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Neither Allah, Nor Master! Directed by Nadia El Fani (71 Min
New York University’s Institute of African American Affairs Department of Cinema Studies “Women Filmmakers in the African Diasporic World” Series of films by African and African diaspora women exploring new approaches to film, gender and society. Neither Allah, Nor Master! Directed by Nadia El Fani (71 min. / 2011) Monday, November 2, 2015/ 6:30 pm Location: Silver Center, Jurow Lecture Hall, 1st floor, Rm 101A, 100 Washington Square East, NY, NY Discussion with director Nadia El Fani ABOUT THE FILM ABOUT THE DIRECTOR Director Nadia El Fani: Nadia El Fani is a Franco-Tunisian filmmaker. She makes documentary and fiction films that can be described as activists. After being assistant director in particular with Roman Polanski, Nouri Bouzid, Romain Goupil, Franco Zeffirelli, El Fani directed her first short film "POUR LE PLAISIR" in 1990 and founded her own production company Z'YEUX NOIRS MOVIES in Tunisia. Being very close to groups of women activists she made in 1993 her first documentary "MAGHREB WOMEN LEADER" then "TANITEZ MOI." She moved to Paris in 2002 for the post- production of her first feature fiction film "BEDWIN HACKER." In 2011 her documentary "LAÏCITÉ, INCH'ALLAH!" ("NEITHER ALLAH NOR MASTER!"), made in Tunisia before and after the revolution, earned her death threats from Islamic extremists and six criminal complaints, one for sacred infringements. She risked five years jail. In 2012 she released "NOT EVEN HURT," Grand Prize 2013 FESPACO, a film made with Alina Isabel Pérez, a cinematic answer to the campaign of hatred she had suffered. Then in 2013 she signed with Caroline Fourest “NOS SEINS, NOS ARMES!,” a documentary made during the first six months of installation of the movement Femen in Paris. -
Correspondence-With-Government
AN OPEN LETTER TO PRIME MINISTER DAVID CAMERON Time to Dismantle the Parallel Legal System: Call from 395 Signatories 10th December 2015 Prime Minister David Cameron 10 Downing St London SW1A 2AA Dear Prime Minister Women’s rights and secular organisations urge the new government to take concerted measures to stop the development of parallel legal systems and to facilitate full and proper access to justice for all citizens and to one secular law for all. For decades, successive governments have appeased undemocratic religious power brokers in minority communities who have sought to gain power through multicultural and now multi- faith social policies. These policies have led to the homogenisation of minority communities including the ‘Muslim community’ and have recognised and legitimated ‘non-violent’ Islamists as ‘community representatives’, outsourcing legal justice to what are in effect kangaroo courts that deliver highly discriminatory and second-rate forms of ‘justice.’ Over the years, we have witnessed with increasing alarm the influence of ‘Sharia courts’ over the lives of citizens of Muslim heritage. Any government inquiry into ‘Sharia courts’ must also examine the impact of the draconian cuts in legal aid that have adversely affected access to justice for the most vulnerable. Many abused women from minority backgrounds, for instance, are increasingly forced to either represent themselves in court in what are often complex family legal proceedings or go to ‘Sharia courts’ that operate entirely outside the rule of law. The loss of legal aid contributes to a context that is conducive to the consolidation of privatised and unaccountable forms of justice and ‘Sharia courts’ are amongst the main beneficiaries. -
Our River…Our Sky
