ﺍﻝــﺛﻭﺭﺓ ﻄـﻋـﺛﺍﺓ ﺇﻝﻯ ﺍﺠﻃ ﺾﻀ ﻄﻆ This Edition Is Dedicated to the Names Of
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Film Funding Grants Programme 2013
Film Funding Grants Programme 2013 Film Funding Grants Programme 2013 Doha Film Institute established its Grants We contribute to films that have strong directorial Programme with the vision of fostering creative vision and that are challenging, creative and talent in the Middle East and North Africa (MENA) thought-provoking. Support for grantees is holistic, region. We are proud that over its first three- with financial assistance bolstered by professional and-a-half years the programme supported the development, mentorship and creative development development of more than 137 projects from opportunities that are made available throughout 14 countries. a project’s life cycle. In 2013, the Institute embarked on a new phase of the Grants Programme designed to further the It is our hope that through the Grants Programme goal of nurturing emerging talent. Projects from and the growing number of its alumni, we will all over the world became eligible for funding, continue to widen our flourishing community with a special focus on first- and second-time of filmmakers. As we extend our reach, we also filmmakers. enable professional, cultural and creative exchanges between our local talent and the wider international Alongside this expansion, the Institute’s industry. commitment to talent from the MENA region remains strong, with specific categories and I am honoured to welcome our newest grant criteria in place. Our focus on first- and second- recipients to the Doha Film Institute family. time filmmakers will greatly enhance our ability to discover and nurture new voices, both at home in Abdulaziz Al-Khater Qatar and around the globe. -
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. -
Docuent Renee
DOCUENT RENEE ED 099 243 SI 018 610 TITLE Situation ReportGhana, Guyana, India, Japan, Kenya, Khmer Republic, Nepal, Niger, Republic of Vietnam, Senegal, Thailand, and Trinidad and Tobago. INSTITUTION International Planned Parenthood Federation, London (England). PUB DATE 74 NOTE 90p. EDRS PRICE MF-$0.75 HC-$4.20 PLUS POSTAGE DESCRIPTORS Contraception; Demography; *Family Planning; *Foreign Countries; *Population Trends; Programs; Resource Materials; Social Welfare; *Statistical Data ABSTRACT Data relating to population and family planning in twelve foreign countries are presented in these situation reports. Countries included are Ghana, Guyana, India, Japan, Kenya, Khmer Republic, Nepal, Niger, Republic of Vietnam, Senegal, Thailand,and Trinidad and Tobago. Information is provided under two topics, general background and family planning situation, where appropriate and if it is available. General background covers ethnic groups, language, religion, economy, communication /education,medical/social welfare, and statistics on population, birth, and death rates.Family planning situation considers family planningassociations and personnel; government attitudes; legislation; family planning services; education/information; training opportunities for individuals, families, and medical personnel; research and evaluation; program plans; government programs; and related supporting organizations. Bibliographic sources are given.(DT) tj 1 DIPARTMS NT Oi HEALTH. ADUCATIONAWMFARE Distribution * NATIONAL INTTITOTO Situation 601,411 TION INn 00t uM1 141uA HI 14 /(11.10 putt ()I IA, v wl 1 .%1 I)I kOM Report Int ui lisuk,%,1101u.A/1 r)1/1(.1% PoNt %II A ok 010110,1% %IA,/ 0 1,0 Nut bl t1 .41e.: Y lot PIT %FPO 011 n At ItA O1u .b'.111 t111 01 woo fOut AI ION 1I IPol,t0,4 kqe 1.01 t toition I cmintry GHANA Date JUNE 1974 to,! Pa(t.i triota! 113. -
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. -
