DOCSLIB.ORG

The Arab British Centre in Association with the Institute of Contemporary Arts and Dubai International Film Festival Presents: F

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Arab British Centre in Association with the Institute of Contemporary Arts and Dubai International Film Festival Presents: F The Arab British Centre in association with the Institute of Contemporary Arts and Dubai International Film Festival presents: FULL PROGRAMME ANNOUNCEMENT FOR SAFAR: THE FESTIVAL OF POPULAR ARAB CINEMA Exhibition: 2 September – 6 October 2014 Film Programme: 19 - 25 September 2014 ICA, London After the phenomenal success of the inaugural festival in 2012, the Arab British Centre returns to the ICA with Safar. The only festival in the world solely focused on programming popular Arab cinema, Safar includes UK premieres alongside classics of the Arab silver screen. These will be accompanied by Q&As, special introductions and a day-long forum which will bring together some of the most significant figures in Arab cinema. Safar has expanded its scope this year to include an exhibition of vintage Arab art and film ephemera, all shown in the UK for the first time. Safar’s Artistic Director Omar Kholeif says, “Popular histories are too often sidelined in favour of a particular breed of ‘art house’ cinema which seeks to emphasise a Eurocentric model focused on particular social, political and aesthetic concerns. Safar seeks to remove Arab cinema from the perceived notion that it is a peripheral or ‘third’ cinema. Safar is a celebration of the complex social histories inherent within popular Arab cinema, and highlights the significance of particular icons and makers.” Executive Director of the Arab British Centre, Noreen Abu Oun says, “The Arab British Centre exists to improve the British public’s understanding of the Arab World, and it does so by showcasing the best of the region’s diverse culture in its year-round programme. Cinema is the most widely enjoyed and accessible cultural output, which is why Safar remains a permanent fixture in our Calendar. Safar is an ever growing project, and will continue to develop to make popular Arab cinema widely available to the general British public. We are thrilled to be working with Dubai International Film Festival and the ICA for the second edition of Safar, which sees the addition of a month long exhibition of Arab film art and memorabilia.” This festival chronicles the re-mapping of the future of Arab cinema, and allows a unique glimpse of what it might look like tomorrow. Screening highlights include: Factory Girl/ Fatat al Masnaa [UK Premiere] - from legendary director Mohamed Khan comes this award-winning contemporary drama-comedy. Hiyam is a young factory worker under the spell of Salah, the factory's supervisor. Believing that love can transcend their class differences, Hiyam pursues a dream of being together. When a pregnancy test is discovered in the factory premises, her family and close friends accuse her of sinning, and when Hiyam decides not to defend herself, she pays an enormous price in a society that fails to accept her. Presented in partnership with Dubai International Film Festival Kit Kat - voted as one of the ten best Arab films of all time, Kit Kat is an early 1990s Egyptian comedy from Daoud Abdel Sayed, one of the most unique voices in global cinema. Sheikh Hosny is a marijuana-smoking blind man who lives with his old mother and his frustrated son in the Kit Kat neighbourhood. Presented in partnership with the Egyptian National Film Center. Rock the Casbah [UK Premiere] - this award-winning contemporary film by Moroccan director Laila Marrakchi unfolds over the three days of the rites of mourning dictated by Muslim custom, following the death of a prominent magnate and family patriarch, Moulay Hassan (Omar Sharif). The solemnity of the occasion is disrupted by the unexpected return to the family fold of Sofia, the rebellious youngest daughter who left Morocco, against