Our River…Our Sky a narrative feature film by Maysoon Pachachi Gala event in Dubai for the IWC Filmmaker Award 2012 INTRODUCTION Our River…Our Sky is the first internationally co-produced narrative feature film written and di- rected by a female filmmaker of Iraqi origin – the London-based film producer / director / editor Maysoon Pachachi. Co-written with Irada Al-Jubori - a Baghdad-based writer of fiction - the film offers an authentic insider’s perspective to the contemporary Iraqi narrative. In 2012, the script won the $100,000 IWC Schaffhausen Gulf Filmmaker Award at Dubai Inter- national Film Festival - presented to the film’s director by Head of Jury, Cate Blanchett. LEAD ARTISTIC & TECHNICAL TEAM Writer & Director Maysoon PACHACHI Co-Writer Irada AL-JUBORI Production, Set & Costume Designer Rayah AASEE Head of Production Ghassan ABDALLAH Cinematographer Jonathan BLOOM Sound Recordist François WALEDISCH Hair Stylist & Makeup Artist Kazem ABBASSHIRAZI Editor Alexandre DONOT Sound Designer André STIEBE VFX Director Luc SERRANO Post-supervisor Laurent VERSINI Music Composers Mario SCHNEIDER Ehsan EMAM Khyam ALLAMI Consulting Producer Chris CURLING Casting Director Leila BERTRAND, CDG 1st Assistant Directors Haidar HAKIM Ahmed YASEEN CAST MEMBERS NAME ROLE Darina AL JOUNDI Sara Zainab JODA Reema Basim HAJAR Kamal Labwa ARAB Mona Amed HASHIMI Yahya Meriam ABBAS Dijla Mahmoud Abo AL ABBAS Abu Haider Badia OBAID Sabiha Zaydun KHALAF Kareem Suzan MUNEAM Khairiya Sami AL-ALI Nabil Siham MUSTAFA Nermeen Kholod MOHAMAD Tamara Ali EL KAREEM Boatman Kameran RAOOF Professor Sami Mustafa MOHAMMED People Smuggler Muslem HASSOUN Haider LOGLINE In a typically mixed Baghdadi neighbourhood, the stories of a novelist and her neighbours unfold and intersect, as their lives are torn apart by extreme sectarian violence while nightly curfews trap them inside their homes. -
2013 Programme
CONTENTS Welcome 1 INTERNATIONAl FILMS Booking details 2 10% - What makes A hero 26 INDUSTRY EVENTS Bloody daughter 27 Pitching forum 4 colombianos 28 IDFA Bertha masterclass 5 the fellowship of the drums 29 south Africa/AFRICA forbidden voices 30 An inconsolable memory 7 the Gatekeepers 31 camera/Woman 8 the house i live in 32 Lesedi Oluko Moche Welcome Encounters Festival Director comrade President 9 how to survive a Plague 33 to the 15th encounters south AfricAn internAtionAl documentAry festivAl the devil’s lair 11 iceberg slim: Portrait of a Pimp 34 incarcerated Knowledge 12 marina Abramovic: the Artist is Present 35 rom a selection of over 400 films, and after making some tough choices, we are mr shakes - the Passion to live! 13 mercy mercy A Portrait of true Adoption 36 thrilled to bring you another excellent selection of entertaining, challenging, ndiyindoda 15 the Queen of versailles 37 F profound and all-round great documentaries from home and abroad. rafea: solar mama 16 About freedom short stories 39 A founding principle of Encounters was to foster local talent and the development of a documentary industry. In our line-up we have a number of SA features and the village under the forest 17 WHY POVERTY? shorts, including films by directors who were among the first to attend the Festival’s the White Picket fence Project 18 Park Avenue: filmmaking laboratory a decade-and-a-half ago. A case in point is Riaan Hendricks the Big fish shorts 19 money, Power and the American dream 40 whose film The Devil’s Lair proudly opens this 15th edition of the Festival. -
Redefining Beur Cinema: Constituting Subjectivity Through Film
REDEFINING BEUR CINEMA: CONSTITUTING SUBJECTIVITY THROUGH FILM by Yahya Laayouni Licence, English Literature, Mohammed ibn Abdellah University, 2000 DESA, Mohammed ibn Abdellah University, 2003 Submitted to the Graduate Faculty of the Kenneth P. Dietrich Graduate School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2012 UNIVERITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Yahya Laayouni It was defended on April 10th 2012 and approved by Todd Reeser, Associate Professor, French and Italian Mohammed Bamyeh, Professor, Sociology Neil Doshi, Assistant Professor, French and Italian Dissertation Co-advisor: Giuseppina Mecchia, Associate Professor, French and Italian Dissertation Co-advisor: Randall Halle, Klaus W. Jonas Professor, German ii Copyright © by Yahya Laayouni 2012 iii REDEFINING BEUR CINEMA: CONSTITUTING SUBJECTIVITY THROUGH FILM Yahya Laayouni Ph.D. University of Pittsburgh, 2012 This dissertation focuses on Beurs’ modes of identification in France as depicted in film. The term “Beur” is not used as an identity based on birth or citizenship but rather as a socio- cultural construct that serves as an analytical tool to dismantle the notion of Frenchness. This study, thus, investigates how cinema reflects on the experience of the Beurs through filmic narrative. The aim is to trace the changing lives of the Beurs as they have been reconstructed in movies since the early eighties. This process is both synchronic and diachronic. Synchronic as it engages in the analysis of films with respect to their historical context and diachronic as it will permit the distilling of the commonalities between these films to lead to the conception of Beur cinema as a film genre. -