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Shadow Zones: Contraband and Social Contract in the Borderlands of Tunisia by Alyssa Marie Miller Department of Cultural Anthropology Duke University Date:_______________________ Approved: ___________________________ Anne Allison, Supervisor ___________________________ Kamran Ali ___________________________ Engseng Ho ___________________________ Laurie McIntosh ___________________________ Ellen McLarney ___________________________ Harris Solomon Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Cultural Anthropology in the Graduate School of Duke University 2018 i v ABSTRACT Shadow Zones: Contraband and Social Contract in the Borderlands of Tunisia by Alyssa Marie Miller Department of Cultural Anthropology Duke University Date:_______________________ Approved: ___________________________ Anne Allison, Supervisor ___________________________ Kamran Ali ___________________________ Engseng Ho ___________________________ Laurie McIntosh ___________________________ Ellen McLarney ___________________________ Harris Solomon An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Cultural Anthropology in the Graduate School of Duke University 2018 Copyright by Alyssa Miller 2018 Abstract Although Tunisia has been celebrated as the unique success story of the Arab Spring, its emergent democracy has failed to resolve the structural inequalities that caused the 2011 revolution, or meaningfully -
Arab TV-Audiences: Negotiating Religion and Identity
Vivian Ibrahim Watching the history of the ‘present’: Religion and national identity in the Egyptian diaspora Introduction During the Muslim holy month of Ramadan in 2010, an Egyptian drama se- ries or musalsal entitled al-Gama‘a [The Group] aired in Egypt and the Arab World focusing on the Ikhwan al-Muslimeen, the Muslim Brotherhood. The series, which was partially sponsored by the state-run television, was initially perceived by commentators to delegitimize the contemporary leadership of the Muslim Brotherhood while highlighting the important – if not misguided – role of the founder of the group Hassan al-Banna in the 1920s. The 2010 musalsal was set between two time periods: the first, took place in 2006, only a year after the Brotherhood’s gains in parliamentary elections, while the second time period historicised the roots of the organisation, narrating the life of the founder and its spiritual guide [murshid], Hasan al-Banna. Like many musalsalat [plural form of musalsal] before it, al-Gama‘a caused great controversy, which outlasted its 28 episodes and the duration of Ramadan. By 2010, the Brotherhood, an eighty-year-old organisation, had pragmatically negotiated a public space for itself in the political arena, despite being banned since 1954. The turbulent image that had dominated the Brotherhood in previ- ous generations was slowly being eroded and under President Hosni Mubarak the organisation actively played an important and vibrant role in the social, economic and political life of Egypt (Fahmy 2002: 86–87). In the parliamentary elections of 1984 and 1987, the Muslim Brotherhood, though officially still a banned party, ran ‘independent’ candidates who won a significant percentage of seats. -
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en Books published to date in the continuing series o .:: -m -I J> SOVIET ADVANCES IN THE MIDDLE EAST, George Lenczowski, 1971. 176 C pages, $4.00 ;; Explores and analyzes recent Soviet policies in the Middle East in terms of their historical background, ideological foundations and pragmatic application in the 2 political, economic and military sectors. n PRIVATE ENTERPRISE AND SOCIALISM IN THE MIDDLE EAST, Howard S. Ellis, m 1970. 123 pages, $3.00 en Summarizes recent economic developments in the Middle East. Discusses the 2- significance of Soviet economic relations with countries in the area and suggests new approaches for American economic assistance. -I :::I: TRADE PATTERNS IN THE MIDDLE EAST, Lee E. Preston in association with m Karim A. Nashashibi, 1970. 93 pages, $3.00 3: Analyzes trade flows within the Middle East and between that area and other areas of the world. Describes special trade relationships between individual -C Middle Eastern countries and certain others, such as Lebanon-France, U.S .S.R. C Egypt, and U.S.-Israel. r m THE DILEMMA OF ISRAEL, Harry B. Ellis, 1970. 107 pages, $3.00 m Traces the history of modern Israel. Analyzes Israel 's internal political, eco J> nomic, and social structure and its relationships with the Arabs, the United en Nations, and the United States. -I JERUSALEM: KEYSTONE OF AN ARAB-ISRAELI SETTLEMENT, Richard H. Pfaff, 1969. 54 pages, $2.00 Suggests and analyzes seven policy choices for the United States. Discusses the religious significance of Jerusalem to Christians, Jews, and Moslems, and points out the cultural gulf between the Arabs of the Old City and the Western r oriented Israelis of West Jerusalem. -
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. -