her father's wishes, pursuing an acting career in the US. Presented in partnership with Dubai International Film Festival West Beirut - is a late 1990s homage to Beirut, set in 1975, this film documents the uprising that divided the city of Beirut into Muslim and Christian sectors that led to over a decade of civil war. A chilling story based on the award-winning writer and director, Ziad Doueiri's boyhood memories, this film underscores the terrors children suffer during wartime. Salvation Army [UK Premiere] - This rapturous debut feature from Moroccan writer Abdellah Taia offers a charged, semi-autobiographical tale about a young graduate who must navigate the sexual, racial and political intrigue surrounding his arrival in Geneva. Inspired by his own autobiographical novel of the same title, Taia’s contemporary coming of age story unfolds with love, pain, desire and violence. The Forum [Saturday 20 September]: The forum, comprised of three 60-minute panel discussions, is an integral part of Safar. The forum will bring together some of the most significant figures in Arab cinema to publicly discuss the emergent trends and issues affecting contemporary Arab filmmaking and will be moderated by Safar’s Artistic Director, Omar Kholeif. The forum is a rare opportunity to capture the pulse of Arab cinema’s future. An Evening of Short Films [Sunday 21 September]: In an exciting new addition to the Safar programme, the short films explore themes of memory, desire and place. This showcase presents stunning short film works from Ali Cherri, Roy Dib and Jumana Manna. Exhibition: Whose Gaze Is It Anyway? [2 September – 6 October]: A central component to Safar is the exhibition, Whose Gaze Is It Anyway? curated by Omar Kholeif and will be held in the ICA’s Fox Reading Room. This display examines the history of Arab pop culture through printed matter – posters, notebooks, diaries and book covers, as well as through film and video. Included is a selection from the archive of Abboudi Bou Jaoudeh, a prolific collector whose archive located in Beirut holds one of the biggest collections of Arab film memorabilia; from rare Arab film posters to cultural magazines published from the 1930s to the present day, displayed here for the first time. This material sits alongside a newly commissioned work by Sophia Al-Maria with Sam Ashby who exhibit an imaginary poster and sketchbook for her unmade film, Beretta, a rape-revenge thriller set in Cairo. Additionally, Maha Maamoun presents Domestic Tourism II, 2009, a film that seeks to challenge how the image of the Egyptian pyramids has been used by the world’s tourist industry. Raed Yassin’s ebullient single-channel video work, Disco, 2010, also on show, tells the story of the artist’s father, a disco-addict and fashion designer who leaves his family to become a star in the Egyptian horror film industry. Full film programme below, and available on www.arabbritishcentre.org.uk For further press information, images and interview requests, please contact John Dunning or Christiane Brittain at Margaret_ on 020 7923 2861/ [email protected] Full Programme Listings: All films are in Arabic with English subtitles 19-25 September 2014 The Institute of Contemporary Arts, London FRIDAY 19 SEPTEMBER, 8.30PM - OPENING GALA SCREENING Factory Girl/ Fatat Al Masnaa (2013) + Director Q&A Egypt | Dir: Mohamed Khan | 90 mins | DCP | Cert: 15| UK PREMIERE From the legendary director Mohamed Khan comes this award-winning drama- comedy. Hiyam, a young factory worker, lives in a lower-middle-class neighbourhood, along with her co-workers. She is clearly under the spell of Salah, the factory's new supervisor. Believing that love can transcend their class differences, Hiyam relentlessly pursues a dream of the pair being together. However, when a pregnancy test is discovered in the factory premises, her immediate family and close friends accuse her of sinning. Hiyam decides not to defend herself and pays an enormous price in a society