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played in the movie by British actor Mark Strong

"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.

“The mayor faces many problems with the opposition in Baqa al-Gharbiyye,” Muasi said. “Despite being secular himself, he needs the support of this Salafist group to bolster his coalition. And this is done at my expense. He simply sacrificed me as a teacher to serve his own political interests.”

Despite having negligible political weight, radical Islamic groups like the Hedaya movement in Baqa al-Gharbiyye are central to the current political struggles within Arab society. Local leaders keep them politically on their side, apparently because they don’t know when and if they might need their support.

“In the past three years we have seen at least 20 cases whereby artists or institutions came under attack by groups alleging to be Islam’s bona fide representatives,” Muasi said. “These are groups from Salafist Islam, far removed from the mainstream. Their people are trying to impose their worldview on an entire society and even on other Islamic movements that are more moderate than they are.”

A federal court has held Syria’s government liable for the targeting and killing of an American journalist as she reported on the shelling of a rebellious area of Homs in 2012. The decision could help ease the way for war-crimes prosecutions arising from the Syria conflict.

awarded $302.5 million to relatives of the journalist, Marie Colvin. Of that sum, $300 million is punitive damages for what Judge Amy Berman Jackson, in her ruling, called “Syria’s longstanding policy of violence” that aimed “to intimidate journalists” and “suppress dissent.”

The large size of the award sends a message, he said, that “the rule of law is still a force to be reckoned with,” even amid a global trend toward authoritarianism and the killing of journalists like Jamal Khashoggi, the Saudi Arabian slain in his country’s consulate in Istanbul.

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.”

Despite the emphasis on the Islamic coda that prohibits discrimination against fellow black Muslims and Act 21 of the national constitution which emphasizes that all Tunisians are “equal before the law without any discrimination,” racism against its black citizens permeates the social, institutional, and political strata of Tunisia.

“the level of interaction between Sub-Saharan in general and the Tunisian population is negligible.”

Maha Abdelahmid, co-founder of l’Association de défense des droits des Noirs (ADAM or the Tunisian League for the Defence of the Rights of Blacks) states that birth certificates delivered to black Tunisians who are born in Djerba (in the south east of Tunisia, known for its large black community) still carry the title “freed slaves.”

it’s the cleric’s King of Pop-inspired crisis of faith and the ways it’s manifested and ultimately assuaged that gives the film its unique depth. To that end, Salama gently, effectively examines the role religion can play in one’s life and outlook versus how a secular, more free-thinking existence may offer greater latitude but not always better or happier choices.

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.”

Pop music in the region today truly represents the Westernization of classical Arabic music defined by traditional elements of improvisation (where songs often last as long as an hour), instruments native to the region like the oud, and maqam, which is a system of melodies and pitches native to Arabic music. Classical Arabic artists like Oum Kulthum and Asmahan thrived on this style and are considered icons of Arabic music because of their ability to evoke emotion through their artistry.But in conjunction with colonization, Arabic music began to shift from its classical roots with the Cairo Congress of Arab Music in 1932, organized by King Fuad of Egypt. This symposium brought together renowned composers and ethnomusicologists from the Middle East, North Africa, and Europe who created a set of proposals for the modernization and standardization of Arabic music, one of which was the incorporation of European instruments into Arabic ensembles because “such instruments possessed tremendously varied, expressive means and depictive powers.”The other notable event that pushed this modernization further was the introduction of the phonograph to the region. Phonographs could only play songs for a limited duration, making the traditional improvisation and hour-long running times of classical Arabic music nearly impossible.The final nail in the coffin was the burgeoning film industry in the 1950s and 1960s, particularly in Egypt, the cultural epicenter for creative output in the Middle East and North Africa. Movies were heavily Westernized at the time, forcing directors and producers to modify accompanying music to incorporate Western-style elements in their instruments and duration.

a new movement is rising in North Africa.Rappers and emcees from the region are boldly approaching hip-hop and the larger Arab music landscape by exploring taboo themes and proactively deconstructing societal markers of North African identity. They are experimenting with beat production and dialect as they go about creating a space for their music and for these conversations to be held in a public domain. This is not a knock on the Levantine or Khaleeji rap scenes; there are many artists who are doing this currently. But North African emcees are using their lyrical flows and melodic rhythms to grapple with the essential question of identity. The music sounds fresh and breathes new life into the pop-dominant Arabic music scene.

A vast majority of North African rappers primarily use their regional Arabic dialects and French in their music. But many artists, specifically North African artists based in Europe, also use Spanish, Dutch, and English on their albums. A few artists will even use all four languages in one song.

Standard Arabic, or Modern Standard Arabic (MSA), is on the decline, and some are happy to see it go. However, it is important to note the factors driving this decline, and what this means for the region.

Though some rejoice in the strengthening of vernaculars, the so-called colloquials or dialects, as a sign of local identities gaining prominence, the withdrawal of MSA is in fact a warning about the weakening social infrastructure and declining education system.

When people speak of the decline of MSA, they generally refer to decline in literature, literacy, and increasing predilections to use dialects or foreign languages instead of MSA

the most overriding issue, for this critic at least, is the total lack of significant Middle Eastern and North African representation in the cast despite the very clear influence of MENA, Islamic and Arab culture on the desert planet and this universe in the original book and this film. I’ve written before about the importance of Fremen characters being played by MENA actors not least because their language is mostly made up of Arabic words, like “Mahdi'' (‘the rightly guided one”) and “Lisan al Gaib” (“the voice from the outer world”), respectively. Though it's notable that jihad, the phrase frequently used in the book, has now been replaced with "crusade" and "holy war". 

One can easily observe the Bedouin and Amazigh inspiration behind this nomadic community on the page and the screen, through the Fremen’s penchant for Keffiyeh, group feeling unity and strength in their ability to survive in such a dangerous environment. These ideas, as well as the cyclical nature of dynasties and civilisations, were reflected in Tunisian sociologist, philosopher and historian Ibn Khaldun’s 14th Century book of Islamic History, “The Muqaddimah”, which underpinned much of Herbert’s sci-fi series.

Jordan’s Wadi Rum and Abu Dhabi in the UAE provided the vast beauty and brutality of this fictional desert planet landscape. The pale, flat-roofed buildings of Arrakeen, the planet’s seat of power which, in the book, was transferred from the city of Carthag (sound familiar?) under Harkonnen rule, is reminiscent of North African architecture. If the overarching storyline about Imperialist colonisers stealing a powerful fuel from the native population doesn't remind you of a certain 20th Century Western conflict with the Middle East, the Knights Templar colour scheme of the Sardaukar certainly hints at a 12th Century one. A holy war no less!

Glasgow’s Dr Campbell Price is British TV’s go-to guy when it comes to ancient Egypt. But the study is riddled with racism and he wants to drag the world of mummies into the 21st century … and he doesn’t care if you call him ‘woke’.

Price is at the forefront of the fight to ‘decolonise’ the study of Ancient Egypt and drag it into the 21st century. He wants the discipline to confront its history of racism and empire, and he’s not shy about apportioning a fair amount of blame on Scotland and its own role in Britain’s colonial adventures.

the study of Ancient Egypt was founded by colonialists from Britain and France in the early 1800s and it still hasn’t shaken off the baggage of the past. There’s a lingering sense that Egyptians are considered unable or incapable of studying their own history without the assistance of white, western academics who are really the people best suited to the discipline. The whiff of racism and a “white saviour narrative” still hangs in the air, he feels.

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.