By Viola Shafik

Because it used to be first released in 1998, Viola Shafik’s Arab Cinema: background and Cultural id has turn into an quintessential paintings for students of movie and the modern heart East. Combining precise narrative history—economic, ideological, and aesthetic—with thought-provoking research, Arab Cinema offers a finished assessment of cinema within the Arab global, tracing the industry’s improvement from colonial instances to the current. It analyzes the ambiguous courting with advertisement western cinema, and the impact of Egyptian marketplace dominance within the quarter. Tracing the impact at the medium of neighborhood and neighborhood artwork varieties and modes of concept, either classical and well known, Shafik exhibits 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 variation incorporates a new afterword highlighting the newest advancements in renowned movie and in cinéma d’auteur (art apartment movies), with a distinct concentrate on Iraq, Lebanon, and Palestine. whereas exploring difficult matters comparable to eu co-production for Arab artwork movies, together with their relation to cultural identification and their reception within the area and in another country, this re-creation introduces readers to a couple of the main compelling cinematic works of the decade.

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In 1984 the ONCIC was so indebted that it had to be divided into two organizations with different functions, the ENAPROC (Entreprise Nationale Algerienne de la Production Cinematographique) and the ENADEC (Entreprise Nationale Algerienne de la Distribution Cinematographique). They were connected only loosely under the supervision of the new CAAIC (Centre Algerien pour 1'Art et I'lndustrie Cinematographique). Although in 1985 the CAAIC started reprivatizing cinemas, its financial troubles were still so great at the end of the 1980s that it had no foreign exchange at its disposal either for imports or for the post production laboratory work abroad.

Even so, some films made in the new spirit were produced by state enterprises. They are marked not only by an unconventional style but also by a deviation from official ideologies and political discourses, as can be seen in films such as Omar Gatlato (cUmar qatlatu al-rudjla, 1976) and Adventures of a Hero (Mughamarat 38 The History of Arab Cinema The Events of the Coming Year (Waqa'ic al-cam al-muqbil, Syria, 1986) by Samir Zikra batal, 1976) by the Algerian Merzak Allouache, or The Half-Meter Incident (Hadithat al-nisf mitr, 1981) and Stars in Broad Daylight (Nudjum al-nahar, 1988) by the Syrians Samir Zikra and Usama Muhammad.

Films financed in this way include Nouri Bouzid's Golden Horseshoes, Ferid Boughedir's Halfaouine, the short film sampler, The Gulf War and After (Harb al-khalidj wa bacd), and Chichkhan by Mahmoud Ben Mahmoud and Fadhel Jaibi (Fadil Djucaybi). On a technical level, Tunisian cinema has equaled Western standards. Ferid Boughedir's Halfaouine was so successful that it was not only broadcast abroad but released in the cinemas of several European countries. 42 The History of Arab Cinema The Tunisian police film Chichkhan (Shish Khan; Poussiere de diamants, 1991) is an example of the negative effects European financing has on style and content.

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