that fails to accept her. Presented in partnership with Dubai International Film Festival SATURDAY 20 SEPTEMBER, 6PM Around the Pink House/ Autour de la maison rose (1999) + Directors Q&A Lebanon | Dir: Joana Hadjithomas & Khalil Joreige | 92 mins | 35mm | Cert: 12A One of the most popular Lebanese films of the late 1990s, Around the Pink House is a story that explores the changing urban landscape of Beirut after the Civil War. La maison rose (the pink house) is an old mansion in Beirut where the Nawfal family found shelter during the Civil War. Unfortunately for them, their immediate environment is rapidly changing, as many of the old shell-ridden buildings are being torn down and replaced by new construction projects. When Mattar, the owner of the pink house, decides to sell it to make room for a large commercial centre, the residents of the neighbourhood become divided between the shopkeepers and businessmen in favour of a different kind of modernity. SATURDAY 20 SEPTEMBER, 8.50PM Chaos, Disorder/ Harag W’ Marag (2012) + Director Q&A Egypt | Dir: Nadine Khan | 77 mins | DCP | Cert: 15| UK PREMIERE Part of a new generation of inspiring filmmakers is Nadine Khan whose evocative debut film Chaos, Disorder captures the spirit of an ever-evolving Egypt. Set in a poor Cairo neighbourhood, Manal, Zaki, and Mounir, all in their twenties, live in a chaos-filled community next to a garbage dump where their basic needs are barely met. Beneath the disorder in their society is a layer of troubled relationships, decaying love and a feverish competition between Zaki and Mounir to woo Manal. The film was the winner of the Muhr Arab Feature Competition at Dubai International Film Festival. Presented in partnership with Dubai International Film Festival SUNDAY 21 SEPTEMBER, 2PM The Sparrow/ Al Asfour (1972) + Intro Egypt | Dir: Youssef Chahine | 105 mins | 35mm | Cert: 12A From the great auteur of Arab cinema comes this sumptuous digitally re-mastered 35mm print of a cinematic gem. Set shortly before and during the Six Day War in June of 1967, The Sparrow follows a young police officer stationed in a small village in Upper Egypt whose inhabitants suffer from the harassment of a corrupt businessman.
Load more

Recommended publications
  • 'The Insult' Throws Light on Divided Lebanon, Gets Oscar Nomination
    Drama 'The Insult' Throws Light on Divided Lebanon, Gets Oscar No... about:reader?url=https://www.voanews.com/a/controversial-drama-the... voanews.com Drama 'The Insult' Throws Light on Divided Lebanon, Gets Oscar Nomination Penelope Poulou 5-6 minutes Ziad Doueiri's film The Insult is one of this year's Oscar nominees in the Foreign Film category. The film, largely a courtroom drama, tackles the cultural, religious and political rifts that have existed in Lebanon since 1948. Doueiri told VOA about the film's hard-hitting elements and its message of reconciliation between Muslims and Christians. Ziad Doueiri is very passionate about his work. His story about the verbal dispute between two men from two different ethnic and religious backgrounds in Beirut, Lebanon, reveals his anxiety about his country, which he feels is fragmented and has not reconciled with its past. "Lebanon is still a volatile place. Lebanon is so dynamic. But also, we had a past. Beirut, Lebanon had a rough past. We had a lot of conflict with the Syrians, the Palestinians, the Lebanese, the Left, the Right, the Conservatives, the Liberals. The pro- West, the pro-East. Lebanon is such a tiny place, but it really absorbs all those kinds of things," he said. "So, whenever you have that many conflicts and such a tiny place surrounded by so many countries we are on a hot bed of 1 sur 4 12/02/2018 à 16:52 Drama 'The Insult' Throws Light on Divided Lebanon, Gets Oscar No... about:reader?url=https://www.voanews.com/a/controversial-drama-the..
    [Show full text]
  • The Apprehensions of the Past in Building the Future: Do the Master Plans for Damour and Dibbiyeh Encourage Return?
