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Ed Webb

'Diamond Dust,' a poisonous pleasure for Egyptian moviegoers - 0 views

www.al-monitor.com/...-in-outlook-toward-nasser.html

Egypt film history politics Nasser

shared by Ed Webb on 07 Jan 19 - Cached
  • Tearing down pillars of modern Egyptian history can be lethal, as author and screenwriter Ahmed Mourad and director Marwan Hamed recently discovered with “Diamond Dust,” a political thriller dealing with the Free Officers Movement and the coup that dethroned King Farouk on July 23, 1952
  • “Diamond Dust” the book, published six months before the 2011 revolution, became a best-seller that year, but was not a source of controversy. Its adaptation for the stage in 2016 premiered without event. This August, however, when the film adaptation by Hamed, known for the daring drama “The Yacoubian Building” (2006), arrived in Egyptian cinemas, it created a stir.
  • “Diamond Dust” is the first Egyptian movie to describe the 1952 change in government as a coup, rather than a revolution, as the state officially recognizes the event. In fact, the film is unapologetically critical of the whole movement. Egyptian cinematic works have criticized the politics of President Gamal Abdel Nasser, one of the leaders of the Free Officers, and of his successors' regimes, but the Free Officers Movement itself had apparently been off-limits.
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  • “Many viewers saw this vision as biased, as it addressed only Abdel Nasser’s flaws and neglected his virtues, while glorifying Mohammad Naguib with no reliable proof,” Shennawi told Al-Monitor. “Egyptian cinema suffered a lot in the era of Abdel Nasser, who exploited cinema to promote the ideas of the July 23 revolution and gradually root out any opposing ideas. Egyptian cinema started breaking free from those restrictions with the film ‘Al-Karnak’ [1975], which criticized Abdel Nasser’s era, and ‘Ahl al-Qima’ [People on the Top, 1981], against [President Anwar] Sadat’s Egypt.”
  • many Nasserists and supporters of the 1952 revolution have harshly criticized the film. Last month, Magdy Eltayeb, film critic for the newspaper Al-Qahira, posted on his personal Facebook page, “Diamond dust is poisonous. … [The film] adopted a stance against the 1952 revolution. … It showed excessive sympathy with the Jews to the extent that this has undermined this work’s aesthetic value as a film noir.”
  • A hit, “Diamond Dust” has so far earned 27.6 million Egyptian pounds ($1.5 million) at the box office.
Ed Webb

Inside Kannywood: Nigeria's Muslim film industry - Al Jazeera English - 0 views

www.aljazeera.com/...-industry-160304135629131.html

Nigeria Africa film women gender Islam media

shared by Ed Webb on 16 Mar 16 - No Cached
  • This film industry has been coined Kannywood, after the city it originated in. According to statistics from the National Film and Video Censors Board, its movies make up about 30 percent of the films produced by the Nigerian-based film industry popularly called Nollywood, which is often portrayed as the third-largest in the world, after Hollywood and Bollywood. Kannywood even has its own TV channel, Africa Magic Hausa, showing Hausa-language movies on satellite TV.
  • stricter guidelines, such as the banning of married women from acting, while also requiring all women in the industry to have a male guardian who would be legally responsible if their ward broke the rules
  • Their tone is devoutly Muslim, though, and quite often the very last line of the end credits is "Glory be to God". Many of these movies also denounce the hypocrisy of the ruling classes who preach piousness in public while sinning in private.
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  • They don't shy away from the problems women face in everyday life, such as forced marriage, sexual molestation, the lack of female education, and domestic violence - matters this society is not accustomed to discussing openly.
  • It is hardly surprising that women, who for the first time see their own experiences reflected in the public domain, form a significant part of Kannywood's audience. They also play a considerable role in the industry itself. According to the Motion Pictures Practitioners Association of Nigeria, 75 percent of the Hausa movie actors are female, as is the case for two-thirds of the association's members - from singers and producers to actors and make-up artists.
  • the Kano-based film industry is providing jobs and business to the city, something that went a long way towards improving public opinion of the profession.
  • not more than 10 years ago, a moralistic backlash triggered by a sex scandal almost destroyed the local film industry. As is often the case in public fights about morality, the female body was the battleground.
  • The Censorship Board came into existence before the scandal in 2001, and is a combined initiative of the local film industry and the state government. It was a response to the adoption of Islamic law in Kano a year earlier. Under the law, filmmaking was under threat of being abolished altogether. In order to avoid that, Kannywood voluntarily subjected itself to stricter censorship.
  • Kannywood treats the viewer to a mishmash of cultural influences. Before the local film industry came into existence in the 1990s, northerners watched Hindi language films from India. The glamour of the Bollywood musicals has rubbed off on the Hausa movies, some of which feature singing and dancing.
  • The overly zealous KSCB executive lost his moral authority when the police caught him in a compromising situation with a young girl in his car, and Kannywood celebrated when, in 2011, the newly elected governor appointed a new head of the Censorship Board.
  • He describes the task of the board as "preserving Hausa culture".
  • "We don't like to see body contact between men and women. No handshaking, let alone kissing," he says. "And no nudity or transparent dresses." The general secretary explains how things such as prostitution, lesbianism and adultery may be portrayed, as long as it is clear to the audience that they are unacceptable. Song and dance are permissible, as long as there is no physical contact between the sexes.
  • "Filmmakers themselves understand they have a task to educate people and cannot go against society,"
  • Kannywood movies do transmit empowering messages to a female audience
  • "It's the masses who watch Kannywood movies, not the elite. The general public is more ready for social change than political and religious leaders."
  • female producers are rare, let alone female directors
  • most female producers work with a male assistant to get things done on the ground
Ed Webb

Three Films, One Spectator and A Polemic: Arab Documentaries and 'Global' Audiences - 0 views

