is no doubt that artistic races are the fertile factor in philosophy in all of its perceptions, so cinematic discourse witnessed from its early beginnings a relationship to philosophical thought in all of its proposals, and post-colonial philosophy used cinematic discourse as a weapon that undermined (colonial) discourse, for example cinema (Novo) ) And black cinema, Therefore, the title of the research came from the above introduction under the title (undermining the colonial space in cinematic discourse) and from it the researcher put the problem of his research tagged (What are the methods for undermining the colonial space in cinematic discourse?) And also the first chapter included the research goal and its importance and limitations, while the second chapter witnessed the theoretical framework It included two topics, the first was under the title (post-colonialism .. the conflict of the center and the margin) and the second was under the title (post-colonialism between cinematic types and aspects of the visual form) and the chapter concludes with a set of indicators, while the third chapter included research procedures, methodology, society, sample and analysis of samples, While the fourth chapter included the results and conclusions, and from the results obtained, the research sample witnessed the use of undermining the (colonial) act, which was embodied in the face of violence with violence and violence with culture, to end the research with the sources. -
1 GEORGE MASON UNIVERSITY VISITING FILM SERIES April 29
GEORGE MASON UNIVERSITY VISITING FILM SERIES April 29, 2020 I am pleased to be here to talk about my role as Deputy Director of the Washington, DC International Film Festival, more popularly known as Filmfest DC, and as Director of the Arabian Sights Film Festival. I would like to start with a couple of statistics: We all know that Hollywood films dominate the world’s movie theaters, but there are thousands of other movies made around the globe that most of us are totally unaware of or marginally familiar with. India is the largest film producing nation in the world, whose films we label “Bollywood”. India produces around 1,500 to 2,000 films every year in more than 20 languages. Their primary audience is the poor who want to escape into this imaginary world of pretty people, music and dancing. Amitabh Bachchan is widely regarded as the most famous actor in the world, and one of the greatest and most influential actors in world cinema as well as Indian cinema. He has starred in at least 190 movies. He is a producer, television host, and former politician. He is also the host of India’s Who Wants to Be a Millionaire. Nigeria is the next largest film producing country and is also known as “Nollywood”, producing almost 1000 films per year. That’s almost 20 films per week. The average Nollywood movie is produced in a span of 7-10 days on a budget of less than $20,000. Next comes Hollywood. Last year, 786 films were released in U.S. -
Berlin International Film Festival
Press Release Forum 2019: Risk Before Perfection Arsenal – Institute for Film and Video Art is putting on the Forum as part of the Berlinale for the 49th time. The main programme consists of 39 films, 31 of which world premieres. This year’s Special Screenings are entitled “Archival Constellations” and will be announced in a second press release. The Forum 2019 main programme doesn’t consider itself some sort of ‘best of’ list, but rather gathers together a selection of films that try 69. Internationale things out, take a stance and refuse to compromise. Some look back at Filmfestspiele the history of the 20th century, while others focus on what’s to come, Berlin even as they remain anchored in the here and now. Numerous films take 07. – 17.02.2019 the written word as their starting point, drawing on or making explicit Press Office reference to literature or working with letters, poems and other writings. Potsdamer Platz 11 In the hands of Kelly Copper and Pavol Liska from the Nature Theater of 10785 Berlin Oklahoma, Elfriede Jelinek’s ghost novel “Die Kinder der Toten” thus becomes the Super 8 silent film Die Kinder der Toten, in which Phone +49 · 30 · 259 20 · 707 Fax +49 · 30 · 259 20 · 799 doppelgangers, the undead, a Nazi widow, a suicidal forester and a family of Syrian poets haunt Styria– at once a heimatfilm with a brass [email protected] band soundtrack and an exercise in home movie horror. www.berlinale.de With its magnificent costumes and opulent images, Rita Azevedo Gomes’ adaptation of a Robert Musil novella A portuguesa (The Portuguese Woman) seems almost classic by comparison. -
Ar Risalah) Among the Moroccan Diaspora