    The Apprehensions of the Past in Building the Future: Do the Master Plans for Damour and Dibbiyeh Encourage Return? Public Works Studio Introduction Last year, a broad debate surrounded director Ziad Doueiri’s film The Insult, especially after it was nominated for the 2018 Oscar for best foreign language film. This was the first time that a Lebanese film has been shortlisted for an Oscar. During the film’s first few minutes, one of the main characters expresses her wish to return to Damour, stating that the church there had been restored. Her husband, a survivor of the massacre that occurred in the town during Lebanon’s Civil War, firmly rejects the idea. Doueiri then leads the audience away from the subject of Damour to insert them into the story of Case no. 23, from which the film derives its Arabic title. The case eventually brings the audience back to the basis on which the film began: the aforementioned Damour Massacre. Many felt that the film’s contention is segregationist, manipulates the massacres, and isolates painful historical events from one another.[1] Yet the special screening of the film held in Empire The Spot Choueifat Cinema and attended by the people of Damour paints a more complex picture. According to press coverage, the people of the town were greatly affected by the film and gave it a communal applause. Charles Ghafari, Damour’s mayor, declared that “The film means a lot to the people of Damour … It gives Damour its due”. As for Doueiri, he said, “This meeting with the people of Damour is very important to me and the actors, for the story is ultimately the story of these people and this small town”.
    [Show full text]
  • P Age1 Monthly Report Executive Summary Press and Cultural
    Monthly Report Executive Summary Press and Cultural Freedom Violations April 2013 LEBANON, SYRIA, JORDAN, PALESTINE In April 2013, eight activist journalists were killed in Syria; one of which was murdered in prison. Also, six correspondents, photographers and activists were injured, the arrests continued and six foreign journalists were abducted. In the West Bank, the Israeli forces attacked Palestinian journalists with rubber-coated bullets; three of them were injured in the line of duty. Also, the Israeli police attacked journalists in the 1948 Territories with sound grenades and beat them with truncheons. Below is a detailed summary of the violations compiled by the SKeyes Center in all four countries. In Lebanon, photographer Alain Khoury was wounded in the leg, after young Syrians tried to run him over with a car in Hamra (04/18) when they thought he was taking pictures of them, and the editor-in- chief of Al-Mustaqbal, Hani Hammoud, received threats through Al-Khabar Press, accusing him of collaborating with Israel and testifying before the Special Tribunal for Lebanon against the four Hezbollah members indicted for the assassination of former Prime Minister Rafik Hariri (04/12). The Anti-cybercrime office detained and questioned the editor of Al-Hadath News, Abdallah Qameh, for nine hours following an article he published on the website (04/11). Also, soldiers prevented the media “for security reasons” from covering a sit-in organized by the parents of Islamist prisoners detained in the Roumieh prison (04/21). The Minister of the Interior Marwan Charbel banned the screening of Ziad Doueiri’s movie “The Attack”, because some scenes were filmed in Israel and the crew included Israeli actors (04/26).
    [Show full text]
  • Directed by Ziad Doueiri
    Directed by Ziad Doueiri 2017 Official Oscar® Entry – Lebanon Best Foreign Language Film Official Selection Venice International Film Festival 2017: Winner, Best Actor (Kamel El Basha) Official Selection Telluride Film Festival 2017 Official Selection Toronto International Film Festival 2017 Synopsis: In today’s Beirut, a civilian dispute blown out of proportion finds Tony (Adel Karam), a Lebanese Christian, and Yasser (Kamel El Basha), a Palestinian refugee, facing off in court. As the media circus surrounding the case threatens a social explosion in divided Lebanon, Tony and Yasser reconsider their values and beliefs as revelations of trauma complicate their understanding of one another. Runtime: 1hr 52minutes US Distributor: East Coast Publicists: West Coast Publicists: Awards Publicists: Cohen Media Group Sophie Gluck & Associates Block-Korenbrot Karen Fried & Associates Maya Anand Sophie Gluck and Aimee Morris Ziggy Kozlowski Karen Fried and Sara Vahabi 646.380.7932 212.595.2432 323.634.7001 818.980.6220 [email protected] [email protected] [email protected] [email protected]; [email protected] [email protected] Long Synopsis In today’s Beirut, Palestinian refugee Yasser (Kamel El Basha) has been assigned to fix building code violations in an insular Lebanese community. When Yasser attempts to fix a drainpipe protruding from the home of Tony (Adel Karam), a Lebanese Christian, Tony tries to ignore the request. Yasser begins the repair anyway and Tony lashes out, destroying the handyman’s work, prompting Yasser to shoot back with a vulgarity. Tony goes to Yasser’s boss and demands an apology, which Yasser finds hard to do. When an attempt at reconciliation between the two men is organized, the increasingly angry Tony lets loose with a racially charged insult striking at the core of Yasser’s Palestinian heritage.
