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Ghosts Beneath the Surface: Remnants and Revenants Of
RCL — Revista de Comunicação e Linguagens e Linguagens Comunicação de — Revista RCL Ghosts beneath the surface: Remnants and revenants of Palestine in the Cinema of the Interior Fantasmas sob a superfície: Os restos e espectros da Palestina no Cinema do Interior and Languages Communication of Journal ROBERT GEORGE WHITE Independent Scholar [email protected] N.53 (2020) ISSN 2183-7198 N.53 (2020) ISSN — Abstract In a 2003 interview with the Journal of Palestine Studies, the director Elia Sulieman evoked the spectre of the revenant (which appears by coming back) when explaining the pres- ence of Palestinians within Israel in terms of Israel’s being haunted by the spectre of the ‘becoming-Palestinian’ of the Israeli-Arab. This is both an allusion to a historical le- gal condition of present absence (the Knesset’s 1950 Law of Absentee Property), but also articulates—this article claims—an emerging hauntology/ontology of the cine- matic image of the Palestinian in Israel.This article argues that the contemporary cinema of Palestinians in Israel is essentially a cinema of ghosts, where temporal disjoint- edness and spatial displacement constantly disturb the project of national identity formation; from the haunting of Jaffa in the work of Kamal Aljafari, where Palestinian ‘ghosts’ are re-inscribed onto the work of Israeli director Menahem Golan, to the ghostly lacuna between Arab and Jew which haunts Amos Gitai’s Ana Arabia (2013). Drawing on Jacques Derrida’s notion of ‘the spectral’, alongside a critical analysis of what Edward Said termed al-dakhil (the interior), the article examines Palestinian interiors as ROBERT GEORGE WHITE 73 RCL — Revista de Comunicação e Linguagens e Linguagens Comunicação de — Revista RCL haunted sites. -
AN ANGEL in HELL: ARTUR BRAUNER and the ATTEMPT to MAKE a GERMAN OSKAR- SCHINDLER-BIOPIC Peter Krämer
AN ANGEL IN HELL: ARTUR BRAUNER AND THE ATTEMPT TO MAKE A GERMAN OSKAR- SCHINDLER-BIOPIC Peter Krämer University of East Anglia, UK Abstract Film Studies tends to deal only with film projects that have been completed and pays particular attention to the work of directors, thus largely ignoring the fact that the vast majority of attempts to make movies fail, and marginalising the crucial role played by scriptwriters and producers in the initiation and development of flm projects. To counter this tendency, this essay examines the unsuccessful attempt, between the 1970s and the early 1990s, of Artur Brauner, one of the leading producers in postwar (West) Germany, to make a biopic about Oskar Schindler. Like the Jewish workers rescued by Schindler, Brauner is a Jewish Holocaust survivor from Poland whose career as a producer has combined mainstream entertainment movies with flms about the Third Reich and especially about the Holocaust. The essay explores the full range of his activities as a producer on the Schindler biopic – ranging from script development and fnancing to negotiations with actors and directors; highlights their transnational dimensions (through the involvement of personnel and co- production partners from France, the UK, Israel, the US, Poland, and the Soviet Union); and explores the refusal of (West) German funding bodies to support this project. Keywords: Artur Brauner, Oskar Schindler, unrealised flm projects, pro- ducers, flm funding. Bu çalışma 18 Aralık 2017 tarihinde sinecine dergisine ulaşmış; 06 Mart 2018 tarihinde kabul almıştır. Krämer, P. (2018). An Angel in Hell: Artur Brauner and The Attempt to Make a German Oskar-Schindler-Biopic. -
Israelis Look at Poles Via the Lens of the Cine -Camera