. Volume 9, Issue 1 May 2012 Connecting Islam and film culture: The reception of The Message (Ar Risalah) among the Moroccan diaspora Kevin Smets University of Antwerp, Belgium. Summary This article reviews the complex relationship between religion and film-viewing among the Moroccan diaspora in Antwerp (Belgium), an ethnically and linguistically diverse group that is largely Muslim. A media ethnographic study of film culture, including in-depth interviews, a group interview and elaborate fieldwork, indicates that film preferences and consumption vary greatly along socio-demographic and linguistic lines. One particular religious film, however, holds a cult status, Ar Risalah (The Message), a 1976 historical epic produced by Mustapha Akkad that deals with the life of the Prophet Muhammad. The film’s local distribution is discussed, as well as its reception among the Moroccan diaspora. By identifying three positions towards Islam, different modes of reception were found, ranging from a distant and objective to a transparent and subjective mode. It was found that the film supports inter-generational religious instruction, in the context of families and mosques. Moreover, a specific inspirational message is drawn from the film by those who are in search of a well-defined space for Islam in their own lives. Key words: Film and diaspora, media ethnography, Moroccan diaspora, Islam, Ar Risalah, The Message, Mustapha Akkad, religion and media Introduction The media use of diasporic communities has received significant attention from a variety of scholarly fields, uncovering the complex roles that transnational media play in the construction of diasporic connectedness (both ‘internal’ among diasporic communities as well as with countries of origin, whether or not ‘imagined’), the negotiation of identity and the enunciation of socio-cultural belongings. -
MMF-2017 Katalog.Pdf
2 Welcome to MAFF Market Forum MAFF Market Forum 2 3 4 e city of Malmö Welcome to Malmö 5 7 Meet the experts Forum 40 41 Schedule Market Screenings 54 64 Critics Without Borders Nordic countries – Egypt 2017 Case Study / Beauty And e Dogs 70 CONTENT 1 General Manager Mouhamad Keblawi Photographer: Yazan Saad I WANT TO WISH YOU all a warm welcome to MAFF Market Forum 2017. We are both excited and proud to present our third edition of this unique and propitious industry platform. MAFF Market Forum was launched with the ambition to bring the two worlds together, intertwining them with a tailored program created to build partnerships in an intimate environment. We bring together producers, funders, distributors and lm professionals in order to foster a cultural exchange and expand the production landscape. MAFF Market Forum was sprung out of the same ambition as the festival itself; to promote the Arab lm industry, create a gender and cultural diversity in the lm industry, and of course - to ensure all stories get a chance to be heard and seen. Even before the implementation of the rst edition of MAFF Market Forum, we realized that the initiative would have a major impact. Said and done - today, after only two years, several Nordic-Arabic lm collaborations have been implemented and initiated through our platform. And when we say our platform, we include an incredibly important part of the success; the participants. We are beyond thrilled to every year welcome lm professionals from all over the world. is year is no exception, and some of the most signicant and inuential institutes and organizations from both the Nordic countries and the Arab world are attending. -
Film Genres, the Muslim Social, and Discourses of Identity C. 1935–1945
Article BioScope Film Genres, the Muslim Social, and 6(1) 27–43 © 2015 Screen South Asia Trust Discourses of Identity c. 1935–1945 SAGE Publications sagepub.in/home.nav DOI: 10.1177/0974927615586930 http://bioscope.sagepub.com Ravi S. Vasudevan1 Abstract This article explores the phenomenon of the Muslim social film and “Islamicate” cinema of pre-Partition India to suggest a significant background to cinema’s function in the emergence of new states. In particu- lar, it seeks to provide an account of how discussions of genre and generic difference framed issues of audience and identity in the studio period of Indian film, broadly between the mid-1930s and mid-1940s. Rather than focus too narrowly on identity discourses in the cinema, I try to move among amorphous and dispersed senses of audience, more calibrated understandings related to a trade discourse of who films would appeal to, and finally, an agenda of social representation and audience address that sought to develop in step with a secular nationalist imagining of the Muslim community and its transformation. Keywords Muslim social, Mehboob, K.A. Abbas, Islamicate, oriental, Lahore This article explores the phenomenon of the Muslim social film and “Islamicate” cinema of pre-Partition India to suggest a significant background to cinema’s function in the emergence of new states. In particu- lar, it seeks to provide an account of how discussions of genre and generic difference framed issues of audience and identity in the studio period of Indian film, broadly between the mid-1930s and mid-1940s. Rather than focus too narrowly on identity discourses in the cinema, I try to move among amorphous and dispersed senses of audience, more calibrated understandings related to a trade discourse of who films would appeal to, and finally, an agenda of social representation and audience address that sought to develop in step with a secular nationalist imagining of the Muslim community and its transformation. -
Ousmane Sembène Chadi Abdel Salam