    [Show full text]
  • Chicago International Film Festival FESTIVAL BOX AMC River East 21 OFFICE LOCATION 322 E
    October 12-26, 2017 53rd CHICAGO INTERNATIONAL FILM FESTIVAL © BECAUSE LIFE IS A MOVIE Poster design by Edwin Smeenge Edwin by design Poster 150 MOVIES 50 COUNTRIES MEET DIRECTORS SEE STARS AMC RIVER EAST 21 322 E. ILLINOIS ST. CHICAGOFILMFESTIVAL.COM #chifilmfest PASSES Buy now & save more! October 12-26, 2017 chicagofilmfestival.com SNEAK PEEK IS Inside, find the first round of films and events for the Festival. Watch for our full schedule on HERE September 19. PLAN AND MOVIEGOER PASS PASSPORT PASS 10 general admissions* 20 general admissions* SAVE $105 for members $200 for members $135 for non-members $260 for non-members Use code 53PREVIEW5 Use code 53PREVIEW10 when ordering to save $5 when ordering to save $10 Offer valid through September 15. Offer valid through September 15. ONLINE chicagofilmfestival.com/passes PHONE 312.683.0121 TICKETING FAQ: chicagofilmfestival.com/ticketing *Passes are not valid for Special and Gala Presentations, Tributes, Opening Night, Special Events, Centerpiece, or Closing Night. All programs are subject to change. Passes on sale until October 20, 2017. Passes must be picked up and redeemed in person at the Festival Box Office. EXPERIENCE Join Cinema/Chicago to enjoy films throughout the year, plus unbeatable Festival perks. From discounts MORE to VIP experiences, Members can access it all. EARLY ACCESS to tickets before the general public FREE advance screenings year-round CONCIERGE ticket service at premium levels JOIN chicagofilmfestival.com/membership SAVE THE SEPT. 19 Full Schedule announced online DATES SEPT. 20 Festival Box Office opens SEPT. 20-21 Ticket Pre-Sale (Members only) SEPT.
    [Show full text]
  • Reviews | Screen
    'The Insult': Venice Review | Reviews | Screen https://www.screendaily.com/reviews/the-insult-venice-review/512185... This site uses cookies. By using this site you are agreeing to our privacy and cookie policy . BY LEE MARSHALL | 31 AUGUST 2017 1 sur 4 04/09/2017 à 18:18 'The Insult': Venice Review | Reviews | Screen https://www.screendaily.com/reviews/the-insult-venice-review/512185... 37486 the insult 1 Dir: Ziad Doueiri. Lebanon-France. 2017. 113mins A banal insult escalates into civil unrest and riots in this edgy, fast-paced drama by Lebanese director Ziad Doueiri, which travels to Toronto after its Venice debut. An entertaining meld of character study, courtroom stand-off and national reconciliation parable, The Insult is rooted in Lebanon’s tense ethnic and religious mix and the unhealed scars of the 15-year Civil War that ended in 1990. In a country that is a weathervane for Middle Eastern tensions, it’s a bold and timely play with fire, but also a sensitive, good-humoured probe into human weakness – especially of the male kind. 2 sur 4 04/09/2017 à 18:18 'The Insult': Venice Review | Reviews | Screen https://www.screendaily.com/reviews/the-insult-venice-review/512185... A slick package peppered with lessons from Doueiri’s long association with Quentin Tarantino (he was first camera assistant on three of his films, starting with Reservoir Dogs ), The Insult is let down by its final ten minutes, where a message about the need for national unity has been allowed to override the scriptwriters’ keen instinct for credible characters and intelligent drama.