www.jadaliyya.com/...tator-and-a-polemic_arab-docum

Egypt film uprisings ArabSpring criticism

shared by Ed Webb on 27 Dec 16 - No Cached
  • The world is really not a global village. It is only so for those who are able to go anywhere without visas, have almost all the world’s knowledge production translated into their language, and the most important art institutions just around the corner from where they live. The rest only live under this pretense of globalism, internationalism and many other ism(s) that conceal the way power works in the world.
  • What exists is a hand-picking of a few films from all over the global south to be taken to world festivals to fulfill a quota of “world cinema,” African cinema, Arab cinema, Iranian cinema or whichever one is in vogue depending on the political climate.
  • with these exhibition circuits in mind, many filmmakers consciously or unconsciously tweak their narratives to appeal to the imaginary spectators located in this ambiguous global realm. Strategies deployed include explaining that which need not be explained if the film was targeted primarily to a familiar audience (including a phrase such as “Hosni Mubarak ruled Egypt for 30 years” is an example), having the film speak in a language other than its subjects’ native tongue rather than just adding subtitles, and opting for the consolidation of a narrative at the expense of maintaining the almost always deeply fragmented political nuances of their story. These strategies often result in films that are simplistic, clichéd, and politically problematic.
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  • by being posited as films that inform, educate and explain what is going on here to audiences over there, these films become central to a pre-existing East-West dynamic—a sphere of knowledge production and image-making that tries to translate the orient to an elsewhere
  • These are discourses that seek to “save brown women from brown men” or brown liberal men from oppressive brown regimes, or basically to save the Arabs from their Arabness, with all the cultural stereotypes such a term entails.
  • The problem with these films is that they ignore the interconnectedness of “developed” and “developing” countries, of authoritarianism in the Middle East and liberal democracies in the west, of Islamic fundamentalism and the Cold War, and of metropolitan centers of global capitalism and the dispossession of millions all over the world. The problem gets even more complicated when entitlement and ability to represent becomes unquestioned.
  • These films portray living stereotypes of actual people, focusing on the elements of their lives that are ‘interesting’ only in so much as they tell us something about clichéd versions of Egypt, Tahrir, Islam, women, art and war, conflict, poverty, dispossession and resistance. These topics are not interesting for those who live in war, conflict, poverty and dispossession, those for whom Tahrir was not a spectacle and resistance is a complicated act. In such a context these issues might be relevant, but they are only interesting somewhere else.
  • I am skeptical of the act of representation itself, the provision of ready-made, easily translatable narratives about 2011 as if the revolution was a thing, and as if "Arabness" is also a thing. If postmodernism declared the death of the meta-narratives—teleogically oriented, totalizing worldviews that tend to put in a claim for the universal and promise utopian resolutions that are yet to occur—Arab Spring documentaries lie on the opposite side of the spectrum. The conditions of their existence, profitability, visibility and circulation depends first and foremost on their claims to a certain truth about “what really happened” over there. But neither the "Arab Spring" nor the "Arab World" can be explained through the sum of their parts. They are constructed, time and time again, through the very narratives that eclipse alternative imaginaries, historical renditions or analyses by foreclosing the realm of imagination all together.
Ed Webb

Why the Polish gov't has this left-wing Israeli filmmaker in its crosshairs - 0 views

www.972mag.com/barak-heymann-poland-karavan

Israel film Palestinians Poland Jews holocaust history memory politics nationalism censorship

shared by Ed Webb on 29 Jul 22 - Cached
  • representatives from the Polish Film Institute, which provided Heymann with a grant of NIS 188,000 [$54,500] to make the film several years ago, suddenly insisted upon seeing the film, stormed out in the middle of the screening, and demanded their money back, since the film includes experts who claim it was uncommon for Poles to save Jews during the Holocaust.
  • Poland finds itself firmly in the grip of an ultra-nationalist right-wing government. Embedded in this regime is a desire to retell the story of the Holocaust by portraying Poland and the Polish people in a better light — and the most effective way of going about this is to clamp down on critics, police the public discourse, and control the historical narrative.
  • I’m in the throes of an artistic, political, financial, and international crisis. I didn’t know that my film, “High Maintenance,” would create such drama. How could one know? Dani’s work was never executed because of the political situation in Poland. The commissioner of his work, an American Polish Jew living in the United States, was supposed to pay for this big monument. He decided in the end to cancel the project because he realized that the Polish government would take advantage of Dani’s work to convince everybody that Poland was one big righteous nation during World War II, and that everyone was busy risking their lives to save Jews.
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  • the Polish government passed a law preventing people from referring to concentration camps in the country as “Polish” camps, or saying anything about Polish collaboration with the Nazis
  • it’s actually a war about Holocaust memory. At first, the Jews were angry at Dani for the planned monument, and now we’re dealing with the Polish government being angry about the way we tell the story.
  • A Polish Jewish journalist who was interviewed in the film told me that the government is now trying to prove that most of the Polish people helped the Jews. This is, of course, a lie.
  • When you go to demonstrate in a Palestinian village in the West Bank, which is literally fighting for its life, you are maybe among 10 Israelis. You ask yourself: “Where is everyone? Why are there only 10 of us?”
  • In Israel, since I am part of the privileged group in society as a Jewish Ashkenazi man, I don’t experience hardship on a daily basis like Palestinians who live right next to me. I was never asked to cut anything from a film, never asked to compromise, and never silenced.
  • My Palestinian friends who live in Israel cannot say that about themselves. When the poet Dareen Tatour writes a poem and posts it on Facebook, it can be dangerous. She can get arrested. This is a radical thing that would not happen to me even though I say far more brutal things than she does.
  • Look what’s happening now with the Shomron Fund. They’re holding a film festival for settlers in the occupied territories. This is part of the process of mind control because they’re saying this is a legitimate part of Israel, and so it’s only natural to have a film festival there. And it’s not just some fringe festival. Israeli filmmakers and film funds are all part of it’s becoming very official.
Ed Webb

'The Insult,' Lebanon's first Oscar-nominated film, examines a country's deepest wounds... - 0 views

www.pbs.org/...ines-a-countrys-deepest-wounds

Lebanon film media war identities sectarianism

shared by Ed Webb on 05 Mar 18 - No Cached
  • The film follows Yasser, a Palestinian construction worker who becomes embroiled in conflict with Toni, a right-wing Lebanese Christian, over a leaking water pipe. When Yasser confronts Toni about his grievances, Toni hurls back an insult that strikes sharply at the heart of the Palestinian struggle. The film examines the many forms our personal truths can take, how they collide, and the consequences of words in a polarized world.
  • It could happen like that in Lebanon. You could have a very silly incident that could develop into a national case.
  • we were fought because some people thought that we’re opening old wounds, and then all the people felt that, you know, we were defaming the Palestinians. Other people said we were attacking the Christians. Anytime you make a movie that is a bit sensitive — this one is a little bit more than a bit sensitive — people go up in arms. You know, they look at the film and then they immediately start projecting themselves and projecting their prejudices against it
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  • The subject came out of something I lived through, growing up in a war. Something that my co-screenwriter Joelle also lived through. It’s not like we read a book or based it on a TV interview on CNN. It’s something that we lived through, all the dynamics that you saw in the film, we are very familiar with it. You know, the Palestinian point of view, the Christian point of view. These are things that are so familiar to us. You know it’s this thing that we grew up eating and drinking and living. We were stopped at checkpoints, we hid under the bombs, we lived in shelters in Beirut in the 70s and the 80s and the 90s
  • We could have been such a lighthouse in the midst of all these other places around because we’re so interesting. Lebanon so interesting. But it’s sad that it does not fully use its potential. You know Christians, Muslims, Shiites, Sunni, liberal, it has all the potential of making a very, very interesting place
  • I had a lot of prejudice towards the Christians growing up. Like incredible. My parents were very left wing pro-Palestinian. And anybody from the Christian camp, from East Beirut, was considered a traitor, the enemy. And then you meet people from East Beirut, Christians, who were part of the Christian camp, and then you sit down and they work on your movie and and then you go have a drink and then you suddenly say, “Their story’s like mine, they suffered as much as [me].”
  • “The Insult” is about reexamining the other side. The woman who co-wrote the film with me who became my wife — we wrote four films together — she comes from the Christian camp. I come from [Muslim] West Beirut. She wrote all the scenes of the Palestinian. And I wrote the scenes of the Christians. We swapped.
  • every screening we do in the states, in Los Angeles in Telluride, in Toronto people were like so emotional about it. And then they said, “We totally identified because of what’s going on in the States today. We are living in America at a period where it feels like this entire society is tearing apart a bit.” And they look at the film and suddenly it’s speaking to them, even though that was not the intention.
  • Sometimes the country needs to go through a tear in order to heal better.
Ed Webb