Dedication This edition is dedicated to the memory of Ousmane Sembène Senegal Chadi Abdel Salam Egypt 1 I did not hesitate even for a moment to accept the invitation to become the President of Board of Trustees for the Festival’s third edition, as its values and aims complies with my personal beliefs, either as an Egyptian citizen as well as a politician. Those beliefs can be concluded in three concepts: First: the pivotal role that art and especially cinema plays in creating awareness of the human societies. Cinema has this special language, which can express people’s experiences in their various dimensions and depth, using sound, picture and other performance techniques. Immersing in the depth of this experience or human situation through this peculiar art enable us to plunge in their secrets and overcome geographical and political barriers between peoples and communities. Second: Luxor is a place, as well as status. It is a status engraved in the conscience of every human, a cradle of life which was a witness of one of the greatest civilization in the human history. It is also place in the South in which A WORD FROM always lives the memory of Egypt’s adherence to Africa. Third: Africa is the virgin Black Continent to which we belong, but alas, we have lost a real connection with it Dr. Essam since years. Festival manifests its viral importance as a significant Sharaf instrument of the gentle power through which we can overpass geographical and political barriers entering the conscience of the people to create a state of unity on the bases and notions of humanity forming crucial step to return to Egyptian – African connection. -
UC Santa Cruz UC Santa Cruz Previously Published Works
UC Santa Cruz UC Santa Cruz Previously Published Works Title “Of Marabouts, Acrobats, and Auteurs: Framing the Global Popular in Moumen Smihi’s World Cinema.” Permalink https://escholarship.org/uc/item/1r86d1c5 Author Limbrick, Peter Publication Date 2021 Peer reviewed eScholarship.org Powered by the California Digital Library University of California FINAL ACCEPTED MANUSCRIPT, FORTHCOMING IN CULTURAL CRITIQUE, 2021 “Of Marabouts, Acrobats, and Auteurs: Framing the Global Popular in Moumen Smihi’s World Cinema.” Peter Limbrick, Film and Digital Media, University of California, Santa Cruz One of the critical commonplaces in the study of Arab cinemas is the idea that we can distinguish between Egyptian cinema, a dominant popular and industrial cinema akin to Hollywood, and smaller national or regional cinemas (Palestinian, Tunisian, Algerian, Moroccan) which are typically discussed as auteur or art cinemas. While historically defensible, in that Egypt preceded these others in having its own studios and industry, such an assessment nonetheless tends to foreclose on the possibilities for those films inhabiting the “non-Egyptian” model ever be accorded the status of popular cinema. Moreover, where local distribution and exhibition for North African films has been historically partial or non-existent (due to commercial decisions that have historically favored Egyptian, Indian, and Euro-American productions), it has been difficult for many directors in countries like Morocco to avoid the charge that their films—which are often more visible in European festivals than at home—are made for other markets or audiences. Whether in sympathy with the idea of distinctive local or national cinemas and resistance to cultural hegemony, or in suspicion of the politics of international funding and coproduction, many critical treatments of non-Egyptian Arab films make of the popular an evaluative term that signifies local authenticity and a resistance towards European art cinema tendencies and that privileges commercial success over experimentation. -
Wipo Magazine
APRIL 2018 No. 2 Bombshell: The Hedy Lamarr Gender equality in From brewing to biologics: Story – an interview with African agriculture: Biocon’s Kiran Mazumdar-Shaw Alexandra Dean an innovation imperative transforms global health p. 8 p. 34 p. 27 Powering change: Women in innovation and creativity World Intellectual Property Day 2018 April 26 Powering change: Women in innovation and creativity World Intellectual Property Day 2018 April 26 Every day women come up with game-changing inven- world. Their “can do” attitude is an inspiration to us all. tions and life-enhancing creations that transform lives And their remarkable achievements are an invaluable and advance human understanding from astrophysics legacy for young girls today with aspirations to become to nanotechnology and from medicine to artificial in- the inventors and creators of tomorrow. telligence and robotics. This special focus issue of the WIPO Magazine explores And in the creative sphere, whether in the movies, anima- why it is important to encourage women in innovation tion, music, fashion, design, sculpture, dance, literature, and creativity and presents the views and experiences art and more, women are re-imagining culture, testing of just a few of the many remarkable women who are the limits of artistry and creative expression, drawing us powering change in our world every day. into new worlds of experience and understanding. For more on World Intellectual Property Day, join us on The important and inspiring contributions of countless Twitter (#worldipday) and Facebook (www.facebook. women around the globe are powering change in our com/worldipday). WIPO MAGAZINE April 2018 / No. -
Dubbing Into Arabic: a Trojan Horse at the Gates?
