By Rebecca Hillauer

ISBN-10: 9774249437

ISBN-13: 9789774249433

Arab ladies filmmakers: who're they? What drives them? What are their studies in a male-dominated career? How do they functionality in the contexts - and constraints - of patriarchal societies? The solutions are complicated and occasionally fantastic, as complicated and spectacular because the greatly diverse motion pictures those ladies direct. during this unheard of e-book, Rebecca Hillauer assembles a complete and penetrating check out the background of Arab women’s filmmaking, in addition to the political and social heritage of the international locations - Egypt, Iraq, Lebanon, Syria, Algeria, between others - from which those artists emerged. as well as the biographies, filmographies, and discussions in their most vital works, vigorous, in-depth interviews let us listen from the filmmakers themselves. jointly, those girls, who hail from a variety of specialist, spiritual, and social backgrounds, offer a assorted and bright photograph of what it skill to paintings in inventive and journalistic fields within the smooth Arab global. For Hillauer, the topic of a movie, its genesis, and the private tale of the artist who created it display way over a specific method of cinematography. Arab girls filmmakers and their major characters (who are frequently semi-autobiographical) not just have the funds for us a glance at seldom-seen elements of Arab societies, they personify another women’s ‘model,’ one who is much faraway from western clichés. huge in scope, and wealthy in perception, Arab girls Filmmakers is a needs to learn for cineastes in addition to scholars of movie, feminism, and the center East.

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In 1957, the Arab world’s first public film organization, the Foundation for the Funding of Cinema (later renamed the Public National Film Organization) was established. The Higher Film Institute at the Academy of Arts in Cairo opened its doors two years later. In 1962 the film industry was nationalized, including Studio Misr, and the Egyptian Film Center was founded. The film institute developed into an academic Mecca for cineasts from throughout the Arab world and today remains the only educational institution of its kind in the region.

My task is to describe Egypt. Whenever I make a documentary, I deal with the social aspect. You film mostly common people from the lower social classes. Why? AA: I look at life in a poetic way. I love to live and I think that poor people in my country are all doing their best to work and to create life. I try in all my films to convey this love of life, even if the people live in very poor conditions. I treat them with great respect. I love to see their faces on the screen. I come from the working class, but film is a middle-class medium, so you have to be strong in order to maintain your relationship to your class.

Traditionally, the eldest daughter stayed home to help until she married and the task fell to the next daughter. “But by the time the sister right above me married, I was already in university, so they couldn’t stop me,” Ms. Abnoudi chortled. While studying law at Cairo University, she was drawn to free movies at European cultural centers around the capital. That led her, in 1968, to enroll in the first class of postgraduates accepted to Egypt’s new Film Institute. Ms. Abnoudi made two short films as a student.

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Encyclopedia of Arab Women Filmmakers by Rebecca Hillauer

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