DOCSLIB.ORG

Middle Eastern Cinema and Politics

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Middle Eastern Cinema and Politics PLAN DE COURS MIDDLE EASTERN CINEMA AND POLITICS Teacher: Diana Gonzalez-Duclert, PhD/Docteure en sociologie Academic Year 2017/2018: Fall semester COURSE SESSION Week 1: Introduction to Middle Eastern cinema, politics and film analysis I. Presentation of films and thematic organization II. Geography and basic political and social themes in Middle East studies • Access to films for the class will also be discussed… Kamrava, Mehran. The Modern Middle East: A Political History since the First World War. 2nd ed. Berkeley, Los Angeles, London: University of California Press, 2011. (Introduction, pp.1-6; Chapter 10, “The Question of Democracy,” pp. 345-355). • Access to films for the class will also be discussed… Week 2 I. Reflections on national cinema, aesthetics and film interpretation II. Basic principles of film analysis: Mise-en scène, narrative, framing, lighting, camera movement and editing (with film excerpts) Readings: • SHAFIK Viola. Arab Cinema: History and Cultural Identity, Cairo, The American University in Cairo Press, 2000 (not required reading, but pages will be provided for better understanding of the lecture) • Bordwell, David and Kristen Thompson. Film Art: an Introduction, 5th edition. New York: McGraw Hill Co., Inc., 1997 (pp. 169-183, 226-227, 236-263) Week 3: Power, Religion and Oppression 1: Fundamentalism and intellectual freedom Destiny (El-Maseer) (Youssif Chahine, Egypt, 1997) 10.07.2017 1 PLAN DE COURS Readings: • Chahine, Youssef, Joseph Massad. “Art and Politics in the Cinema of Youssef Chahine,” in Journal of Palestine Studes, Vol. 28, No. 2, Winter 1999, pp. 77-93. Haut du formulaire Stable URL: http://www.jstor.org/stable/253793 • Berman, Sheri. “Islamism, Revolution, and Civil Society” in Perspectives on Politics, Vol. 1, No. 2 (Jun., 2003), pp. 257-272. Published by: American Political Science Association. Article Stable URL: https://acces-distant.sciences-po.fr:443/http/www.jstor.org/stable/3688899 Short quiz on film vocabulary (from Bordwell and Thompson’s text and glossary) Week 4: Power, Religion and Oppression 2: Women, sexuality and oppression Dunia: Kiss Me not on the Eyes (Jocelyne Saab, Egypt/Lebanon, 2006) Kadosh (Amos Gitai, Israel, 1999) (No readings this week) Week 5: Question of Territory, internal conflict and war: Lebanon West Beirut (Ziad Doueiri, Lebanon, 1998) Readings: • Denney, Julie and Martha Wenger, “Lebanon's Fifteen-Year War 1975-1990” in Middle East Report, No. 162, Lebanon's War (Jan. - Feb., 1990), pp. 23-25. http://www.jstor.org/stable/3013281. • Lina Khatib, Lebanese Cinema: Imagining the Civil War and Beyond, New York: I.B. Tauris & Co. Ltd., 2008 (pgs. xvii-xxv). Week 6: Question of Territory, war and memory: Lebanon and Israel Lebanon (Samuel Maoz, Israel, 2009) Waltz with Bashir (Ari Folman, 2008) Readings: • Reilly, James A. « Israel in Lebanon, 1975-82 » MERIP Reports, No. 108/109, The Lebanon War (Sep. - Oct., 1982), pp. 14-20. • Halbwachs, Maurice. On Collective Memory, Chicago: University of Chicago Press, 1992 (pp. 37-40; 46-51). 10.07.2017 2 PLAN DE COURS Week 7: Territory, cultural identity, violence and internal political conflict: Palestinian and Israeli Conflict Wedding in Galilée (Michel Khleifi, Palestine, 1987) Reading: • Khleifi, Michel. “From Reality to Fiction – From Poverty to Expression, in Dreams of a Nation: On Palestinian Cinema. Ed., Hamid Dabashi. London and New York: Verso, 2006 (pp. 45-57). • Paradise Now (Hany-Abu-Assad, 2004) Reading: • Bozarslan, Hamit. Violence in the Middle East: From Political Struggle to Self-Sacrifice. Princeton: Marcus Wiener Publishers, 2004 (pp. 126-141; 160-161) Week 8: ORAL PRESENTATIONS Week 9: The case of Turkey 1: State violence and minorities Yol (Yilmaz Güney, Turkey, 1982) Readings: • Bozarslan, Hamit. “Kurds and the Turkish State,” in R. Kasaba (ed.), Cambridge History of Modern Turkey. Cambridge: Cambridge University Press, 2008, pp. 333-356. Continuation of last 2 groups for oral presentation Week 10: The Case of Turkey 2: Society, Modernism and State – Towards the Upheavals of Spring 2013 Three Monkeys (Nuri Bilge Ceylan, Turkey, 2009) Readings:Haut du formulaire • Patton, Marcie J. “Turkey's Tug of War” in Middle East Report , No. 239, Dispatches from the War Zones: Iraq and Afghanistan (Summer, 2006), pp. 42-47. Published by: Middle East Research and Information Project. Stable URL: http://www.jstor.org/stable/25164731 • Interview with filmmaker Nuri Bilge Ceylan http://www.guardian.co.uk/film/2009/feb/06/nuri-bilge- ceylan-interview-transcript Three Monkeys may be replaced by either Once Upon a Time in Anatolia or Winter Sleep (TBA) 10.07.2017 3 PLAN DE COURS Week 11: Syrian Cinema: Poetics vs. Politics The Night (Mohamed Malas, Syria, 1992) Reading: To be announced Week 12: Iranian Cinema: National cinema vs. globalization of aesthetics The Separation (Asghar Farhadi, Iran, 2011) Reading: • Dabashi, Hamid. “Masters and Masterpieces of Iranian Cinema,” Washington, D.C.: Mage Publishers, 2007, (“Introduction,” pp. 11-36). FINAL PAPER DUE 10.07.2017 4 .