DUBBING INTO ARABIC: A TROJAN HORSE AT THE GATES? By Ramez Maluf Summary: This paper examines the reasons why the dubbing of American film and television programs, common throughout much of the world, remains non-existent in the Arab world. Despite a considerable surge in television stations and much need for quality programs, dubbing into Arabic is limited to a few Latin American soaps, children’s cartoons and, more recently, Iranian films. Will an increase in dubbed Western programs reflect a greater encroachment of a global culture in the Arab world? Dubbing, the replacing of the original dialogue or soundtrack by another, either in a different language or voice, dates back to the early days of film. Following the success of the talkies at the close of the 1920s, silent movies became obsolete within a matter of a few years, prompting the film industry to look at their actors in an entirely new way. How they sounded was now as important as how they looked and acted. With audiences able to enjoy dialogue, actors’ voices and related sounds became an integral consideration of film production. When the articulation, intonation, accent, or dialect of the stars of the silent silver screen were inappropriate for the new movies, studios resorted to dubbing over the dialogue, by adjusting the mouth movements of the original actors in the film to the voice of other actors. Thus, the practice of lip-synching was introduced. Later, studios would entirely replace stars of the silent screen whose voices were inappropriate for the talkies (Parkinson 85-86). Outside the United States, in Latin America and Europe, where Hollywood productions started to make serious inroads as early as the late 1910s, the fact of sound and dialogue forced distributors to consider ways to reach out to their non-English speaking audiences. -
Mini Booklet Final
دﻟﻴﻞ اﻟﻤﻬﺮﺟﺎن Festival Guide وﺟــﺪول اﻓﻼم Film Schedule & CAIRO INTERNATIONAL FILM FESTIVAL - 41 ﺣﻴﺎة ﺧﻔﻴﺔ | x 4 | 4×4 A HIDDEN LIFE 4 MIDNIGHT SCREENINGS OFFICIAL OUT OF COMPETITION Argentina, Spain | Germany, USA | Fiction, 2019, Color, 92 min Fiction, 2019, Color, 173 min Original Language: Spanish Original Language: English, German ﺗﻴﺮﻧﺲ ﻣﺎﻟﻴﻚ | Director: Terrence Malick ﻣﺎرﻳﺎﻧﻮ ﻛﻮن | Director: Mariano Cohn A thief sneaks into a luxurious 4x4 to steal its Based on a true story, an Austrian farmer contents. He discovers he can't get as if he is refuses to fight with the Nazis during World War locked in a prison. As time passes, he discovers II. He is arrested and faces the death penalty, that