Accueil > Middle-Eastern Cinema

DHUM 25A03 - Middle Eastern Cinema and Politics

Type d'enseignement : Seminar

Semester : Autumn 2018-2019

Number of hours : 24

Language of tuition : English

Pre-requisite

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Course Description

Contemporary Middle Eastern cinema reflects the social, political and cultural challenges in the region, while revealing the revolutionary spirit of its filmmakers and their filmic language. This course will define dominant themes such as: territory, cultural identity, memory, modernism, religion, feminism, internal conflict and socio-political violence, within both historical and present political contexts. Filmmakers will include: Chahine, Saab, Kiarostami, Farhadi, Gitai, Maoz, Folman, Doueiri, Khleifi, Assad, Güney, and Ceylan, dealing with the challenges of Egypt, Iran, Israel, Lebanon, Palestine, and Turkey. Basic film analysis terms and cultural theories will be covered in order to study and articulate the form as well as content of these films. While addressing the larger question of the relationship between aesthetics and politics, this course will encourage an analysis of film as a participant in social and political change.

Teachers

GONZALEZ, Diana (Docteure en sociologie)

Required reading

  • David Bordwell and Kristen Thompson, Film Art: An Introduction, 9th ed., McGraw Hill Co., 2010.
  • Maurice Halbwachs, On Collective Memory, Chicago: University of Chicago Press, 1992.
  • Hamid Dabashi, Masters and Masterpieces of Iranian Cinema, Washington, D.C.: Mage Publishers, 2007
  • Hamid Dabashi, Dreams of a Nation: on Palestinian Cinema, New York and London: Verso Books, 2006.
  • Mehran Kamrava, The Modern Middle East: A Political History Since the First World War, 2nd ed.,Berkeley and Los Angeles: University of Calif. Press, 2011.

Additional required reading

  • Twelve films will be viewed (out of class). Readings will be selected from:
  • Lina Khatib, Lebanese Cinema: Imagining the Civil War and Beyond, New York: I.B. Tauris & Co. Ltd., 2008.
  • Hamit Bozarslan, “Kurds and the Turkish State,” in R. Kasaba (ed.), Cambridge History of Modern Turkey. Cambridge: Cambridge University Press, 2008, pp. 333-356.
  • Bozarslan, Hamit. Violence in the Middle East: From Political Struggle to Self-Sacrifice. Princeton: Marcus Wiener Publishers,2004 (pp. 126-141; 160-161).
  • Raz Yosef, The Politics of Loss and Trauma in Contemporary Israeli Cinema. NY., London: Routledge, 2011, 2014.
  • Destiny (El-Maseer) (Youssif Chahine, Egypt, 1997)
  • Dunia: Kiss Me not on the Eyes (Jocelyne Saab, Egypt/Lebanon, 2006)
  • Kadosh (Amos Gitai, Israel, 1999)
  • West Beirut (Ziad Doueiri, Lebanon, 1998)
  • Lebanon (Samuel Maoz, Israel, 2009)
  • Waltz with Bashir (Ari Folman, Israel, 2008)
  • Wedding in Galilée (Michel Khleifi, Palestine, 1987)
  • Paradise Now (Hany-Abu-Assad, Palestine, 2004)
  • The Night (Mohamed Malas, Syria, 1992)
  • Yol (Yilmaz Güney, Turkey, 1982)
  • Three Monkeys (Nuri Bilge Ceylan, Turkey, 2009)
  • Taste of Cherry (Abbas Kiarostami, Iran, 1997)
  • The Separation (Asghar Farhadi, Iran, 2011)
  • Mike Wayne: Political Film : The Dialectics of Third Cinema, London: Pluto Press, 2001
  • Ella Shohat, Israeli Cinema: East/West and the Politics of Representation, revised ed., (1st ed., 1989), New York and London: I.B. Taurus & Co., 2010.
  • Robert Stam, Subversive Pleasures : Bakhtin, Cultural Criticism, and Film, Baltimore and London: John Hopkins University Press, 1989.
  • Mikael Bakhtin, “Rabelais and his Time,” 1965, in The Bakhtin Reader, Pam Morris, ed., London: Edward Arnold, 1994.
  • Mikael Bakhtin, “Epic and Novel”, in The Dialogic Imagination : Four Essays by M. M. Bakhtin, Michael Holquist (ed.), , Caryl Emerson and Michael Hoquist (trad.), Austin: University of Texas Press, 1982
  • Siefried Kracauer, Theory of Film: Redemption of Physical Reality, Princeton: Princeton University Press, 1997.
  • Hamid Dabashi: Close-up: Iranian Cinema, Past, Present and Future, New York: Verso, 2001
  • Lina Khatib, ed., Storytelling in World Cinemas, Vol. 1-Forms, London and New York: Wallflower Press (Columbia University Press), 2012.
  • Viola Shafik, Arab Cinema: History and Cultural Identity, revised ed., Cairo: The American University in Cairo Press, 2007.
  • Raz Yosef, “War Fantasies: Memory, Trauma and Ethics in Ari Folman's Waltz with Bashir,” in Journal in Modern Jewish Studies, 9:3, 311-396.
  • Diana Gonzalez-Duclert, Le film-événement: Esthétique, politique et la société dans le cinema américain. Paris: Armand Colin, 2012
  • Gonul Donmez-Colin, Turkish Cinema: Identity, Distance and Belonging, London: Reaktion Books, 2008.
  • Asuman Suner, New Turkish Cinema: Belonging, Identity and Memory. London: I.B. Taurus, 2010
  • Deniz Bayrakdar, Cinema and Politics: Turkish Cinema and the New Europe. Cambridge: Cambridge Scholars Publishing, 2009.
  • Dominique LaCapra, Writing History, Writing Trauma. Baltimore: John Hopkins Press, 2014
  • Kamran Rastegar, Surviving Images: Cinema, War, and Cultural Memory in the Middle East. Oxford: Oxford University Press.