Reviving the art of cinema in Gaza City - AJE News - 0 views

www.aljazeera.com/...gaza-city-160324060451220.html

film Gaza Palestine cinema

shared by Ed Webb on 27 Mar 16 - No Cached
  • The sight of an active cinema hall is not common in Gaza, where all cinemas were either destroyed or permanently closed around the time of the first Intifada. Save for a couple of failed attempts to reopen them in the 1990s, the 10 cinemas that existed across the coastal territory before the Intifada have remained shut ever since.
  • Gaza Cinema, led by members of the production company Ain Media, launched about six weeks ago with a goal to revive cinema culture in the besieged enclave, where younger generations have grown up without ever setting foot inside a movie theatre. "I'm from the generation that never experienced cinema in Gaza," 27-year-old Hossam Salem, one of the organisers, told Al Jazeera. "People have a wider choice online, so one of the challenges is to get them to come and pay money to see a movie. I would like to see cinema culture one day become mainstream again."
  • "We are working with films that do not breach our tradition and that carry a good message, whether it is national or social," Salem said, noting blurbs about each film are submitted to the culture ministry for approval prior to screening. Most of the movies screened so far have been Palestinian feature films and children's cartoons.
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  • The history of cinema in Gaza dates back to the 1940s, noted Khalil al-Mozayen, who directed a documentary called 36mm about the decline of cinema in Gaza.  "After 1948, war and refugees came to Gaza," Mozayen told Al Jazeera. "UNRWA [the UN's Palestinian refugee agency] began showing Arabic cinema in the refugee camps. Before the film, they'd broadcast messages telling people to drink milk and clean their teeth. The project enjoyed a lot of popularity." In the 1950s, Mozayen said, businessmen started to open cinemas. But after 1967, "religious groups started broadcasting messages against cinema", he said.
  • Al-Nasser Cinema was closed after the 1967 war, only to be reopened a year later upon the request of the new occupying authorities, the Israelis.
  • "At that time, we could no longer bring films from Egypt; we brought films from Israel. The cinema started showing Chinese, Indian, and European films," Khazendar said. "It was then that people began to stop going to the cinema. It became associated with the 'bad people'."
  • Gaza has produced notable film directors, such as Rashid Masharawi and the Nasser brothers, known as Arab and Tarzan, who have pursued their careers outside of Gaza
Ed Webb

Berlin Film Festival: Middle East cinema takes the stage amid criticism of event | Midd... - 0 views

www.middleeasteye.net/...iew-fatih-akim-dieter-kosslick

film Germany Iran Sudan Lebanon Turkey Morocco

shared by Ed Webb on 06 Feb 19 - No Cached
  • For a Middle Eastern film-maker at Berlin, premiering a project outside competition or a special gala can be a major gamble: judging by the scant number of reviews Middle Eastern films have received during the past few years, most get overlooked in the media rush to cover the major titles. But contrary to recent years, and perhaps in a sign of changes come, the Middle Eastern selection at the 69th Berlinale is particularly intriguing, featuring experimental films, political allegories, documentaries and one rediscovered classic.
  • The most politically outspoken Turkish filmmaker working today, Alper rose to fame with his political allegories, Beyond the Hill (2012) and Frenzy (2015), which explored how the state uses different forms of fear tactics to force its citizens into submission. He then courted controversy with his public support for the Gezi protests of 2013 and his subsequent signing of the 2016 petition that called for the release of the academics who were rounded up for denouncing the Erdogan regime for its attacks on the Kurds. His actions, he insisted in several interviews, excluded him from state funding, pushing him to seek private investments for his latest endeavour (it is a Turkish-German-Dutch-Greek co-production). How far his new drama can push his critical political agenda remains to be seen.
  • Veteran Lebanese auteur Ghassan Salhab was last seen at the Berlinale in 2015 with his highly acclaimed narrative feature, The Valley. This year he returns to the Forum – which leans towards experimental film – with An Open Rose, an essayistic collage that uses the letters of Polish-German Marxist theorist and short-lived revolutionary leader, Rosa Luxemburg, from her time in prison to examine the militarisation of the Middle East in the 20th century.
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  • the biggest discovery of this year’s edition from the Middle East could very well be Sudan, the new Arab cinema on the block making its major international festival debut with two documentaries by first-time filmmakers: Marwa Zein’s Forum contender, Khartoum Offside; and Suhaib Gasmelbari’s Panorama pick, Talking About Trees.
  • Iran has had a modest presence during the recent past at Berlin – and this year is no different, with only a single feature representing the once powerhouse cinema across all sections. Deviating from the country’s signature social realism, newcomer Suzan Iravanian is attracting buzz for her Forum curio, Leakage, a supernatural mystery about a fifty-something middle-class woman who starts leaking oil from her body after her husband disappears.
  • Mostafa Derkaoui’s forgotten 1974 classic, About Some Meaningless Event, a docudrama about a group of filmmakers asking passersby in Casablanca about their expectations for Moroccan cinema, only to shift their focus to a resentful worker who accidentally kills his superior.  An investigation of the role of cinema and art in society, this militant effort - which was primarily funded by the sale of paintings of a number of contemporary painters – was banned in Morocco and virtually disappeared, until a negative print was discovered in the Spanish film archive, Filmoteca de Catalunya, in 2016 and subsequently restored.
Ed Webb

Mati Diop's 'Atlantics' Is a Startling Study of Power | The Nation - 0 views

www.thenation.com/...atlantics-mati-diop-review

film Senegal France class migration

shared by Ed Webb on 07 Dec 19 - No Cached
  • Because these films are set in America, race and gender sometimes conceal the class tensions.
  • Because of its title, American viewers will likely assume that Atlantics, the new film from the French Senegalese director Mati Diop, is about either slavery or refugees. Even after seeing it, they may assume it is about love or ghosts or exoticized life on the west coast of Africa. But Atlantics is fundamentally about class. Despite the familiar trappings of esteem—like Parasite, it won a prestigious award at Cannes, and Diop’s family background suggests that she is the epitome of an Afropolitan elite—the way it reckons with capital and labor is far more interesting than this recent spate of class warfare films. Atlantics cannot overthrow film as an institution, but it does overthrow many of film’s formal conventions. In so doing, it wreaks havoc with the interlocking hierarchy of class, race, and gender that most of these other films assume, leaving in its wake a startling study of power in the raw.
  • Labor drama, love story, surrealist film, crime thriller, zombie flick—these shifts are both smooth and unsettling, just like that train in sudden reverse. They keep us on edge but never just for the sake of it. And they continually bring us back to the central question of class, even as they keep us from mapping it onto a single hero or plot or genre.
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  • “The violence of a certain capitalist economy makes a lot of life fragile, vulnerable, and empty of meaning. The film is about the beauty and innocence of love between two 20-year-olds, which is ruined and cut down by economic issues.”
  • This attention to material reality is another way that Atlantics thwarts our expectations about class. Many of the recent international films tend to make it legible and palatable to audiences in the West. The working classes are maids, nannies, drivers, tutors; in Parasite, the Korean upper-class family is easily replaced with a German one. I’d love to interview Americans leaving the theater after watching Atlantics. Are these Senegalese characters rich or poor? What class are they? The women have hair weaves and take selfies. They wear T-shirts, possibly second-hand, that say “Froot Loops” or “Chicago.” Everyone is black. Everyone has a cell phone. Ada casually sells hers on the side of a dirt road where a man in flashy sports gear goes for a run past horse-drawn carts. Her parents take her to a modern clinic for a doctor to test if she is a virgin.
  • We are the Atlantics. The sea is the sweat of the great majority trying to live, love, and work.
Ed Webb