    [Show full text]
  • Film Review: the Attack (2012), Complex Issues Through a Cameras Lens
    History in the Making Volume 7 Article 18 January 2014 Film Review: The Attack (2012), Complex Issues through a Cameras Lens Steven Anthony CSUSB Follow this and additional works at: https://scholarworks.lib.csusb.edu/history-in-the-making Part of the American Film Studies Commons Recommended Citation Anthony, Steven (2014) "Film Review: The Attack (2012), Complex Issues through a Cameras Lens," History in the Making: Vol. 7 , Article 18. Available at: https://scholarworks.lib.csusb.edu/history-in-the-making/vol7/iss1/18 This Review is brought to you for free and open access by the History at CSUSB ScholarWorks. It has been accepted for inclusion in History in the Making by an authorized editor of CSUSB ScholarWorks. For more information, please contact [email protected]. History in the Making Film Review: The Attack (2012), Complex Issues through a Cameras Lens Ziad Doueiri’s recent film, The Attack, presents an extensive number of situations and characters that seem to fall in-between two opinions associated with Israel and Palestine. While the overall theme in the film is about people in impossible situations trying to find answers, it has numerous other social developments of extreme complexity that are interspersed throughout the entire film. Doueiri presents to the audience ideas of where Palestinians with Israeli citizenship fit into the collective society, and how constant conflict affects the mentalities of people in the region. The film centers on Amin Jaafari, an Arab surgeon with Israeli citizenship, who discovers that his wife, Siham, was involved in a suicide bombing at a restaurant in Tel Aviv.
    [Show full text]
  • THIS ISSUE: PALESTINE Kerry's Billions an Interview with Walid Khalidi Raves, Prison Cells and Foucault Palest
    VVolumeolume 1010 - NumberNumber 2 FFebruaryebruary – MMarcharch 22014014 ££44 TTHISHIS ISSUEISSUE: PPALESTINEALESTINE ● KKerry’serry’s bbillionsillions ● AAnn iinterviewnterview withwith WalidWalid KhalidiKhalidi ● RRaves,aves, pprisonrison cellscells andand FoucaultFoucault ● PPalestinianalestinian refugeesrefugees andand thethe politicspolitics ofof returnreturn ● RRememberingemembering PalestinePalestine ● PPalestinianalestinian youthyouth challengechallenge thethe PrawerPrawer PlanPlan ● A cculturalultural mmissionission ● FFindinginding a voicevoice ● TTwowo ppoemsoems ● PPhotohoto competitioncompetition resultsresults ● PPLUSLUS RReviewseviews andand eventsevents inin LLondonondon VVolumeolume 1100 - NumberNumber 2 FFebruaryebruary – MMarcharch 22014014 ££44 TTHISHIS IISSUESSUE: PPALESTINEALESTINE ● KKerry’serry’s bbillionsillions ● AAnn iinterviewnterview wwithith WWalidalid KKhalidihalidi ● RRaves,aves, pprisonrison ccellsells aandnd FFoucaultoucault ● PPalestinianalestinian rrefugeesefugees aandnd thethe politicspolitics ooff returnreturn ● RRememberingemembering PPalestinealestine ● PPalestinianalestinian youthyouth cchallengehallenge thethe PPrawerrawer PPlanlan ● A cculturalultural mmissionission ● FFindinginding a vvoiceoice ● TTwowo ppoemsoems ● PPhotohoto ccompetitionompetition rresultsesults ● PPLUSLUS RReviewseviews aandnd eeventsvents iinn LLondonondon Birds of Paradise, 2011, by Palestinian artist Laila Shawa About the London Middle East Institute (LMEI) © Laila Shawa Volume 10 - Number 2 Th e London Middle East Institute
    [Show full text]
  • A Cultural Policy for Arab-Israeli Partnership
