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The Arab National Project in Youssef Chahine's Cinema
An examination of the work of Egypts best-known filmmaker
Filming Politics
The National Film Board of Canada (NFB) was created in 1939 to produce, distribute, and promote Canadian cinema both domestically and abroad. In Filming Politics, author Malek Khouri explores the work of the NFB during this period and argues that the political discourse of the films produced by this institution offered a counter-hegemonic portrayal of working class people and presented them as agents of social change. Filming Politics brings to light a number of films from the early years of the NFB, most of which have long been forgotten.
Working on Screen
Working on Screen thus expands the scholarly debates on the concept of national cinema and builds on the rich, formative efforts of Canadian cultural criticism that held dear the need for cultural autonomy.
Rain, Drizzle, Fog
Offers a scholarly study of film and television in Atlantic Canada. This book provides a historical overview of film and television in the region, as well as essays on specific topics such as popular TV (""The Trailer Park Boys""), early TV (""The Don Messer Show"") and the work of filmmakers such as Bill MacGillivray and Andrea Dorfman.
The Right to Play Oneself
Discussions of “committed” documentary by a “committed” historian of film.
Russian-Arab Worlds
"The Soviet Arabist Kulthum 'Awda-Vasilieva was born in 1892 to Orthodox Christian parents in Nazareth, in Ottoman Palestine. She died in Moscow in 1965, leaving autobiographical writings that help explain how this unwelcome fifth daughter of Palestinian peasants went on to become a distinguished Arabist in the USSR and possibly the first Arab female university professor anywhere. As she tells it in an essay translated in this book, luck played a role: the opening of an Imperial Orthodox Palestine Society (Russian acronym IPPO) missionary school in Nazareth in 1885 helped lift a girl her own mother considered "ugly" and lacking prospects into a world of educational opportunities and social a...
Arab World Cinemas
From the exaggerated emotions of 1930s Egyptian melodrama to the cryptic allegories of late 20th-century Palestinian cinema, Arab World Cinemas guides you through 28 Arabic-language feature films released between 1933 and 2021, including Muhammad Khan's 'Dreams of Hind and Camilia' (1989), Moufida Tlatli's 'Silences of the Palace' (1994) and Elia Suleiman's 'Divine Intervention' (2002). Written specially for students, the book is split into 3 parts: Egypt, North Africa and the eastern Arab world. Each part begins with an introductory essay that highlights the aesthetic and socio-historical trends and currents in the cinematic traditions particular to that region. Marle Hammond then dedicates individual chapters to a group of films from the highlighted region, interpreting their form and content through the lenses of cinematic technique and concepts drawn from various disciplines in the arts, humanities and social sciences.
How Canadians Communicate
How Canadians Communicate, Vol. 1 is a timely collection that chronicles the extraordinary changes that are shaking the foundations of Canada's cultural and communications industries in the twenty-first century. With essays from some of Canada's foremost media scholars, this book discusses the major trends and developments that have taken place in government policy, corporate strategies, creative communities, and various communication mediums: newspapers, films, cellular and palm technology, the Internet, libraries, TV, music, and book publishing. This volume addresses many issues unique to Canada in a broader framework of global communications. Specifically, it looks at new media communicat...
Hockey, PQ
Hockey, PQ explores how Canada's national sport has been used to signify a specific Québécois identity.
World Socialist Cinema
A free ebook version of this title is available through Luminos, University of California Press’s Open Access publishing program. Visit www.luminosoa.org to learn more. In this capacious transnational film history, renowned scholar Masha Salazkina proposes a groundbreaking new framework for understanding the cinematic cultures of twentieth-century socialism. Taking as a point of departure the vast body of work screened at the Tashkent International Festival of Cinemas of Asia, Africa, and Latin America in the 1960s and 1970s, World Socialist Cinema maps the circulation of films between the Soviet Bloc and the countries of the Global South in the mid- to late twentieth century, illustrating the distribution networks, festival circuits, and informal channels that facilitated this international network of artistic and intellectual exchange. Building on decades of meticulous archival work, this long-anticipated film history unsettles familiar stories to provide an alternative to Eurocentric, national, and regional narratives, rooted outside of the capitalist West.