Cinema and the Arab spring: the revolution starts here | Film | The Guardian - 1 views

www.guardian.co.uk/...cinema-and-arab-spring-ica

film Islam Muslims Arab arabspring Iran Turkey

shared by Ed Webb on 21 Sep 11 - No Cached
  • "If you want to understand the emotive universe from which the Arab spring arose, cinema is a good place to start. Look at a film like Elia Suleiman's Divine Intervention: there the director spits out an apricot pit at an Israeli tank and blows it up. The scene is both fantasy and prophecy."
  • I don't think the idea of Islamic cinema even exists in the west. Islam is presumed not to have a modern culture. I'd argue it's important that these films don't insist on any kind of stylistic unity – and that in nearly all of them Islam is portrayed as quite marginal. They argue against religiosity as a determining force. They're all about change, too, about modernity, which neocons like Francis Fukuyama say the Islamic world is incapable of
  • "If you want to be thought of as an auteur, you don't want to be categorised according to ethnicity or religion," Ahmad says. "By calling someone 'Islamic', you're meant to be taking away from their universal appeal."
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  • Some of the most provocative films owe more to pulp and lo-fi subcultures than to mainstream cinema: look at Omar Ali Khan's anti-yuppie, anti-fundamentalist horror flick Hell's Ground (2007), Halil Uysal's Tirej (2002), a mesmerising film about – and made by – Kurdish guerrilla soldiers, and Omar Majeed's Taqwacore (2009), about a bunch of dope-smoking Muslim punks in the US.
  • An alternative canon, curated by the Middle Eastern art magazine Bidoun, points to gems such as Peggy Ahwesh's Beirut Outtakes (2007), made up of film scraps from an abandoned cinema in the Lebanese capital; its combination of colour and decay, Hollywood and local celluloid, high and low culture captures the city's vivid history with panache.
  • Because the Arab spring was a revolution spread (if not created) by digital media such as mobile phones, Twitter and amateur video, it could be argued that more Muslims than ever before now associate political freedom with the moving image – rather than the printed word. What's more, the speed and sophistication of image-production by canny campaigners may also help to dispel some of the orientalist stereotypes that still circulate in the west.
  • "A lot of British Muslim kids are very keen to see themselves represented," he says. "They want to see they have a great culture. But often they go back to a glorious, nostalgic version of Islam that offers them only a narrative of cultural degeneration since the middle ages. Winds of Change should remind us that we have powerful and well-established critiques of religion from within our societies."
Ed Webb

Dinner with the enemy: How Egyptian drama El-Daif sparked a row over Islam and the hija... - 0 views

www.middleeasteye.net/...brahim-eissa-khalid-el-bagoury

Egypt film media religion Islam censorship hijab

shared by Ed Webb on 21 Feb 19 - Cached
  • El-Daif (The Guest), a new drama written by journalist Ibrahim Eissa and directed by Khalid El-Bagoury that has become both a box office and a critical hit in Egypt, while at the same time attracting controversy.
  • a heated discussion about religious discourse between the younger and older man. The suitor, who appears to be highly influenced by Islamic fundamentalists, keeps engaging in arguments with Yahia, which are mostly won by the wit of the latter.
  • El-Daif is set mainly in the house of Yahia, who in many ways echoes the character of writer Eissa, a journalist and intellectual known for his outspoken writings on religion.
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  • Eissa is no stranger to controversy. Before El-Daif, he caused a stir with his first screenplay, for Mawlana (Our Grand Sheikh), about modern Muslim televangelists as well as the relationship between religion and the state.
  • "El-Daif has very well depicted taboos never discussed before in Egyptian cinema, showing how Islam is misinterpreted as a religion that forces a woman to cover herself from head to toe," said Nagwa Ali, 40, an accountant, as she was leaving a Cairo cinema.
  • other critics say the film is long-winded and static, although praising it for tackling taboo subjects otherwise ignored in Egyptian cinema
  • In the film, Yahia faces blasphemy charges due to his views about his interpretation of Islam and its teachings that have appeared in his books and articles. His life is at risk, which leads the government to assign policemen to protect him and his family against extremists. Ironically, the fierce debates and controversy portrayed in El-Daif are mirrored in real-life arguments around the film, leading to calls for it to be banned.
  • it also angered Islamic scholars, including Khalid El-Gindi, a prominent preacher and member of the Supreme Council for Islamic Affairs. "Six religious institutions including Al-Azhar [the highest Islamic authority in Egypt and the region] have stipulated that hijab is a heavenly order. Nevertheless, Eissa comes with his film to simply try to convince people otherwise," El-Gindi said angrily in a telephone interview with TV host Sayed Ali broadcast on Egyptian Al-Hadath Al-Youm satellite channel.
  • El Gindi also upbraided the Egyptian censorship authority which, although it took a few months to approve the film, surprisingly did not cut any scenes.
  • El-Daif avoids the stereotypical image of a religious fanatic, introducing a handsome light-bearded young man dressed in an elegant outfit who comes from a well-bred family and who has studied engineering in the USA.  He has managed to influence the intellectual's daughter to the extent that she agrees to wear the hijab despite her liberal upbringing. Many women in Egypt wear the hijab for social rather than religious reasons, submitting to social and family pressures while also seeking to avoid sexual harassment. However, the attire does not protect women from unwanted attention and abuse, as women who have spoken to MEE confirm.
  • Egyptian feminists and liberal thinkers have their own explanation of the hijab as being often associated with the rise of the conservative Saudi Wahhabi doctrine that emerged in Egyptian society in the mid-1970s.
  • In the first six weeks of screening, El Daif took around seven million Egyptian pounds (about $400,000) and remained in third place at the Egyptian box office. It is still showing at most Egyptian cinemas. "Deals are underway to screen the film in a number of Arab and European countries," said an official at the film's production company, iProduction.
Ed Webb