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]
  • FILMS on Palestine-Israel By
    PALESTINE-ISRAEL FILMS ON THE HISTORY of the PALESTINE-ISRAEL CONFLICT compiled with brief introduction and commentary by Rosalyn Baxandall A publication of the Palestine-Israel Working Group of Historians Against the War (HAW) December 2014 www.historiansagainstwar.org Licensed under Creative Commons Attribution – NonCommercial – ShareAlike 1 Introduction This compilation of films that relate to the Palestinian-Israeli struggle was made in July 2014. The films are many and the project is ongoing. Why film? Film is often an extraordinarily effective tool. I found that many students in my classes seemed more visually literate than print literate. Whenever I showed a film, they would remember the minute details, characters names and sub-plots. Films were accessible and immediate. Almost the whole class would participate and debates about the film’s meaning were lively. Film showings also improved attendance at teach-ins. At the Truro, Massachusetts, Library in July 2014, the film Voices Across the Divide was shown to the biggest audiences the library has ever had, even though the Wellfleet Library and several churches had refused to allow the film to be shown. Organizing is also important. When a film is controversial, as many in this pamphlet are, a thorough organizing effort including media coverage will augment the turnout for the film. Many Jewish and Palestinian groups list films in their resources. This pamphlet lists them alphabetically, and then by number under themes and categories; the main listings include summaries, to make the films more accessible and easier to use by activist and academic groups. 2 1. 5 Broken Cameras, 2012.
    [Show full text]
  • Arabic Films
    Arabic Films Call # HQ1170 .A12 2007 DVD Catalog record http://library.ohio-state.edu/record=b6528747~S7 TITLE 3 times divorced / a film by Ibtisam Sahl Mara'ana a Women Make Movies release First Hand Films produced for The Second Authority for Television & Radio the New Israeli Foundation for Cinema & Film Gon Productions Ltd Synopsis Khitam, a Gaza-born Palestinian woman, was married off in an arranged match to an Israeli Palestinian, followed him to Israel and bore him six children. When her husband divorced her in absentia in the Sharia Muslim court and gained custody of the children, Khitam was left with nothing. She cannot contact her children, has no property and no citizenship. Although married to an Israeli, a draconian law passed in 2002 barring any Palestinian from gaining Israeli citizenship has made her an illegal resident there. Now she is out on a dual battle, the most crucial of her life: against the court which always rules in favor of the husband, and against the state in a last-ditch effort to gain citizenship and reunite with her children Format DVD format Call # DS119.76 .A18 2008 DVD Catalog record http://library.ohio-state.edu/record=b6514808~S7 TITLE 9 star hotel / Eden Productions Synopsis A look at some of the many Palestinians who illegally cross the border into Israel, and how they share their food, belongings, and stories, as well as a fear of the soldiers and police Format DVD format Call # PN1997 .A127 2000z DVD Catalog record http://library.ohio-state.edu/record=b6482369~S7 TITLE 24 sāʻat ḥubb = 24 hours of love / Aflām al-Miṣrī tuqaddimu qiṣṣah wa-sīnāryū wa-ḥiwār, Fārūq Saʻīd افﻻم المرصي تقدم ؛ قصة وسيناريوا وحوار, فاروق سعيد ؛ / hours of love ساعة حب = ikhrāj, Aḥmad Fuʼād; 24 24 اخراج, احمد فؤاد Synopsis In this comedy three navy officers on a 24 hour pass go home to their wives, but since their wives doubt their loyalty instead of being welcomed they are ignored.