Rencontre Hanai
COMPTE RENDU R E N C O N T R E A V E C M . H A N A Ï E T L E S C O M E D I E N S W A L I D M E Z O U A R E T S A Ï D A B O U K H A L I D Mercredi 7 février, de 11h à 13h, M. Brahim Hanaï ainsi que les comédiens Walid Mezouar et Saïd AbouKhalid ont rencontré les élèves de 2de et 1er de l’option théâtre de notre lycée. Vous trouverez ci-dessous le compte rendu que je vous propose BRAHIM HANAÏ Brahim Hanaï commence en se présentant rapidement. Il est d’abord metteur en scène et scénariste, ceci l’ayant amené par la suite à écrire quelques romans : Le balayeur en 1988, Antar en 1998. Son âme théâtrale le pousse à l’écriture de nombreuses pièces de théâtre, dont Agar des cimetières, qui fut retenu pour représenter le Maroc à la manifestation "Du monde entier" organisée par le Théâtre Gérard Philippe de Seine Saint-Denis. Après une scolarité au lycée Ibn Abbad de Marrakech, il obtient son doctorat de cinéma-théâtre à l’université de Paris VII. L’enseignant de français et dramaturge a été artiste en résidence au Mali, en France et enfin au Maroc, où il continuera d’enseigner dans de nombreuses écoles du Royaume. Enfin il est bon de rappeler qu’il fut pendant longtemps directeur artistique de la troupe régionale de Marrakech, lorsque celle-ci fut reconnue comme l’une des meilleures troupes du pays. -
Dvd Digital Cinema System Systema Dvd Digital Cinema Sistema De Cinema De Dvd Digital Th-A9
DVD DIGITAL CINEMA SYSTEM SYSTEMA DVD DIGITAL CINEMA SISTEMA DE CINEMA DE DVD DIGITAL TH-A9 Consists of XV-THA9, SP-PWA9, SP-XCA9, and SP-XSA9 Consta de XV-THA9, SP-PWA9, SP-XCA9, y SP-XSA9 Consiste em XV-THA9, SP-PWA9, SP-XCA9, e SP-XSA9 STANDBY/ON TV/CATV/DBS AUDIO VCR AUX FM/AM DVD TITLE SUBTITLE DECODE AUDIO ZOOM DIGEST TIME DISPLAY RETURN ANGLE CHOICE SOUND CONTROL SUBWOOFER EFFECT VCR CENTER TEST TV REAR-L SLEEP REAR-R SETTING TV RETURN FM MODE 100+ AUDIO/ PLAY TV/VCR MODE CAT/DBS ENTER SP-XSA9 SP-XCA9 SP-XSA9 THEATER DSP POSITION MODE TV VOLCHANNEL VOLUME TV/VIDEO MUTING B.SEARCH F.SEARCH /REW PLAY FF DOWN TUNING UP REC STOP PAUSE MEMORY STROBE DVD MENU RM-STHA9U DVD CINEMA SYSTEM SP-PWA9 XV-THA9 INSTRUCTIONS For Customer Use: INSTRUCCIONES Enter below the Model No. and Serial No. which are located either on the rear, INSTRUÇÕES bottom or side of the cabinet. Retain this information for future reference. Model No. Serial No. LVT0562-010A [ UW ] Warnings, Cautions and Others Avisos, Precauciones y otras notas Advertêcias, precauções e outras notas Caution - button! CAUTION Disconnect the XV-THA9 and SP-PWA9 main plugs to To reduce the risk of electrical shocks, fire, etc.: shut the power off completely. The button on the 1. Do not remove screws, covers or cabinet. XV-THA9 in any position do not disconnect the mains 2. Do not expose this appliance to rain or moisture. line. The power can be remote controlled. -
Dvd Digital Cinema System
THS3[UW]-01cov1.fm Page 1 Wednesday, April 28, 2004 2:38 PM DVD DIGITAL CINEMA SYSTEM SYSTEMA DVD DIGITAL CINEMA SISTEMA DE CINEMA DE DVD DIGITAL TH-S3 Consists of XV-THS3, SP-WS3, and SP-THS3F Consta de XV-THS3, SP-WS3 y SP-THS3F Consta do XV-THS3, SP-WS3 e SP-THS3F INSTRUCTIONS MANUAL DE INSTRUCCIONES INSTRUÇÕES GVT0133-013A [UW] TH-S3[UW].book Page 1 Tuesday, April 27, 2004 5:54 PM Warnings, Cautions and Others/Avisos, precauciones y otras notas/Advertências, precauções e outras notas CAUTION CAUTION To reduce the risk of electrical shocks, fire, etc.: • Do not block the ventilation openings or holes. 1. Do not remove screws, covers or cabinet. (If the ventilation openings or holes are blocked by a 2. Do not expose this appliance to rain or moisture. newspaper or cloth, etc., the heat may not be able to get out.) • Do not place any naked flame sources, such as lighted candles, on the apparatus. PRECAUCIÓN • When discarding batteries, environmental problems must be Para reducir el riesgo de descargas eléctricas, fuego, etc.: considered and local rules or laws governing the disposal of 1. No quitar los tornillos, tapas o caja. these batteries must be followed strictly. 2. No exponer el aparato a la lluvia ni a la húmedad. • Do not expose this apparatus to rain, moisture, dripping or splashing and that no objects filled with liquids, such as vases, shall be placed on the apparatus. PRECAUÇÃO Para reduzir riscos de choques elétricos, incêndio, etc.: 1. Não remova parafusos e tampas ou desmonte a caixa.