Jewish Horror, Monotheism, and the Origins of Evil - Tablet Magazine - 0 views

www.tabletmag.com/...jewish-horror

film horror Israel Judaism analysis

shared by Ed Webb on 23 Feb 19 - Cached
  • the new horror film The Golem, from directors Doron and Yoav Paz
  • The directors of The Golem, who are Israeli brothers
  • Reasons for the dearth of Jewish horror fiction are varied, ranging from producers possibly fearing that the ethnic particularism of these themes wouldn’t draw in as wide an audience, to the (incorrect) sense that Judaism doesn’t offer the same baroque supernatural possibilities that Christianity does.
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  • The theme of the golem, after all, has been explored several times before, from the silent film era of Paul Wegener’s expressionist Der Golem (1916) until today, including in The X-Files and The Simpsons’ annual “Tree House of Horror” Halloween episodes. There have also been a small number of horror films that explore Jewish folklore, such as Ole Bornedal’s The Possession (2012), which in lieu of The Exorcist’s Pazuzu features the malicious spirit of legend known as a dybbuk, an entity which also appears in David Goyer’s The Unborn (2009), and even in the Coen brothers’ A Serious Man (2009). Yet despite a preponderance of Jewish horror directors from Curt Siodmak, creator of The Wolf Man (1941) to Polanski, Hollywood has tended not to explore explicitly Jewish themes in horror.
  • the sense of the terrors of the real world is fundamental to monotheistic horror, for it asks what the ultimate origin of evil is.
  • The Franco-Bulgarian philosopher Tzvetan Todorov in The Fantastic: A Structural Approach to a Literary Genre distinguished between what he called the “uncanny,” whereby the supernaturalism of a story can be ultimately explained by rational recourse, and the “marvelous” in what’s been depicted is to be understood as genuinely supernatural. For Todorov, that which is fantastic in literature exists in the ambiguity between the uncanny and the marvelous, where the characters in a story (and the reader) are unsure as to whether events witnessed are genuinely supernatural or not. Todorov writes: “The fantastic is that hesitation experienced by a person who knows only the laws of nature, confronting an apparently supernatural event.”
  • what I’ve termed “monotheistic horror” in contrast to “dualistic horror.” The latter is any work which posits supernatural evil as somehow separate in agency from God, while the former steadfastly holds to all things—even evil things—as having their origin in the Lord. I’d argue that Jewish horror fiction, for all of its diversity, must be resolutely defined by an overpowering sense of monotheism, and that it is that sense of the fundamental unity of reality that makes those works terrifying. Ghosts, goblins, and ghouls can exist in both types of horror, but in dualistic horror God is either configured as explicitly separate from those evil things, or mention of Him is passed over.
  • The Paz brothers’ film is an example of Jewish horror not because it takes place in a 17th-century shtetl, or because its story deals with that most Jewish of monsters, but rather because there is no sense that anything that happens doesn’t occur due to the power and sovereignty of God.
  • in The Golem the creature is fashioned in adherence to God’s reality. Hanna’s creation is not demonic, but rather divine—if still capable of malevolence.
  • Any fiction that presents the malevolence experienced in reality as integral to the unity of that very same reality is monotheistic horror. In this way, I’d argue that Franz Kafka is one of the greatest horror writers of the 20th century, with a dark perspective that rivals that of H.P. Lovecraft. The latter thought the world meaningless, but Kafka never fell into that error. The result is paradoxically a horror all the more disturbing for what it implies about evil’s derivation.
  • For Kafka the deep wisdom of reality is even darker than Lovecraft’s nihilism, for his horror is based on the type of irony that can only be born from the most radical of monotheisms. The author could tell his friend Max Brod that here is “Plenty of hope—for God—no end of hope—only not for us,” a succinct summation of the major themes of Jewish horror, where what is fully externalized is a theodicy that recognizes evil exists in the world while also acknowledging that God must be its author.
  • The ur-text of Jewish horror, and what I would argue is perhaps the most terrifying story every told, is the biblical Book of Job. Few narratives can match Job in the sheer awful implications of what’s been recounted, of the upstanding man of Uz who “was perfect and upright, and one that feared God,” but who nevertheless was struck down by the Lord with a deluge of afflictions. So many details of Job’s story, often associated with the fatalism of Greek tragedy to which it bears some similarity, have a gothic sensibility. There is Satan who talks of “roving about in the earth and … walking about in it,” and of Job cursing himself by asking, “Why did I not perish at birth, and die as I came from the womb?” Then there is the pyrotechnic impressiveness of God himself, who “answered Job out of the whirlwind, and said who is this that darkeneth counsel by words without knowledge?”
  • Monotheistic horror should not be interpreted as the logical culmination of monotheism itself, rather it should be seen as the dark undercurrent, the nagging anxiety, of what it means if there is only one Lord but we’re uncertain as to if He is always benevolent, for as Miles observes “all of God’s actions could actually have been the devil’s.” There is the upsetting ambiguity of monotheistic horror—not that God’s actions are the devil’s, but that they could be.
  • one of the most potent lessons of Jewish horror fiction: that there is a permeable membrane between civilization and anarchy, where those who claim to protect us one day can cast us aside the next. The “friends” of Job are among the most callous of monsters in the book. What makes Jewish horror so frightening is its entirely accurate understanding that all evil ultimately must have its origin not in devils, but in the two most frightening things in our sublime universe: God and his creations.
Ed Webb

Study finds evidence that films can activate authoritarian tendencies - 0 views

www.psypost.org/...authoritarian-tendencies-50626

media film authoritarianism psychology

shared by Ed Webb on 22 Jan 18 - No Cached
  • People are more likely to endorse authoritarian values after watching the movie 300, according to new findings published in the journal American Politics Research.
  • The students who watched 300 were more likely to endorse authoritarian views, the researchers found, while the opposite was true of students who watched V for Vendetta.
  • we should always be prepared to think critically about the messages we get in media.”“This is particularly the case with entertainment media because we engage with these films and television shows in a relatively passive way, which is to say we do not have our normal psychological defenses up as we might with news media.”
  • ...2 more annotations...
  • we did not test for a decay effect. We do not know how long these effects last
  • “Are more entertaining films more likely to elicit these responses than films that are boring? What other latent personality dispositions can be activated by films and television programs? These are questions that we are considering for our future research on entertainment media.”
Ed Webb

'Three Thousand Years' and the History of Middle East Tales - New Lines Magazine - 0 views

newlinesmag.com/...e-history-of-middle-east-tales

film media Turkey MiddleEast MENA review orientalism

shared by Ed Webb on 30 Aug 22 - Cached
  • a film based on “The 1,001 Arabian Nights” is a risky venture. On the one hand, Hollywood Golden Age standards like “The Thief of Baghdad” (1924) and “Ali Baba and the Forty Thieves” (1944) get applause even from someone like Jack Shaheen, who in his book “Reel Bad Arabs” tries very hard to sniff out anti-Arab sentiment. On the other hand, Disney rolled the dice in 1992 and wound up with “Aladdin,” one of the most scandalous films ever made. This was thanks to an ill-advised song lyric about the Middle East: “Where they cut off your ear if they don’t like your face.” (The 1993 VHS version tossed out this carbuncle but kept the phrase “It’s barbaric, but hey it’s home.”) The 2019 Will Smith reboot of the same name, one of that year’s highest-grossing films, didn’t do much in the eyes of critics to update Orientalist caricatures. Teachers still use the 1992 version to show what not to say about Arabs and Islam. Another Disney production, 2010’s “Prince of Persia: The Sands of Time,” which was based on the Persian national epic “Shahnameh,” got panned for casting Jake Gyllenhaal, a white actor, to play a Persian character. And the list goes on.
  • both Byatt and Miller get much of the folklore right. Viewers learn that djinn come in many varieties, including those who fear God, like Alithea’s djinn insists he does, and those who don’t. Djinn are made of “smokeless fire” while humans are made from dust, based on the Quran’s chapter 55, “The Merciful.” Djinn can live for thousands of years, change size and shape, make love, eat and sleep (the djinn in the movie says his kind don’t do the latter). All this and more, drawn from Islamic folklore through Byatt’s story, makes Robin Williams’ blue meanie from the 1992 “Aladdin” look like the cardboard cutout he is
  • at a time of heightened sensitivity to who gets to tell stories, can Hollywood still celebrate the Middle East?
  • ...7 more annotations...
  • these tales don’t come from fantasies like “The 1,001 Arabian Nights” but instead Middle Eastern history, especially Ottoman history. Anyone familiar with the region’s culture and storytelling will be struck by how thoughtful the film is, despite its kooky, over-the-top vaudeville
  • Miller’s location, cast and music celebrate rather than lampoon the Middle East, above all the wonders of Turkey. Shot on location in Istanbul, the film pans over Topkapi Palace, the Hagia Sophia and other iconic hotspots. Turkish actors fill most of the minor roles and speak Turkish throughout (Elba gives it his best college try). “Chesm-i bulbul,” or “the nightingale’s eye,” the name for the djinn’s bottle and hence of Byatt’s story, is in fact a beloved style of glasswork. The film credits roll to a Turkish love song.
  • “Three Thousand Years,” billed as “Aladdin for adults” and based on the 1994 short story “The Djinn in the Nightingale’s Eye” by A.S. Byatt for The Paris Review
  • he adds a scene that’s unjustified by the plot and which mainly serves the demands of cultural sensitivity, in deference to viewers who don’t know enough about the Middle East to see how much care Miller has taken. Back in London and close to the finale, Alithea greets two neighbor ladies who ask why Alithea wastes time with “ethnics.” She fires back that she can’t abide people — like them — with knee-jerk reactions against anyone different. “Fuckface,” one of them spits at Alithea, who ducks back into her house.
  • This scene’s welcome jab at xenophobia is not what annoys; it is rather the non sequitur. It’s the one and only time we meet these neighbors, though they later stand aghast while Alithea explains her enormous ebony djinn will be staying for a while. It’s the one time we hear their views. Their struggle to grasp the Middle East has not shaped us in any way, nor does the script humanize them beyond political caricature. “OK, boomer,” says the movie with a sneer. Miller could have stood on his thoughtfulness toward the Middle East without pandering, but in fairness, he’s less to blame than a culture industry that makes directors like him think that pandering is the price of keeping their skin.
  • Byatt’s story is nothing if not highly sexed, and Miller’s retelling can’t do it justice.
  • That both the djinn and Alithea are trapped by their own gigantic emotions produces one of the film’s loveliest sentiments, spoken by Alithea as part of her wish for the djinn’s affections: “I want our solitudes to be together.”
Ed Webb