1 Tunisia: Igniting Arab Democracy
TUNISIA: IGNITING 1 ARAB DEMOCRACY By Dr. Laurence Michalak, 2013 ota Bene: At the time of publication, Tunis is experiencing large protests N calling for the resignation of the current moderate Islamist Ennahdha government. The demonstrations follow on the six-month anniversary of the still- unsolved assassination of Chokry Belaid, and in the wake of the killing in late July 2013 of a second secular leftist politician, Mohamed Brahmi. The national labour union, Union Générale Tunisienne du Travail (UGTT), has called on its hundreds of thousands of members to join the rally. Work on a new constitution and election law have been suspended. The constituent assembly has been suspended pending negotiations between the government and opposition, after 70 members withdrew in protest over Brahmi’s murder. The demonstrations are the largest of their kind since the ouster of Zine El Abine Ben Ali in January 2011. Elections are scheduled for December 2013. Tunisia is an instructive case study in democracy development because the uprising that began there in December 2010 has ignited an ongoing movement in the Arab world. Tunisia’s movement is still evolving, but a summary of events to date is as follows: • The Tunisian uprising was essentially homegrown, illustrating that democracy cannot be imported but must, in each country, emerge from the people themselves. • France, the most powerful diplomatic presence in Tunisia, gave almost unqualifed support to the autocratic President Ben Ali for nearly a quarter century, although the French Socialist government elected in May 2012 supports Tunisia’s democratic development. • The US supported President Ben Ali until the George W. -
The Female Body As a Discursive Materiality in FEMEN's Protests
International Journal of Arts and Social Science www.ijassjournal.com ISSN: 2581-7922, Volume 3 Issue 4, July-August 2020 “My body my weapon”: the female body as a discursive materiality in FEMEN’s protests Fernanda Pereira1, Dantielli Assumpção Garcia2 1(Linguistics and Gender Studies, Universidade Estadual de Campinas - UNICAMP, Brazil) 2(Linguistics and Gender Studies, Universidade Estadual do Oeste do Paraná - UNIOESTE, Brazil) ABSTRACT : This paper intends to demonstrate how the naked body can be understood as a discursive materiality (discursive body), insofar as it destabilizes meanings historically produced about women, their bodies and sexuality. We will use the theoretical perspective of the French Discourse Analysis of Michel Pêcheux, in order to analyze a protest,performed by the feminist group FEMEN, against the implantation of Sharia in Egypt after the events of the Arab Spring in 2012. With this reflection, we aim to show that the naked body, when covered with statements that question the control of the female bodies, produces different meanings, as it displaces the bodies of the protesters from pre-determined positions constructed by the religious discourse. KEYWORDS –FEMEN, French Discourse Analysis, Naked female body, Michel Pêcheux, Religion I. INTRODUCTION This paper aims to reflect, through the French Discourse Analysis (AD) perspective, on the meaning effects produced by the protest images of the feminist group FEMEN, in order to understand how the naked female body is used as discursive materiality opposing the current discourse on femininity, denouncing social practices of control over the woman's body. The FEMEN1 group emerged in Ukraine in 2008 to protest against the country's sexual exploitation. -
Open Shutters Iraq