„Narracje o Zagładzie” 2018, nr 4 ISSN 2450 -4424 (wersja drukowana) ISSN 2451- 2133 (wersja elektroniczna) DOI: 10.31261/NoZ.2018.04.08 Ela Bauer ORCID: 0000-0002-9755-4389 Media & Film Department, Kibbutzim College in Tel Aviv Israelis Look at Poles via the Lens of the Cine -Camera The ways in which the Holocaust is represented in Israeli cinema is discussed in a rich corpus of research. Nurith Gertz, Yael Munk, Ilan Avisar, Yosefa Lo- shitzky, Moshe Zimmerman, and Liat Steir -Livny point to the relatively wide spectrum of themes, processes, and points of view in which the Holocaust is presented in Israeli cinema.1 According to these studies, from 1946 until early 1960s, the Holocaust was presented in Israeli films almost exclusively via the lens of Zionism and the formation of the State of Israel. The personal trauma was presented only through the prism of Jewish national trauma.2 Europe was presented in dark settings, while the Israeli landscapes were bright.3 The arrival of the survivors – first to Palestine and after May 1948 to the State of Israel – was presented as a salvation, and the State of Israel was presented as the only place where the survivors could recover. However, this successful “healing” could happen only if the survivors left behind their pasts and became Israelis.4 This perspective can be found, for example, in Dima’t HaNehamah (The Great Prom 1 Among these works, see: I. Avisar: Screening the Holocaust: Cinema’s Images of the Unim aginable. Indiana 1988; N. Gertz: Makhela Akhere: Nitzolei Sho’ah, Zarim Va’akherim Basiporet Hayisra’elit. -
Electric Boogaloo: the Wild, Untold Story of Cannon Films
Press Kit ELECTRIC BOOGALOO: THE WILD, UNTOLD STORY OF CANNON FILMS Table Of Contents CONTACT DETAILS And Technical Information 1 SYNOPSIS: LOGLINE AND ONE PARAGRAPH 2 SYNOPSIS: ONE PAGE 3 DIRECTOR’S STATEMENT 4 PRODUCER’S STATEMENT 5 KEY CREATIVE CREDITS 6 DIRECTOR BIOGRAPHY 7 PRODUCER BIOGRAPHY 8 KEY CREATIVEs 10 INTERVIEWEE LIST 11 - 12 SELECT INTERVIEWEE BIOGRAPHIES 13 - 16 FINAL END CREDITS 17 - 34 A CELEBRATION OF HOLLYWOOD’S LEAST LOVED STUDIO FROM THE DIRECTOR OF NOT QUITE HOLLYWOOD RATPAC DOCUMENTARY FILMS WILDBEAR ENTERTAINMENT IN ASSOCIATION WITH MELBOURNE INTERNATIONAL FILM FESTIVAL PREMIERE FUND SCREEN QUEENSLAND FILM VICTORIA AND CELLULOID NIGHTMARES PRESENT ELECTRIC BOOGALOO: THE WILD, UNTOLD STORY OF CANNON FILMS ORIGINAL MUSIC JAMIE BLANKS CINEMATOGRAPHER GARRY RICHARDS EDITED BY MARK HARTLEY SARA EDWARDS JAMIE BLANKS Check the Classification EXECUTIVE PRODUCERS NATE BOLOTIN TODD BROWN JEFF HARRISON HUGH MARKS JAMES PACKER PRODUCED BY BRETT RATNER VERONICA FURY WRITTEN AND DIRECTED BY MARK HARTLEY Press Kit A CELEBRATION OF HOLLYWOOD’S LEAST LOVED STUDIO FROM THE DIRECTOR OF NOT QUITE HOLLYWOOD RATPAC DOCUMENTARY FILMS WILDBEAR ENTERTAINMENT IN ASSOCIATION WITH MELBOURNE INTERNATIONAL FILM FESTIVAL PREMIERE FUND SCREEN QUEENSLAND FILM VICTORIA AND CELLULOID NIGHTMARES PRESENT ELECTRIC BOOGALOO: THE WILD, UNTOLD STORY OF CANNON FILMS ORIGINAL MUSIC JAMIE BLANKS CINEMATOGRAPHER GARRY RICHARDS EDITED BY MARK HARTLEY SARA EDWARDS JAMIE BLANKS Check the Classification EXECUTIVE PRODUCERS NATE BOLOTIN TODD BROWN JEFF HARRISON -
It Seems Barely an Exaggeration to Say That Arab and Muslim Americans Are Constantly Talked About but Almost Never Heard From. T
It seems barely an exaggeration to say that Arab and Muslim Americans are constantly talked about but almost never heard from. The problem is not that they lack representations but that they have too many. And these are all abstractions. Arabs and Muslims have become a foreign-policy issue, an argument on the domestic agenda, a law-enforcement priority, and a point of well-meaning concern. They appear as shadowy characters on terror television shows, have become objects of sociological inquiry, and get paraded around as puppets for public diplomacy…They are floating everywhere in the virtual landscape of the national imagination, as either villains of Islam or victims of Arab culture. — Moustafa Bayoumi, How Does it Feel to be a Problem1 36 Waleed F. Mahdi investigation of the historical trajectory of Hollywood's engagement with the Arab American cultural identity. INTRODUCTION Popular culture in the United States functions through sensational and rating based entertainment. It also promotes a hegemonic frame of reference for cultural citizenship and national belonging in the life of "cultural citizens.'" It serves as an ideological state apparatus, to echo French philosopher Louis Althusser, guiding citizens through an acculturation process that homogenizes their own subjectivity.' In this sense, this article defines cultural citizenship as a tool to sUbjectify minorities through the mediation of popular culture.4 In his scholarly reviews of Hollywood's history, Lary May emphasizes the cinema's role in enunciating cultural citizenship. Hollywood, he argues, has been a site of fury for debates around "good citizenship" because of its connection to "political power, cultural authority, and the very meaning of national identity."5 For decades, Hollywood has played a major role in Circulating a popular sense of American collective imagination and manufacturing sensational conceptions of cultural Otherness. -