Hollywood blockbuster "Noah" faces ban in Arab World - News - Aswat Masriya - 0 views

en.aswatmasriya.com/...view.aspx

film censorship religion MENA

shared by Ed Webb on 08 Mar 14 - No Cached
  • Three Arab countries have banned the Hollywood film "Noah" on religious grounds even before its worldwide premiere and several others are expected to follow suit
  • Islam frowns upon representing holy figures in art and depictions of the Prophet Mohammad in European and North American media have repeatedly sparked deadly protests in Islamic countries over the last decade, fanning cultural tensions with the West. "Censors for Qatar, Bahrain and the UAE (United Arab Emirates) officially confirmed this week that the film will not release in their countries," a representative of Paramount Pictures, which produced the $125 million film starring Oscar-winners Russell Crowe and Anthony Hopkins, told Reuters
  • the studio expected a similar ban in Egypt, Jordan and Kuwait
  • ...3 more annotations...
  • Noah, who in the Bible's Book of Genesis built the ark that saved his family and many pairs of animals from a great flood, is revered by Judaism, Christianity and Islam. An entire chapter in the Koran is devoted to him.
  • Cairo's Al-Azhar, the highest authority of Sunni Islam and a main centre of Islamic teaching for over a millennium, issued a fatwa, or religious injunction, against the film on Thursday. "Al-Azhar ... renews its objection to any act depicting the messengers and prophets of God and the companions of the Prophet (Mohammad), peace be upon him,"
  • Mel Gibson's 2004 film "The Passion of the Christ" on Jesus's crucifixion was widely screened in the Arab World, despite a flurry of objections by Muslim clerics. A 2012 Arab miniseries "Omar" on the exploits of a seventh century Muslim ruler and companion of the Prophet Mohammad also managed to defy clerics' objections and air on a Gulf-based satellite television channel.
Ed Webb

Saudi romantic comedy creates buzz at Berlin film fest - Al Jazeera English - 0 views

www.aljazeera.com/...film-fest-160213192055465.html

Saudi KSA film media comedy public publicsphere

shared by Ed Webb on 14 Feb 16 - No Cached
  • "In the last 30 years, public space in Saudi Arabia is getting smaller, there is less room for liberals, for women, for minorities. They are less visible in the streets, so no one wants to watch a film in a public space," Mahmoud Sabbagh, the director of the film, told Al Jazeera. "So I had to make a love story, and in the background there is the story of the city and of public space."
  • The young Saudi team behind the movie financed it themselves - and apart from getting round the censors, they also had to constantly explain to people what they were doing.  The entire film was shot inside Saudi Arabia.
Ed Webb

Safar: A journey of discovery into Arab cinema's past and present | Middle East Eye - 0 views

www.middleeasteye.net/...ma-past-and-present-1954332459

film Egypt Tunisia Lebanon Iraq Palestine ArabWorld

shared by Ed Webb on 19 Sep 18 - Cached
  • the film also shows a Cairo unknown to many in the West, and it is filled with scenes depicting prostitution, class divisions, and agnosticism over the political milieu
  • “Believe me, nobody wants to be a refugee. I am here, but I am not here,” he said, referring to his thoughts being scattered between London and Baghdad.
  • “We want people to come away with a feel for the diversity in Arab cinema, as well as Arabic literature.”
  • ...5 more annotations...
  • “I try to create a feeling of what it is like to be away from one’s homeland, to show the human element of living in exile. I document these experiences to reflect some of what an entire generation of people living in exile feel.”
  • Egypt entered what is referred to by many as “a golden age of cinema” in the 1950s, as Nasser sought to reclaim the country’s narrative from colonial influences following the 1952 coup. Consequently, the works of some of the country’s biggest novelists of that era, including Yusuf Idris, Tawfiq al-Hakim and Mahfouz, were adapted into film.
  • Fahim laments the lack of film archiving across the region - barring efforts from private institutions.
  • “The state of archiving and of restorations and preservations is exceedingly destitute,” he said, adding that rights owners were difficult to locate and that he had to “deal with a lot of bureaucracy to secure the films.” In some Middle East nations, particularly war-ravaged Syria and Iraq, the fate of a swathe of Arab cinematic heritage is “simply unknown”.
  • The festival will close on 18 September with the world premiere of the 1969 film, The Land, directed by Youssef Chahine, one of the leading voices in Arab cinema for over half a century until his death in 2008.
Ed Webb

Why is the Egyptian state monopolizing the entertainment industry? | openDemocracy - 0 views

