INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the o ri^ a l or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard m a r^ s , and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 THE HISTORY OF LEBANESE CINEMA 1929 - 1979 AN ANALYTICAL STUDY OF THE EVOLUTION AND THE DEVELOPMENT OF LEBANESE CINEMA DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate school of The Ohio State University by Afif J. Arabi, B.S., M.A. ***** The Ohio State University 1996 Dissertation Committee: Approved By Kenneth A. Marantz, Ph.D Robert W. Wagner, Ph D Advisor Joseph T. Zeidan, Ph.D Department of Art Education UMI Number: 9630844 UMI Microform 9630844 Copyright 1996, by UMI Company. All rights reserved. This microfonn edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 Copyright by Afif Arabi 1996 To My Lebanon.. 11 ACKNOWLEDGMENTS I express sincere appreciation to my advisor Dr. Kenneth A. Marantz for his support, insight, and commitment throughout the dissertation process. To Dr. Joseph T. Zeidan, I offer profound admiration and gratitude for deepening my understanding and giving me the courage to face the challenge of this research. To Dr. Robert W. Wagner, I express gratitude for long-term guidance and support and for making the field of film a beautiful endeavor. Special thanks go to Melody Calvert for her generous support and friendship. I am deeply grateful to Prime Minister Rafîq Al-Haïiïi for his generous sponsorship. Thanks go to Mr. Rafiq Al-Bizn and to all staff members at the Hariri Foundation in Washington, D. C. for their support and trust. Thanks also goes to Kaiïm Abu Shaqra, the Director of the National Center for Cinema in Lebanon for permitting me to use the Center’s archives. To my children, Maryam and Musbah, I thank you for bringing light and hope for the future into my life; I hope you will forgive me for my frequent absences. To my wife, Huda, without whom this work would not have been accomplished, I will always be indebted to your support, caring and insight. To my mother whose guidance and nurturing never diminished over the long years; I love you. Ill VITA September 6 , 1 9 6 1 ......................................Bom - Beirut, Lebanon 1989 ...............................................................B. S., Broadcasting and Film Boston University 1990 ...............................................................Graduate Teaching Associate Department of Photography and Cinema The Ohio State University 199 1 ...............................................................M. A., Film and Video Production The Ohio State University 1992- 1996 .................................................. Graduate Administrative Associate Wexner Center for the Arts The Ohio State University 1991-Present.................................................. Independent Filmmaker/Curator of Arab Cinema FIELDS OF STUDY Major Field: Art Education Studies in Film and Video, Film / Art Education Curriculum, Computer Graphics and Animation, Arab Dramatic Arts and Literature. IV TABLE OF CONTENTS DEDICATION ......................................................................................................... ii ACKNOWLEDGEMENTS..............................................................................................iii VITA ....................................................................................................................................iv LIST OF T A B L E S ........................................................................................................ viii LIST OF F IG U R E S .......................................................................................................... ix CHAPTER PAGE I. INTRODUCTION ................................................................................. 1 Statement of the P r o b l e m .............................................................. 1 Background to the P ro b le m .............................................................. 2 Review of Related L ite ra tu re ........................................................ 5 Purpose of Study ................................................................................. 6 Research M ethodology .................................................................... 7 Methods of Data C ollection .............................................................. 9 Methods of Data A n aly sis ......................................................................10 Limitation of S t u d y ..................................................................................10 Significance of the S t u d y ......................................................................12 II. HISTORICAL BACKGROUND AND DRAMATIC TRADITIONS . 14 Historical B a c k g ro u n d ............................................................................14 Dramatic T rad itio n s ................................................................................. 26 m. THE PIONEER STAGE: 1929-1949 .................................................. 38 The Silent E r a ........................................................................................38 The Beginning of Sound C in e m a .........................................................46 The Beginning of Bedouin G e n r e ..........................................................50 The First Egyptians in L e b a n o n ................................................................51 IV. THE FIFTIES: STUDIOS AND TALENTED FILMMAKERS...............................................................................................53 Introduction ............................................................................................... 53 George Qâ‘ï ............................................................................................... 53 Michael Hârûn: Red F low ers ................................................................55 Muhammad Salman: Egypt’s Graduate ....................................................56 George Nasr: W hereTo?............................................................................ 58 V EGYPTIAN CINEMA OPERATIONS IN L E B A N O N .................................66 Introduction ............................................................................................... 66 The Flow of Arab Capital into Lebanon ....................................................66 The Generalization of Cinema in E g y p t ................................................... 67 Private Investors and D istributors ..........................................................73 Effects on the Lebanese Film I n d u s tr y ............................................ 74 Lebanese Cinema from 1957 - 1962 ............................................ 76 Introduction ......................................................................................... 76 Capital Investment and the Progress of Technical Services . 78 Lebanon’s C lim ate ........................................................ 80 Film Production 1959 - 1962 81 Film Distribution ..................................................................... 84 Importance of the Lebanese Film M a r k e t ....................................... 86 Film Q u a lity ......................................................................................... 88 C o n c lu s io n ......................................................................................... 90 VI. THE SIXTIES: STATE OF B O O M ................................................................92 The Boom S tage ......................................................................................... 92 Organizational G ro w th ............................................................................ 98 The National Center for Cinem a ..........................................................98 The Arab Film and Television C e n t e r ............................................101 Activities of the National Center for Cinema and the Arab Film and Television Center .................................................. 102 Film A n a l y s i s ......................................................................................