    [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]
  • Semester at Sea Course Syllabus
    SEMESTER AT SEA COURSE SYLLABUS Voyage: Summer 2013 Discipline: Media Studies MDST 2502: Mediterranean Cinemas after 1945 Division: Lower division Faculty Name: Ernesto R. Acevedo-Muñoz, Ph.D. COURSE DESCRIPTION: This course presents students with a history and overview of the major European film movements, the most influential films and directors, and the relationship between European cinemas, history, and culture from 1945 to the 2000s. Focusing largely –though not exclusively- on the principal film industries of France, Italy, Spain, Greece, Turkey and Northern Africa, the course draws direct comparisons and relationships between the practices of cinema, and developments in history and society. COURSE OBJECTIVES: Students will explore the styles and significance of such influential movements as Italian Neorealism (1944-1952), the French the New Wave (1958-1964), the “Golden Age” of Greek cinema (1950s-1960s) and Spanish cinema before and after democratization. The course will consider specific relationships of national cinemas in general, and exemplary films in particular, to representations of landscape, the city, and key historical junctures. Rome, Open City (Roberto Rossellini, Italy 1945). REQUIRED TEXTBOOK: Elizabeth Ezra (ed.) European Cinema. Oxford U. Press, 2004. Other reading materials will be available electronically. Our most important texts, of course, are the movies assigned for each class meeting. Course Schedule C1- June 19: Introductions and rules of the game. Opening lecture/discussion: “Understanding cultures through film.” Reading: Ezra, Introduction: “A brief history of cinema in Europe.” C2- June 20: The Hollywood Standard. Casablanca and Classical Cinema. Film: Casablanca (Michael Curtiz, US 1942). C3- June 21: War as a starting point. Film: Rome, Open City (Roberto Rossellini, Italy 1945).
    [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]
  • Hommage À Youssef Chahine Par Yousry Nasrallah : La Fin D'une
    Document generated on 09/24/2021 11:08 p.m. 24 images Hommage à Youssef Chahine par Yousry Nasrallah La fin d’une époque? Tahani Rached Le cinéma français dans tous ses états Number 139, October–November 2008 URI: https://id.erudit.org/iderudit/25266ac See table of contents Publisher(s) 24/30 I/S ISSN 0707-9389 (print) 1923-5097 (digital) Explore this journal Cite this document Rached, T. (2008). Hommage à Youssef Chahine par Yousry Nasrallah : la fin d’une époque? 24 images, (139), 8–9. Tous droits réservés © 24/30 I/S, 2008 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ HOMMAGE Youssef Chahine par Yousry Nasrallah t^ fin.d'une époque? propos recueillis par Tahani Rached V Tahani Rached a proposé à Yousry Nasrallah1, qui a fréquenté et bien I* connu Youssef Chahine, travaillé et vécu le cinéma avec lui, d'évoquer la perte de ce grand cinéaste. Que signifie sa disparition pour le ciné­ ma égyptien? Marque-t-elle la fin d'une époque? Youssef Chahine et Yousry Nasrallah a perte de Youssef Chahine, c'est contrainte du manque d'argent, on n'a ni le soient protégés.
    [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]
  • Neglected Masterpieces of Cinema
    Class, Race and Corporate Power Volume 3 Issue 1 Article 3 2015 Neglected Masterpieces of Cinema Louis Proyect [email protected] Follow this and additional works at: https://digitalcommons.fiu.edu/classracecorporatepower Part of the Film and Media Studies Commons, and the Political Science Commons Recommended Citation Proyect, Louis (2015) "Neglected Masterpieces of Cinema," Class, Race and Corporate Power: Vol. 3 : Iss. 1 , Article 3. DOI: 10.25148/CRCP.3.1.16092133 Available at: https://digitalcommons.fiu.edu/classracecorporatepower/vol3/iss1/3 This work is brought to you for free and open access by the College of Arts, Sciences & Education at FIU Digital Commons. It has been accepted for inclusion in Class, Race and Corporate Power by an authorized administrator of FIU Digital Commons. For more information, please contact [email protected]. Neglected Masterpieces of Cinema Abstract This article will acquaint you with ten of the more important leftwing films I have reviewed over the past sixteen years as a member of New York Film Critics Online. You will not see listed familiar works such as “The Battle of Algiers” but instead those that deserve wider attention, the proverbial neglected masterpieces. They originate from different countries and are available through Internet streaming, either freely from Youtube or through Netflix or Amazon rental. In several instances you will be referred to film club websites that like the films under discussion deserve wider attention since they are the counterparts to the small, independent theaters where such films get premiered. The country of origin, date and director will be identified next ot the title, followed by a summary of the film, and finally by its availability.
    [Show full text]