OPEN SHUTTERS IRAQ Eugenie Dolberg 2010 www.trolleybooks.com Index on Censorship 2009 : : www.fruitmachinedesign.com : : 1998 ISBN 978-1-904563-99-0 . www.trolleybooks.com 2010 Grafiche Antiga Index on Censorship UNDP, Ministerio de Asuntos Exteriores y de Cooperacion and Agencia Española de Cooperacion Internacional Prince Claus Fund [email protected] ( :) www.oxymoronfilms.com This book is a collection of individual photographs and photographic essays made by women from Baghdad, Basra, Falluja, Kirkuk and Mosul in 2006/7. These women were not photographers or writers, but were brought together by their need to tell their stories. INTRODUCTION In the aftermath of 2003, Iraq was left without an effective government or civilian infrastructure and its people became increasingly vulnerable to the arbitrary violence of those exploiting the chaos. By 2006 so many journalists had been targeted and killed or kidnapped that it had become almost impossible to work and the sources of news from Iraq were largely military and governmental. The story of what was happening to ordinary people in Iraq was not being heard. At that time I was living in bordering Syria. I had been working for many years internationally as a photographer and had become frustrated with the increasingly corporate nature of the media. It demanded stories, which had little to do with the concerns that motivated me, or even the type of photography that moved me. On the other hand, I felt deeply privileged to be in contact with so many inspirational people on a daily basis. The more time I spent away from Europe and USA, the more I realised how much interference, often in the guise of aid, there was in the affairs of other countries, leaving people with neither a sense of ownership of their own history or a role to play in determining the direction of their country’s future. -
L'urlo Di FEMEN
L’urlo di FEMEN. I primi dieci anni dello sextremism nella lotta femminista contemporanea di Veronica Stefani* Abstract: This essay focuses on Femen, arguably the most prominent, anD also the least popu- lar, female activist group to emerge after the Orange Revolution in Ukraine. In the past ten years, Femen members have been trying to challenge the dominant model of femininity and stereotypes surrounDing women worlDwiDe. By appearing topless on the streets, Femen prote- sters seek to be feminists in inclusive yet revolutionary ways, and they represent a useful case to clarify our knowleDge of how genDereD boDies might best be useD as sites of resistance. Through an intersectional analysis, the aim is to examine some of the issues raiseD by Fe- men’s protests in the hopes of raising questions about the explicit use of nudity as a tool of sexual revolution. Un difficile riconoscimento Femen è un movimento transnazionale, nato nel 2008 in Ucraina, attualmente con base a Parigi, coordinato da Femen International e guidato dalla leadership di Inna Shevchenko, l’unica attivista del gruppo ucraino originale rimasta, nonché volto più noto del movimento. Si tratta di un movimento femminista, composto da giovani donne di differenti nazionalità, che credono nella provocazione quale soluzione per combattere i piccoli e grandi soprusi di ogni giorno. Le Femen hanno saputo costruire, nel corso di questi dieci anni di attività, un’immagine forte e riconoscibile, e grazie all’estensivo uso delle tecnologie digitali e dei social network sono state in grado di diffondere il proprio grido di ribellione sin dai primi anni di presenza sulla scena pubblica di Kiev. -
S T U D I M a G E B
UNIOR D.A.A.M. Centro di Studi Mag·rebini REBINI ‚ STUDI MAG STUDI Gender Mobility and Social Activism Gender Mobility and Social Emerging Actors in Post-Revolutionary North Africa Actors in Post-Revolutionary North Emerging Nuova Serie Vol. XIV - XV Tomo I Napoli 2016 - 2017 UNIOR D.A.A.M. Centro di Studi Mag·rebini UNIVERSITÀ DEGLI STUDI DI NAPOLI “L’ORIENTALE” DIPARTIMENTO ASIA, AFRICA E MEDITERRANEO Centro di Studi Magrebini· STUDI MAG‚REBINI Nuova Serie Volumi XIV - XV Napoli 2016 - 2017 REBINI ‚ EMERGING ACTORS IN POST-REVOLUTIONARY NORTH AFRICA Gender Mobility and Social Activism Preface by STUDI MAG STUDI Gilbert ACHCAR Edited by Anna Maria DI TOLLA & Ersilia FRANCESCA Nuova Serie Vol. XIV - XV Tomo I Tomo I ISSN: 0585-4954 Napoli ISBN: 