someone outside controls him and the car. while his small family suffers from his absence. ﻋﻦ واﻗﻌﺔ ﺣﻘﻴﻘﻴﺔ، ﻳﺮﻓﺾ ﻓﻼح ﻧﻤﺴﺎوي إﻋﻼن اﻟﻮﻻء ﻳﺘﺴﻠﻞ ﻟﺺ إﻟﻰ ﺳﻴﺎرة 4X4 ﻓﺎرﻫﺔ ﻛﻲ ﻳﺴﺮق ﻣﺤﺘﻮﻳﺎﺗﻬﺎ، ﻟﻠﻨﺎزﻳﻴﻦ واﻟﻘﺘﺎل ﺿﻤﻦ ﺻﻔﻮﻓﻬﻢ ﺧﻼل اﻟﺤﺮب اﻟﻌﺎﻟﻤﻴﺔ وﺑﻌﺪ اﻧﺘﻬﺎﺋﻪ ﻳﻜﺘﺸﻒ أﻧﻪ ﻻ ﻳﺴﺘﻄﻴﻊ اﻟﺨﺮوج ﻣﻨﻬﺎ ﻛﻤﺎ اﻟﺜﺎﻧﻴﺔ ﻓﻴﺘﻢ اﻋﺘﻘﺎﻟﻪ وﻳﻮاﺟﻪ ﻋﻘﻮﺑﺔ ا°ﻋﺪام، ﻓﻴﻤﺎ ﺗﻌﺎﻧﻲ ﻟﻮ ﻛﺎﻧﺖ ًﺳﺠﻨﺎ، وﺑﻤﺮور اﻟﻮﻗﺖ ﻳﻜﺘﺸﻒ أن ﻫﻨﺎك ﻣﻦ أﺳﺮﺗﻪ اﻟﺼﻐﻴﺮة ﻣﻦ ﻏﻴﺎﺑﻪ. ﺑﺎﻟﺨﺎرج ﻳﺘﺤﻜﻢ ﺑﻪ وﺑﺎﻟﺴﻴﺎرة. وﻇﻴﻔﺔ وﻓﻴﻠﻢ | A JOB AND A FILM ﻣﻴﻞ MILES | 600 600 MEXICO - COUNTRY IN FOCUS CRITICS' WEEK Mexico,USA | Fiction, 2015, Color, 85 min Original Language: English, Spanish ﺟﺎﺑﺮﻳﻞ رﻳﺒﺴﺘﺎﻳﻦ | Director: Gabriel Ripstein Arnulfo Rubio smuggles weapons for a Mexican cartel. Federal agent Harris attempts to apprehend him but gets kidnapped by Rubio, instead. During their 600-mile journey, Rubio and Harris become friends. ﻳﻘﻮم "روﺑﻴﻮ" ﺑﺘﻬﺮﻳﺐ اﺳﻠﺤﺔ ﻟﺤﺴﺎب ﻋﺼﺎﺑﺔ | Spain ﻣﻜﺴﻴﻜﻴﺔ ﺧﻄﻴﺮة. -
HOTDOCS.CA Bring Creative and Business Together
HOTDOCS.CA Bring creative and business together. CREATIVE INDUSTRIES MANAGEMENT GRADUATE CERTIFICATE The creative arts industry needs business experts who know how to maximize financial potential. Sheridan’s new eight-month Creative Industries Management program will teach you how to work with artists to strategize, organize, finance, negotiate, write contracts and make the most of their creations. From marketing to distribution and from large corporations to small entrepreneurs, the opportunities in film, TV, animation and gaming are endless. docs.sheridancollege.ca APRIL 25–MAY 5, 2019 : HOT DOCS CANADIAN INTERNATIONAL DOCUMENTARY FESTIVAL WELCOME TO HOT DOCS 2019 PHOTO: GABRIEL LI FIND YOUR FILMS CHOOSE YOUR TICKETS OR PASS Browse films by program or use the title index to find films. More detailed SCREENING TICKETS: $17.50–19 film descriptions and a subject index are available at www.hotdocs.ca. 6-SCREENING BUNDLE: $99 Special Events not included (p. 5–7) BUY YOUR TICKETS SPECIAL EVENTS: $17.50–24 ADVANCE Tickets $35–80 Food & Film Events Ticket Packages WWW.HOTDOCS.CA Gain access to screening tickets and select Special Events. Perfect 416.637.3123 for sharing; use multiple tickets per screening and redeem in advance. Not valid for Food & Film Events (p. 6). C rave Box Office at Hot Docs Ted Rogers Cinema 10-PACK: $159 506 Bloor Street West 20-PACK: $259 HOURS (MARCH 19–MaY 5) 11am-6pm Redeem tickets online, by phone or in person at the Crave Box Office at Hot Docs Ted Rogers Cinema. SAME DAY Tickets * All prices include HST. All prices exclude online service fees.