www.opendemocracy.net/...olizing-entertainment-industry

Egypt cinema movies film media censorship military

shared by Ed Webb on 25 Jun 19 - Cached
  • Egyptian television series that aired during the peak Ramadan season this year dramatically decreased by half from previous production volumes. Production restrictions and censorship in the most populous Arab country are on the rise, tough circumstances for the entertainment industry, exacerbated by a military-linked production company’s recent monopoly of soap operas. The move also raises concerns about whether a similar fate might be in the works for the film industry.
  • In late 2018, a memo circulated to industry professionals by state affiliate Egyptian Media Company (EMC) laid out a set of regulations making it virtually impossible for almost any production company asides from EMC sub arm Synergy Production to produce soap operas in the 2019 Ramadan season
  • “We have to understand why Synergy is gaining this much control…it’s also very clear that some series [this year] have an almost didactic direction, promoting particular ideas such as improving the image of police officers. Mandating which themes are to be discussed and which won’t be is not censorship, its indoctrination,” Aly Mourad, the CEO of Al Shorouk for Media Productions, tells Open Democracy. “I don’t think we’ve heard of this level of censorship since the time of [Former President] Nasser; it’s like we are going back 60 years in time.”
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  • “What I fear is that this pool of currently unemployed talent will switch careers, which will come at the longtime expense of the industry since these are trained professionals. I do not believe that the military [Synergy] sees this; they simply have one clear goal: to control the industry. The government has effectively, through the institutions it runs, carried out the first monopolization process in the history of neoliberalism.”
  • In June 2018, the authorities banned a film examining a love affair between a Muslim man and a Christian woman before it hit the cinemas, although director Khaled Youssef said he obtained the necessary licenses. The decision was later revoked, but was alarming to many given rising censorship levels
  • While over fifty shows typically aired during the peak Ramadan season, even during economically turbulent years as in 2017 and 2018, only twenty-four shows aired last Ramadan, and over two-thirds of them are produced by Synergy. Production powerhouses like El Adl Group and Beelink Productions were notably absent this season from their regular Ramadan run, while regionally acclaimed megastars like Yossra, Adel Imam and Laila Elwy uncharacteristically did not star in any shows during the peak season either, likely due to the dramatic, forced budget cuts which make casting an A-lister virtually impossible. Compensation levels for many of these lead faces could often be as high as EGP 50 million (~USD 3 million), the currently imposed budget cap for aggregate production costs of a Ramadan soap opera’s full season
  • “For a producer, the direct client of drama series is television channels, and several factors have negatively impacted their purchasing power. The GCC-owned channels are struggling in light of the economic difficulties there, primarily due to the war in Yemen, so the main overseas market for selling television series is not that great. Add to this that privately owned channels in Egypt were never highly profitable, and media budgets generally were slashed with Egypt’s high inflation levels [during the past couple of years], and you have a situation where many production companies are struggling to stay afloat.”
  • Over the course of the past year, EMC CEO Tamer Morsy also gradually gained majority ownership of key television networks such as CBC, ONTV, DMC and Al-Hayat, a move facilitated through the recent launch of EMC affiliate United Group for Media Services. Moreover, state-owned entities effectively gained control of both the production and purchasing sides of the business as these unprecedented levels of regulation and government ownership were put in place.
  • in early May United Group for Media Services launched paid streaming app WatchiT and prohibited the longtime convention of shows airing online on YouTube for those who couldn’t catch them on satellite television channels. Widely accessed streaming app EgyBest, among other free online streaming services, were also blocked to allegedly mitigate “piracy”, granting government intelligence-affiliated WatchiT a monopoly over streaming services. Since digital finance and financial inclusion levels are low in the most populous Arab country, the decision came to the dismay of throes of viewers regardless of political affiliations or regulation concerns. For those following television series on satellite channels, short broadcast announcements interrupt episodes to denounce a May 28 Human Rights Watch report on enforced disappearances, killings and torture in North Sinai. Other broadcasts order audiences to pay heed to “threats to terrorism and national security.”
  • “Because these people [Synergy and EMC] are military men, their mentality is to cut off what doesn’t work, with little concern for the consequences. The military don’t understand or love the arts; they see it as just another industry they can profit off by minimizing losses.”
  • “It’s understandable that they [the military] would be more concerned with penetrating television production as opposed to the cinema industry, because viewership numbers are higher for television series in comparison to films. Not everyone can afford a cinema ticket, but most Egyptians, be they rich or poor, have access to a television set. There’s nothing to stop them from gaining as much control of the film industry as they have with television, but I believe they’re not investing in it [as much] because it isn’t as lucrative,”
  • Saudi Arabia is once again opening cinema theaters following a 35-year ban, creating a significant potential box office market for Egyptian films, particularly since plans for the inauguration of 2,000 theatres in the kingdom before 2020 are in the works
  • our country was once the Hollywood of the Middle East,”
  • There was a time when everyone in the Arab world recognized Umm Kalthoum and Ismail Yassin, even more so than [our own president] Nasser. We need to work towards reestablishing that, and understanding how entertainment can be used as a tool for soft power
Ed Webb

Inside the Pro-Israel Information War - 0 views

www.leefang.com/...ide-the-pro-israel-information

US USA UK Britain Israel Palestine israelpalestine Gaza war propaganda academia AIPAC hasbara