    RECLAMATION A CULTURAL POLICY FOR ARAB-ISRAELI PARTNERSHIP JOSEPH BRAUDE RECLAMATION A CULTURAL POLICY FOR ARAB-ISRAELI PARTNERSHIP JOSEPH BRAUDE THE WASHINGTON INSTITUTE FOR NEAR EAST POLICY www.washingtoninstitute.org The opinions expressed in this Policy Focus are those of the author and not necessarily those of The Washington Institute, its Board of Trustees, or its Board of Advisors. Policy Focus 158, January 2019 All rights reserved. Printed in the United States of America. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without permission in writing from the publisher. ©2019 by The Washington Institute for Near East Policy The Washington Institute for Near East Policy 1111 19th Street NW, Suite 500 Washington, DC 20036 Cover design: John C. Koch Text design: 1000colors.org contents Acknowledgments v Introduction: A Call for Reclamation vii PART I A FRAUGHT LEGACY 1. The Story of a Cultural Tragedy 3 2. The Moroccan Anomaly 32 PART II A NEW HOPE 3. Arab Origins of the Present Opportunity 45 4. Communication from the Outside In: Israel & the United States 70 PART III AN UNFAIR FIGHT 5. Obstacles to a Cultural Campaign 109 PART IV CONCLUSION & RECOMMENDATIONS 6. A Plan for Reclamation 137 About the Author Back cover ACKNOWLEDGMENTS THE AUTHOR WISHES TO THANK the leadership, team, and community of the Washington Institute for Near East Policy for their friendship, encouragement, and patience—over twenty-five years and counting. — Joseph Braude January 2019 v INTRODUCTION A Call for Reclamation A RANGE OF ARAB LEADERS and institutions have recently signaled greater openness toward the state of Israel and Jews generally.
    [Show full text]
  • Film Review: <I>L'insulte</I> (The Insult)
    Genocide Studies and Prevention: An International Journal Volume 12 Issue 2 Images And Collective Violence: Article 19 Function, Use And Memory 10-2018 Film Review: L’Insulte (The Insult) Renee Michelle Ragin Duke University Follow this and additional works at: https://scholarcommons.usf.edu/gsp Recommended Citation Ragin, Renee Michelle (2018) "Film Review: L’Insulte (The Insult)," Genocide Studies and Prevention: An International Journal: Vol. 12: Iss. 2: 203-205. DOI: https://doi.org/10.5038/1911-9933.12.2.1608 Available at: https://scholarcommons.usf.edu/gsp/vol12/iss2/19 This Film Review is brought to you for free and open access by the Open Access Journals at Scholar Commons. It has been accepted for inclusion in Genocide Studies and Prevention: An International Journal by an authorized editor of Scholar Commons. For more information, please contact [email protected]. Film Review: L’Insulte (The Insult) Renee Michelle Ragin Duke University Durham, North Carolina, USA L’Insulte (The Insult) Director: Ziad Doueiri France, Cyprus, Belgium, Lebanon, United States, 2017 Reviewed by Renee Michelle Ragin Duke University Though the civil war (1975-1990) has long since ended, Ziad Doueiri’s contemporary Lebanon remains embroiled in conflict. In The Insult, a personal dispute between two individuals on either side of an ethno-political divide threatens to reignite national conflict. Under normal circumstances, such a storyline might seem improbable, but the realities of the post-war environment in Lebanon render it plausible. Since being placed under French mandate in the early 20th century, Lebanon has divided political power among a plurality of ethnic and religious groups organized into political “confessions.” Since its independence, the Lebanese government has been weak and largely unable to address civil unrest resulting from economic inequality and conflict between the confessions.