The Role Arabic Literature Can Play to Redress The
READ TO CHANGE: THE ROLE ARABIC LITERATURE CAN PLAY TO REDRESS THE DAMAGE OF STEREOTYPING ARABS IN AMERICAN MEDIA A dissertation submitted to Kent State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy by Mohammed Albalawi May 2016 © Copyright All rights reserved Except for previously published Dissertation written by Mohammed H. Albalawi B.A., King Abdulaziz University, 2001 M.A., King Abdulaziz University, 2010 Ph.D., Kent State University, 2016 Approved by Babacar M’Baye , Chair, Doctoral Dissertation Committee Mark Bracher , Members, Doctoral Dissertation Committee Sarah Rilling Richard Feinberg Ryan Claassen Accepted by Robert Trogdon, Chair, Department of English James L. Blank, Dean, College of Arts and Sciences ii TABLE OF CONTENTS TABLE OF CONTENTS ............................................................................................................... iii LIST OF FIGURES ........................................................................................................................ iv ACKNOWLEDGMENTS .............................................................................................................. v DEDICATION .............................................................................................................................. vi CHAPTERS I. INTRODUCTION ......................................................................................................... 1 II. UNDERSTANDING STEREOTYPES ...................................................................... -
The Decline of the British Film Industry: an Analysis of Market Structure, the Firm and Product Competition
The decline of the British film Industry: an analysis of market structure, the firm and product competition. A thesis submitted for the degree of Doctor of Philosophy By Stephen Romer Brunel University Department of Economics 1993 For John Carrol Romer and Dorothy Romer ACKNOWLEDGEMENTS I would like to thank Dr. David Burningham and Dr. Peter Swann of the Department of Economics at Brunel University for their careful supervision and for their tactful advice. CONTENTS Page Index to Tables and Figures 3 Chapter 1. Introduction to the Thesis 6 List of Interviewees 15 Chapter 2. An Overview of the British Film Industry 16 2.1 Demand Profile 17 2.2 The Industry's Output 36 2.3 The Structure of the Industry 56 2.4 Government Policy 68 Chapter 3. The Problems of the Industry 84 3.1 An Environment of Decline 85 3.2 The New Wave 112 3.3 The Performance of the Duopolists 127 3.4 Contemporary Case Studies 164 3.5 Structure, Conduct, Performance 182 Chapter 4. The Firm 199 4.1 Sources of Finance 200 -1- 4.2 The Financing Process, Risk and Film Investment 226 4.3 The Structure and Control of Production Costs 250 4.4 Surveys of Production Costs 274 4.5 The Economics of the Firm 291 Chapter 5. Product Competition 314 5.1 Background 315 5.2 Clustering Analysis 1: Genre, Budget and Censorship Certification 326 5.3 Clustering Analysis 2: Nostalgic and Literary Attributes in the 1980s 344 5.4 Clustering Analysis 3: Nostalgic and Literary Attributes in the Post War Period 361 5.5 The Economics of Product Competition 378 Chapter 6. -
Multimedia Review Multicultural Film