978-88-6719-155-0 2016 - 2017 UNIVERSITÀ DEGLI STUDI DI NAPOLI “L’ORIENTALE” DIPARTIMENTO ASIA, AFRICA E MEDITERRANEO Centro di Studi Magrebini· STUDI MAGREBINI‚ Nuova Serie Volumi XIV - XV Napoli 2016 -2017 EMERGING ACTORS IN POST-REVOLUTIONARY NORTH AFRICA Gender Mobility and Social Activism Preface by Gilbert ACHCAR Edited by Anna Maria DI TOLLA & Ersilia FRANCESCA Tomo I UNIVERSITÀ DEGLI STUDI DI NAPOLI “L’ORIENTALE” DIPARTIMENTO ASIA, AFRICA E MEDITERRANEO CENTRO DI STUDI MAG‚REBINI Presidente: Sergio BALDI Direttore della rivista: Agostino CILARDO &RQVLJOLR6FLHQWLÀFR6HUJLR%$/',$QQD0DULD',72//$0RKD ENNAJ, Ersilia FRANCESCA$KPHG+$%2866(O+RXVVDLQ (/028-$+,'$EGDOODK(/02817$66,52XDKPL28/' BRAHAM, Nina PAWLAK, Fatima SADIQI Consiglio Editoriale: Flavia AIELLO, Orianna CAPEZIO, Carlo DE ANGELO, Roberta DENARO Piazza S. Domenico Maggiore , 12 Palazzo Corigliano 80134 NAPOLI Direttore Responsabile: Agostino Cilardo Autorizzazione del Tribunale di Napoli n. -
Tunisian Women at the Crossroad: Between a Feminist Spring and an Islamist Winter
195.0 x 265.0 mm al-raida Issue 151 | Fall-Winter 2017 35 Tunisian Women at the Crossroad: Between a Feminist Spring and an Islamist Winter Najet Limam Tnani Based upon the demands for equality and dignity, the Tunisian revolution materialized thanks to the deep solidarity between men and women, away from religious considerations. The revolution raised the hopes of Tunisian women to bring about reforms aimed at reinforcing gender equality and amending the personal status code, which invoked shari‘a. Tunisian women provided an example to women in Egypt, Libya, and Yemen who would also stand up to dictatorships in their respective countries. Tunisian women also evoked a sense of freedom for other Arab women, notably in Saudi Arabia where Manal al-Sharif dared to violate the law banning women from driving1 and where other activists tackled the issue of Saudi women’s status. Thanks to these women in Tunisia, a wave of Arab revolutions would be the first indicator of a feminist spring. Then came the rise of Islamism that was amplified by a series of factors, namely the release of Islamist prisoners held in Ben Ali’s jails. This included the return of those in exile, identity politics promoted by Islamists during the elections, and attempts to draft a new constitution based on shari‘a. These factors announced an alarming regression and threat to women and their rights. Islamism and revolution, notably a revolution carried out on behalf of equality and freedom, do not complement each other, as Islamism implies conservatism that is irreconcilable with a revolutionary spirit and democratic principles. -
Full Text (PDF)
Journal of Global Peace and Conflict June 2014, Vol. 2, No. 1, pp. 25-52 ISSN: 2333-584X (Print), 2333-5858 (Online) Copyright © The Author(s). 2014. All Rights Reserved. Published by American Research Institute for Policy Development Views from the Other Side:Arabic Filmmakers on the War in the Middle East John Markert1 Abstract The public fervor that swept the United States in the wake of the attacks on September 11th and led to the wars in Afghanistan and Iraq began to waiver between 2004 and 2005 and would start to turn against the war in 2006. Cinema produced in the United States that appraised the war largely reflected the public mindset. Early cinema was decidedly pro-war. In 2004 and 2005, there was an increase in films debating the war. The number of domestic films that challenged the status quo during this period outnumbered those supporting the war by a 2:1 margin. If Arabic films released in the United States are included, those films challenging the status quo rose to a 3:1 margin. It is argued that the Arabic films played a significant role in inflaming the public’s attitude toward the war in Iraq. Once Hollywood perceived a fictional market for films that challenged the ongoing war(s) and began to release fictive features in some number, there was no longer a need to import Arabic films. Arabic filmmakers played a key role at a critical juncture in offering a perspective that has now gained wider attention. The present analysis examines what these films contributed to the debate.