By Viola Shafik
Because it used to be first released in 1998, Viola Shafik’s Arab Cinema: background and Cultural identification has develop into an essential paintings for students of movie and the modern center East. Combining certain narrative history—economic, ideological, and aesthetic—with thought-provoking research, Arab Cinema offers a finished evaluation of cinema within the Arab international, tracing the industry’s improvement from colonial instances to the current. It analyzes the ambiguous courting with advertisement western cinema, and the influence of Egyptian marketplace dominance within the zone. Tracing the effect at the medium of neighborhood and neighborhood paintings varieties and modes of suggestion, either classical and well known, Shafik indicates how indigenous and exterior components mix in a dynamic means of “cultural repackaging.”
Now up to date to mirror cultural shifts within the final ten years of cinema, this revised version incorporates a new afterword highlighting the newest advancements in renowned movie and in cinéma d’auteur (art apartment movies), with a unique specialise in Iraq, Lebanon, and Palestine. whereas exploring tricky concerns reminiscent of eu co-production for Arab artwork motion pictures, together with their relation to cultural id and their reception within the quarter and overseas, this re-creation introduces readers to a few of the main compelling cinematic works of the decade.
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Additional resources for Arab Cinema: History and Cultural Identity
Therefore, the state has tried to further film production through a special film fund supplied by taxes. In 1956, two years before independence, a fund had been created, the Fonds Nationales d'Expansion de la Cinematographic. Its influence remained minor at the beginning. Productions were undertaken only by the Service du Cinema, founded in 1944 by the colonial authorities and the CCM (Centre Cinematographique Marocain). Their production consisted mainly of short films. Because of bureaucratic obstacles and trade monopolies held by foreign companies, both institutions were for a long time unable to contribute to the development of national cinema.
In any case, the activity of the public sector in the field of production lasted only a few years and was terminated by the partial reprivatization initiated under Sadat in 1971 (which, however, did not include the studios and laboratories. They have remained state property up to date). Three years later the huge success of Take Care of Zuzu! ) by Hasan al-Imam, the master of Egyptian melodrama, signaled the revival of purely commercial Egyptian cinema. 26 The History of Arab Cinema Publicity poster for Rebels on the Sea (al-Mushaghibun fi-1-bahriya, Egypt, 1992) starring Fifi Abdu, directed by Nasser Hussein The period of state ownership brought about only a partial and temporary rise in technical and artistic standards.
115 In general, criticism of Islam is not allowed, this being the official state religion in most Arab countries. By extension, a positive representation of atheism is not appropriate. Even the overtly secular Algerian cinema attacks only maraboutism and practices of popular Islam, steering clear of orthodox Muslim conviction. National unity is maintained not through a just representation of different native religions but through the exclusive representation of Muslim conditions of life and convictions.