Vol. 10, No. 2 International Journal of Multicultural Education 2008 Multimedia Review Multicultural Film John Caruso, Jr., Ph. D. Multimedia Review Editor Film Analysis Discounted Pricing and Study Guide Further Resources Photo Credits Shaheen, Jack (Author), Jhally, Sut (Director), Earp, Jeremy (Producer). (2006). Reel bad Arabs: How Hollywood vilifies a people [Documentary]. USA: Media Education Foundation. (www.mediaed.org) Jack Shaheen continues to be a piercing laser of fairness and sanity in pointing out Hollywood’s ongoing egregious smearing of Arabs. Howard Rosenberg Los Angeles Times TV Critic Jack G. Shaheen has long been a prophet in the Hollywood wilderness, writing from carefully documented scholarship that exposes the film industry’s negative portrayals of Arabs and Muslims. James M. Wall Senior Contributing Editor, The Christian Century Film Analysis In a 50-minute documentary, with Arabic/English subtitles, Jack Shaheen, Emeritus Professor of Mass Communications and author of the book Reel Bad Arabs: How Hollywood Vilifies a People (2001), narrates and illustrates with film clips the 100-year history of stereotyping Muslim Arabs in film and television as “villains, barbarians, bunglers, over-sexed bandits, submissive women and finally blood-thirsty terrorists.” Shaheen’s 2006 video is divided into seven segments and is accompanied by a 19-page 1 Vol. 10, No. 2 International Journal of Multicultural Education 2008 comprehensive study guide for teachers and diversity trainers containing three levels, key points, discussion questions, and three assignments. The conclusion of Shaheen’s researched commentary, after having viewed 1,000 films, is that “Muslim Arabs have been the most maligned group in the history of the cinema, characterized by excessive stereotyping that exceeded negative images of Blacks, Native Americans, Asians, Hispanics and Jews.” He described the 1,000 films with Arab and Muslim characters as having the following characteristics: 12 had positive depictions, 52 were even handed, and the remaining 936 were negative. -
Examining the Critical Role American Popular Film Continues to Play In
Journal of Religion & Film Volume 20 Issue 1 The 2015 International Conference on Religion Article 4 and Film in Istanbul 1-4-2016 Examining the Critical Role American Popular Film Continues to Play in Maintaining the Muslim Terrorist Image, Post 9/11 Rubina Ramji Cape Breton University, [email protected] Recommended Citation Ramji, Rubina (2016) "Examining the Critical Role American Popular Film Continues to Play in Maintaining the Muslim Terrorist Image, Post 9/11," Journal of Religion & Film: Vol. 20 : Iss. 1 , Article 4. Available at: https://digitalcommons.unomaha.edu/jrf/vol20/iss1/4 This Article is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. Examining the Critical Role American Popular Film Continues to Play in Maintaining the Muslim Terrorist Image, Post 9/11 Abstract This article was delivered as a paper at the 2015 International Conference on Religion and Film in Istanbul, Turkey. Author Notes Rubina (Ruby) Ramji is an Associate Professor in the Department of Philosophy and Religious Studies at Cape Breton University. After serving as a Chair of the Religion, Film and Visual Culture Group for the American Academy of Religion and then on the steering committee, Rubina continues to serve on the Executive Committee for the Canadian Society for the Study of Religion as President and is the Film Review Editor of the Journal of Religion and Film. Her research activities focus on the areas of religion, media and identity, religion in Canada, and religion and immigration. -
Cannon Programme 1.Compressed
Sleaze. Schlock. Hustling. These are some of the words that come to mind when people think of the heyday of the Cannon Group. And these words are valid, but so are some others. Adventurousness. Invention. Independence. In May 1979, cousins Menahem Golan and Yoram Globus took over the ailing Israeli film studio Cannon, and throughout the 1980s they set about a course of domination of the international film market. “We came to America to make American movies, and to bring them to the world not via major companies,” said Golan. And in this they were successful. But the foreign outsiders were always regarded as crass and shady by the establishment, who nicknamed them ‘The Go-Go Boys’ and ‘The Bad News Jews.’ Golan and Globus had grown up on cinema and had a real passion for it. They prided themselves on going to movies rather than playing tennis or lapping the Hollywood cocktail party circuit. Before becoming a mogul, Golan had started his career as a director, at one point working for Roger Corman, and in total directing over 40 movies, including the Oscar-nominated Operation Thunderbolt (1978) about the Entebbe airport raid. But their love of cinema was all-opportunities, and their modus operandi was by-any-means-necessary. They popularised the ninja craze, with movies like Enter the Ninja (1981) and the American Ninja series. They violently exploited the class division and social paranoia of the Reagan era, with vigilante action pictures like Charles Bronson’s Death Wish sequels and a range of Chuck Norris pictures, including the Delta Force and Missing in Action franchises. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Becoming Mediterranean: Greek Popular Music and Ethno-Class Politics in Israel, 1952-1982 Permalink https://escholarship.org/uc/item/3mq0x9w4 Author Erez, Oded Publication Date 2016 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Becoming Mediterranean: Greek Popular Music and Ethno-Class Politics in Israel, 1952-1982 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Musicology by Oded Erez 2016 ABSTRACT OF THE DISSERTATION Becoming Mediterranean: Greek Popular Music and Ethno-Class Politics in Israel, 1952-1982 by Oded Erez Doctor of Philosophy in Musicology Universoty of California, Los Angeles, 2016 Professor Tamara Judith-Marie Levitz, Chair This dissertation provides a history of the practice of Greek popular music in Israel from the early 1950s to the 1980s, demonstrating how it played a significant role in processes of ethnization. I argue that it was the ambiguous play between Greek music’s discursive value (its “image”) and the semiotic potential of its sound and music-adjacent practices, that allowed for its double-reception by Euro-Israeli elites and Working-class immigrants from Arab and Muslim countries (Mizrahim). This ambiguity positioned Greek music as a site for bypassing, negotiating, and subverting the dichotomy between Jew and Arab. As embodied in the 1960s by the biggest local star of Greek music––Aris San (1940- 1992) ––and by Greek international films such as Zorba the Greek, Greece and “Greekness” were often perceived as an unthreatening (i.e. -
Hollywood Counterterrorism: Violence, Protest and the Middle East in U.S
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Hollywood Counterterrorism: Violence, Protest and the Middle East in U.S. Action Feature Films Jason Grant McKahan Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES HOLLYWOOD COUNTERTERRORISM: VIOLENCE, PROTEST AND THE MIDDLE EAST IN U.S. ACTION FEATURE FILMS By JASON GRANT MCKAHAN A Dissertation submitted to the College of Communication and Information in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Fall Semester, 2009 The members of the committee approve the dissertation of Jason Grant McKahan defended on October 30, 2009. ____________________________________ Andrew Opel Professor Directing Dissertation ____________________________________ Cecil Greek University Representative ____________________________________ Donna Nudd Committee Member ____________________________________ Stephen McDowell Committee Member Approved: ____________________________________________ Stephen McDowell, Director, School of Communication ____________________________________________ Lawrence Dennis, Dean, College of Communication and Information The Graduate School has verified and approved the above-named committee members. ii I dedicate this to my mother and father, who supported me with love and encouragement. iii ACKNOWLEDGEMENTS I would like to express thanks to Dr. Andy Opel, my committee chair. Since I first stepped into his office in 2003, Andy inspired me with his rebellious free thinking and encouraged me to see the deeper connections between things too often taken in isolation. Together, Andy and I daily observed an absurd world with deteriorating human rights and environmental catastrophe and sought to expose injustice and counter arrogance with resistant voices and compassionate values.