    [Show full text]
  • The Insecure City
    THE INSECURE CITY THE INSECURE CITY Space, Power, and Mobility in Beirut Kristin V. Monroe Rutgers University Press New Brunswick, New Jersey, and London Library of Congress Cataloging-in-Publication Data Monroe, Kristin V., 1974– author. Th e insecure city : space, power, and mobility in Beirut / Kristin V. Monroe. pages cm Includes bibliographical references and index. ISBN 978–0–8135–7463–9 (hardcover : alk. paper) — ISBN 978–0–8135–7462–2 (pbk. : alk. paper) — ISBN 978–0–8135–7464–6 (e-book (epub)) — ISBN 978–0–8135–7465–3 (e-book (web pdf)) 1. Sociology, Urban —Lebanon—Beirut. 2. Public spaces—Lebanon— Beirut. 3. City traffi c—Lebanon—Beirut. 4. Violence—Lebanon—Beirut. 5. Urban anthropology—Lebanon—Beirut. 6. Beirut (Lebanon)—Social conditions. I. Title. HT147.L4M66 2016 307.76095692′5—dc23 2015021869 A British Cataloging-in-Publication record for this book is available from the British Library. Copyright © 2016 by Kristin V. Monroe All rights reserved No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, or by any information storage and retrieval system, without writt en permission from the publisher. Please contact Rutgers University Press, 106 Somerset Street, New Brunswick, NJ 08901. Th e only exception to this prohibition is “fair use” as defi ned by U.S. copyright law. Visit our website: htt p://rutgerspress.rutgers.edu Manufactured in the United States of America For my mother, Ann CONTENTS List of Figures ix Acknowledgments xi Note on Language xv Introduction 1 1 Th e Privatized City 18 2 Th e Space of War 35 3 Politics and Public Space 56 4 Securing Beirut 79 5 Th e Chaos of Driving 101 6 “Th ere Is No State” 121 Conclusion 139 Notes 145 References 165 Index 177 vii FIGURES Figure I.1 Internal Security Forces billboard 15 Figure 1.1 Map of Beirut in Lebanon and the region 19 Figure 1.2 Neighborhood map of Beirut 20 Figure 1.3 Cafe at a Beirut public garden during the late Ott oman period, ca.
    [Show full text]
  • Between Localised Practices and Global Imaginaries of Boycott and Peace Decolonial Reflections on BDS in Palestine
    Awarded Theses 2017/2018 Jo Everly Between Localised Practices and Global Imaginaries of Boycott and Peace Decolonial Reflections on BDS in Palestine arma, The Arab Master’s Programme in Democracy and Human Rights JO EVERLY BETWEEN LOCALISED PRACTICES AND GLOBAL IMAGINARIES OF BOYCOTT AND PEACE: DECOLONIAL REFLECTIONS ON BDS IN PALESTINE JO EVERLY FOREWORD The Global Campus of Human Rights is a unique network of more than one hundred participating universities around the world, seeking to advance human rights and democracy through regional and global cooperation for education and research. This global network is promoted through seven Regional Programmes which are based in Venice for Europe, in Sarajevo/Bologna for South East Europe, in Yerevan for the Caucasus, in Pretoria for Africa, in Bangkok for Asia- Pacific, in Buenos Aires for Latin America and the Caribbean, and in Beirut for the Arab World. Every year each regional master’s programmes select the best master thesis of the previous academic year that is published online as part of the GC publications. The selected seven GC master theses cover a range of different international human rights topics and challenges. The Global Campus Awarded Theses of the academic year 2017/2018 are: • Balan, Ecaterina, Comparative Analysis of Minority Women Rights Protection in Moldova and Ukraine in the Light of the International Human Rights Standards, Supervisor: Yuliya Vashchenko, Taras Shevchenko National University of Kyiv. Master’s Programme in Human Rights and Democratisation in the Caucasus (CES), coordinated by Yerevan State University • Ccotarma Ttito, Sally Sumico, The Influence of Extractive Companies on Police Intervention in the Context of Socio-Environmental Conflicts in Peru: Analysis and Legal Contributions from the Cases Concerning Xstrata and Yanacocha Companies in the Period 2011-2012, Supervisor: Clara María Minaverry, Universidad de Buenos Aires.
    [Show full text]