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In this timely critical introduction to the representation of Afghanistan in film, Mark Graham examines the often surprising combination of propaganda and poetry in films made in Hollywood and the East.
The 'evil' Arab figure has long been a popular Hollywood icon: how long is documented in 'EVIL ARABS IN AMERICAN POPULAR FILM: ORIENTALIST FEAR, which surveys how the stereotype evolved and how it reflects real conflicts between U.S. and Middle Eastern cultures and perceptions.
This is the first study to cover cinemas from Iran to Morocco. Nine essays present the region's major national cinemas, devoting special attention to the work of directors who have given image and voice to dissent from political regimes, from patriarchal customs, from fundamentalist movements, and from the West.
By examining works representing colonial history and the dynamics of spectatorship emerging from them, Michael F. O'Riley reveals how the centrality of victimization in certain cinematic representations of colonial history can help us understand how the desire to occupy the victim's position is a dangerous and...
The Historical Dictionary of Middle Eastern Cinema covers the production and exhibition of cinema in the Middle East and in communities whose heritage is from the region and whose films commonly reflect this background. It covers the cinemas of Morocco, Algeria, Tunisia, Egypt, Palestine, Jordan, Lebanon, Syria,...
This book examines the close and volatile relationship between a highly popular art form, the production of culture and the politics of power in society. Through a critical analysis the book reveals the social and political context of Iran's national cinema under the Islamic Republic.
Providing a sharp and engaging analysis of the films by internationally acclaimed new wave Turkish directors like Nuri Bilge Ceylan, Zeki Demirkubuz, Yeim Ustaolu, Dervi Zaim, Serdar Akar, and Yilmaz Erdogan, this is the first full examination of contemporary Turkish cinema to be published in English.
Nacim Pak-Shiraz here highlights how many Iranian film directors concern themselves with the content of the religious and historical narratives of culture and society, sparking debate about the medium's compatibility or incongruity with religion and spirituality.
Here, Khatereh Sheibani argues that cinema evolved after the national uprising in 1978/79, and ultimately replaced poetry as the dominant form of cultural expression. She presents a comparative analysis of post-revolutionary Iranian cinema as an offshoot of Iranian modernity, and explains its connections with the...