shared by Ed Webb on 10 Dec 23 - Cached
  • a rare public glimpse of how Israel and its American allies harness Israel’s influential tech sector and tech diaspora to run cover for the Jewish state as it endures scrutiny over the humanitarian impact of its invasion of Gaza.
  • reveal the degree to which, in the tech-oriented hasbara world, the lines between government, the private sector, and the nonprofit world are blurry at best. And the tactics that these wealthy individuals, advocates, and groups use -- hounding Israel critics on social media; firing pro-Palestine employees and canceling speaking engagements; smearing Palestinian journalists; and attempting to ship military-grade equipment to the IDF -- are often heavy-handed and controversial.
  • Members of the hasbara-oriented tech world WhatsApp group have eagerly taken up the call to shape public opinion as part of a bid to win what’s been described as the “second battlefield” and “the information war.”
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  • "President Biden seems incapable of using the one policy tool that may actually produce a change in Israel's actions that might limit civilian deaths, which would be to condition military aid that the United States provides to Israel,” Clifton added. He partially attributed the inability of the U.S. government to rein in Israel’s war actions to the “lobbying and advocacy efforts underway.”
  • Fisher repeatedly noted the need to offer accurate and nuanced information to rebut critics of Israel's actions. Yet at times, he offered his own misinformation, such as his claim that "anti-Israel" human rights organizations like Amnesty International and Human Rights Watch "didn't condemn the October 7th massacre."
  • J-Ventures has also veered into an unusual kind of philanthropy: shipments of military supplies. The group has attempted to provide tactical gear to Israel’s equivalent of the U.S. Navy SEALs, known as Shayetet-13, and donated to a foundation dedicated to supporting the IDF’s undercover “Duvdevan” unit, which is known for infiltrating Palestinian populations. Many of the shipments intended for the IDF were held up at U.S. airports over customs issues.
  • Israel would soon lose international support as its military response in Gaza kills more Palestinian civilians, noted Schwarzbad, who stressed the need to refocus attention on Israeli civilian deaths. “Try to use names and ages whenever you can,” she said. Don’t refer to statistics of the dead, use stories. “Say something like, 'Noah, age 26, was celebrating with her friends at a music festival on the holiest day of the week, Shabbat. Imagine if your daughter was at Coachella.’”
  • The Israel-based venture capitalist outlined three categories of people for whom outreach, rather than attacks, is the best strategy. The first group is what he dubbed “the impressionables,” who are "typically young people, they reflexively support the weak, oppose the oppressor," but "are not really knowledgeable." For this category of people, the goal is not to "convince them of anything," but to "show them that it's much more complicated than it seems." Seeding doubt, he said, would make certain audiences think twice before attending a protest. "So it's really about creating some kind of confusion,” Fisher continued, “but really, just to make it clear to them that it's really a lot more complicated."
  • The final group consists of those who are "reflexively pro-Israel, kind of ‘Israel, right or wrong.’" Members of this group "are not actually very knowledgeable," so they needed to be equipped with the right facts to make them "more effective in advocating for Israel,” Fisher said.
  • One participant even suggested that they appeal to the university’s “woke” aversion to exposing students to uncomfortable ideas.   The participant drafted a sample letter claiming that Tlaib’s appearance threatened ASU’s “commitment to a safe and inclusive environment.” The following day, ASU officially canceled the Tlaib event, citing “procedural issues.”
  • efforts to discredit HRW stem directly from its outspoken criticism of Israel’s record in the occupied territories and its military conduct. An HRW report released the same day as Fisher’s remarks cited the World Health Organization’s conclusion that the IDF had killed roughly one child in Gaza every 10 minutes since the outbreak of violence in October.
  • members of the J-Ventures group chat also internally circulated a petition for Netflix to remove the award-winning Jordanian film ‘Farha,’ claiming that its portrayal of the actions of IDF soldiers during the 1948 displacement of Palestinians constituted “blood libel,” while another said the film was based “antisemitism and lies.”
  • The group, which also includes individuals affiliated with the influential American Israel Public Affairs Committee (AIPAC), has tirelessly worked to fire employees and punish activists for expressing pro-Palestinian views. It has also engaged in a successful push to cancel events held by prominent Palestinian voices, including an Arizona State University talk featuring Rep. Rashida Tlaib, a Michigan Democrat who is the only Palestinian-American in Congress. The group has also circulated circulated a push poll suggesting Rep. Tlaib should resign from Congress and provided an automatic means of thanking Rep. Dan Goldman, D-N.Y., for voting for her censure.
  • One member noted that despite the controversy over a scene in the film in which Israeli soldiers execute a Palestinian family, Israeli historians have documented that “such actions have indeed happened.” The critique was rejected by other members of the group, who said the film constituted “incitement” against Jews.
  • a variety of automated attempts to remove pro-Palestinian content on social media
  • Over the last two months, dozens of individuals have been fired for expressing opinions related to the war in Gaza and Israel. Most have been dismissed for expressing pro-Palestinian views, including a writer for PhillyVoice, the editor of ArtForum, an apprentice at German publishing giant Axel Springer, and Michael Eisen, the editor-in-chief of eLife, a prominent science journal. Eisen’s offense was a tweet sharing a satirical article from The Onion seen as sympathetic to the plight of Palestinians in Gaza.
  • The WhatsApp chats provide a rare look at the organizing efforts behind the broad push to fire critics of Israel and suppress public events featuring critics of the Israeli government. The scope is surprisingly broad, ranging from investigating the funding sources of student organizations such as Model Arab League, to monitoring an organizing toolkit of a Palestine Solidarity Working Group – “They are verrrry well organized”, one member exclaimed – to working directly with high-level tech executives to fire pro-Palestinian employees.
  • Last year, the Israeli government revoked funding for a theater in Jaffa for screening the film, while government figures called for other repercussions to Netflix for streaming it.
  • Lior Netzer, a business consultant based in Massachusetts, and a member of the J-Ventures WhatsApp group, requested help pressuring the University of Vermont to cancel a lecture with Mohammed El-Kurd, a Palestinian writer for The Nation magazine. Netzer shared a sample script that alleged that El-Kurd had engaged in anti-Semitic speech in the past.The effort also appeared to be successful. Shortly after the letter-writing campaign, UVM canceled the talk, citing safety concerns.
  • The WhatsApp group maintained a special focus on elite universities and white-collar professional positions. Group members not only circulated multiple petitions to fire professors and blacklist students from working at major law firms for allegedly engaging in extremist rhetoric, but a J-Ventures spreadsheet lists specific task force teams to "get professors removed who teach falcehoods [sic] to their students." The list includes academics at Cornell University, the University of California, Davis, and NYU’s Abu Dhabi campus, among others.
  • Many of the messages in the group focused on ways in which to shape student life at Stanford University, including support for pro-Israel activists. The attempted interventions into campus life at times hinged on the absurd. Shortly after comedian Amy Schumer posted a now-deleted satirical cartoon lampooning pro-Palestinian protesters as supporters of rape and beheadings, Epstein, the operating partner at Bessemer Ventures Partners and member of the J-Ventures WhatsApp group, asked, “How can we get this political cartoon published in the Stanford Daily?"
  • The influence extended beyond the business and tech world and into politics. The J-Ventures team includes advocates with the most powerful pro-Israel lobbying organization, the American Israel Public Affairs Committee, better known as AIPAC. Officials in the J-Ventures group include investor David Wagonfeld, whose biography states he is “leading AIPAC Silicon Valley;” Tartakovsky, listed as “AIPAC Political Chair;” Adam Milstein, a real estate executive and major AIPAC donor; and AIPAC-affiliated activists Drs. Kathy Fields and Garry Rayant. Kenneth Baer, a former White House advisor to President Barack Obama and communications counsel to the Anti-Defamation League, is also an active member of the group.
  • Other fundraising efforts from J-Ventures included an emergency fund to provide direct support for IDF units, including the naval commando unit Shayetet-13. The leaked planning document also uncovers attempts to supply the mostly female Caracal Battalion with grenade pouches and to donate M16 rifle scope mounts, “FN MAG” machine gun carrier vests, and drones to unnamed IDF units. According to the planning document, customs enforcement barriers have stranded many of the packages destined for the IDF in Montana and Colorado.
  • the morning after being reached for comment, Hermoni warned the WhatsApp group against cooperating with our inquiries. “Two journalists … are trying to have an anti semi[tic] portrait of our activity to support Israel and reaching out to members,” he wrote. “Please ignore them and do not cooperate.” he advised. Shortly thereafter, we were kicked out of the group
  • Victory on the “media battlefield,” Hoffman concluded, “eases pressure on IDF to go quicker, to wrap up” and “goes a long way to deciding how much time Israel has to complete an operation.”
Ed Webb

TCM Explores Depictions of Arabs in Cinema in Acclaimed Race & Hollywood Initiative - 0 views

www.tcm.com/...movie-news.html

Arabs movies film stereotypes television

shared by Ed Webb on 27 May 11 - No Cached
  • Turner Classic Movies is preparing to launch Race & Hollywood: Arab Images on Film, a month-long movie event that focuses on the diverse portrayals of Arabs in cinema. Tuesday and Thursday nights in July, TCM host Robert Osborne will be joined by internationally acclaimed professor, author and Middle East media consultant Dr. Jack G. Shaheen to introduce a wide range of films and provide extensive insight into Hollywood's ever-changing attitude toward Arab people.
  • 14 TCM premieres, including the award-winning Gulf War action drama Three Kings (1999), starring George Clooney, Mark Wahlberg and Ice Cube; the romantic comedy-adventure Jewel of the Nile (1985), starring Kathleen Turner and Michael Douglas; the Libya-set dramas Lion of the Desert (1981), starring Anthony Quinn; The Black Tent (1956), with Donald Sinden; the adventure films Tarzan the Fearless (1933), with Buster Crabbe; and the silent classic The Sheik (1921), starring Rudolph Valentino. The July lineup will also include David Lean's Lawrence of Arabia (1962), Caesar and Cleopatra (1945), Kismet (1944), The Thief of Bagdad (1924) and several animated shorts featuring Bugs Bunny, Porky Pig, Popeye and other famous characters
  • I can't say the celluloid Arab has changed. He is what he has always been - the cultural 'other.' Arabs have too often been viewed as backward, barbaric and dangerously different through Hollywood's distorted lens. Unfortunately, these stereotypes are now deeply ingrained in American cinema
  • Ed Webb on 27 May 11
     
    This is huge. And overdue.
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