Film Studies (FILM) 30110 - Lecture 01
New Arab Cinemas
Winter 2007
Lecture: Friday 9:00-10:50 Screenings: Wednesday 12:00-2:50 and Thursday: 12:30-3:20  

Instructor:	Dr. Malek Khouri
Office Location:	SS 350
Office Phone:	(403) 220-7339
E-Mail:	khouri@ucalgary.ca
Web Page:
Office Hours:	TBA

Additional Information

There will be four unannounced quizzes for the course. These will involve answering questions on the readings and films assigned for the week and the lecture of the previous week. The overall average for these quizzes amounts to 20% of the course mark.

Course Description

The course examines commonality, assortment, and continuity in New Arab Cinemas as manifested in several films produced over the last decade and a half by filmmakers from various Arab countries (Egypt, Lebanon, Tunisia, Morocco, Palestine, Algeria, Iraq). We will discuss historical, thematic, ideological, cultural and stylistic trends and preoccupation associated with New Arab Cinema. The films will be explored in conjunction with issues of memory and national liberation, the Palestine dilemma, the role of women filmmakers, gender, queer sensibilities, religion, heterogeneity, realism and neo-realism, modernism and reflexivity. By looking at contemporary Arab cinema from a historical-cultural perspective, we have an opportunity to discuss traits that are common to various cinemas, yet are specific to national production and consumption trends. In doing so we will consider how homogenizing notions of production and consumption are contested, how cultural identities are constructed and how methodoligizing processes are challenged through modernist approaches and cinematographic practices.

Objectives of the Course

A study of the New Arab Cinema will also enable us to reconsider current and long-standing critical and methodological examinations of the concept of national cinema. This study will also enable us to consider practices that are conceived as oppositional strategies for cultural and social change, and to look at alternative approaches to Eurocentric and First World-centered notions of national cinema.

Textbooks and Readings:

- A course reading package is available through the University of Calgary bookstore. Weekly readings will be discussed in class and connections will be made between them, the films, and class lectures.

- Timothy Corrigan; A Short Guide to Writing About Film (Fifth Edition, Longman, 2003).

Assignments and Evaluation

It is the student's responsibility to keep a copy of each submitted assignment.

Four in-class quizzes: total worth (20%). Essay assignment 1 (6 pages) due in class on March 2 (30%). Essay assignment 2: (15 pages) due in my office on April 16 by 12:00 (40%). Progress and active participation (10%).

Note: Please return assignments directly to the instructor if possible. If it is not possible to do so, a daytime drop box is available in SS110; a date stamp is provided for your use. A night drop box is also available for after-hours submission. Assignments will be removed the following morning, stamped with the previous day's date, and placed in the instructor's mailbox.

Registrar-scheduled Final Examination: No

Please note: If your class is held in the evening, the Registrar's Office will make every attempt to schedule the final exam during the evening; however, there is NO guarantee that the exam will NOT be scheduled during the day.

Policy for Late Assignments

Assignments submitted after the deadline may be penalized with the loss of a grade (e.g.: A- to B+) for each day late.

Writing Skills Statement

Faculty policy directs that all written assignments (including, although to a lesser extent, written exam responses) will be assessed at least partly on writing skills. For details see www.comcul.ucalgary.ca/info. Writing skills include not only surface correctness (grammar, punctuation, sentence structure, etc) but also general clarity and organization. Research papers must be properly documented.

If you wish help with your writing at any stage, including drafts, you are invited to contact the Writing Centre, SS110, 220-7255.

Grading System

The following grading system is used in the Faculty of Communication and Culture:

A+ (96-100); A (92-95); A- (86-91); B+ (81-85); B (77-80); B- (71-76);
C+ (65-70); C (62-64); C- (59-61); D+ (55-58); D (50-54); F (0-49)

 

Plagiarism

Using any source whatsoever without clearly documenting it is a serious academic offense. For details see www.comcul.ucalgary.ca/info. Consequences include failure on the assignment, failure in the course and possibly suspension or expulsion from the university.

You must document not only direct quotations but also paraphrases and ideas where they appear in your text. A reference list at the end is insufficient by itself. Readers must be able to tell exactly where your words and ideas end and other people’s words and ideas begin. This includes assignments submitted in non-traditional formats such as Web pages or visual media, and material taken from such sources.

Please consult your instructor or the Writing Centre (SS110) if you have any questions regarding how to document sources.

Students with Disabilities

If you are a student with a disability who may require academic accommodation, it is your responsibility to register with the Disability Resource Centre (220-8237) and discuss your needs with your instructor no later than fourteen (14) days after the start of the course.

Students' Union

For details about the current Students' Union contacts for the Faculty of Communication and Culture see www.comcul.ucalgary.ca/info

"SAFEWALK" Program -- 220-5333

Campus Security will escort individuals day or night -- call 220-5333 for assistance. Use any campus phone, emergency phone or the yellow phone located at most parking lot booths.

Schedule of Lectures and Readings

SCHEDULE OF LECTURES, SCREENINGS, AND READINGS

January 12 Introduction to the course Introductory Lecture and Several Clips

January 19 Dynamics of New Arab Cinemas Screening: Le Grand Voyage (Ismael Ferroukhi, 2004) Reading: Malek Khouri. “Origins and Patterns in the Discourse of New Arab Cinema,” Arab Studies Quarterly, vol. 27, no. 1/2 (Winter/Spring 2005): 1-20.

January 26 National Liberation: Memory and History Screening: Nasser 56 (Mohamed Fadel, 1996) Reading: Joel Gordon. “Nasser 56/Cairo 96: Reimaging Egypt’s Lost Community,” in Mass Mediations: New Approaches to Popular Culture in the Middle East and Beyond. Edited by Walter Armbrust. Berkeley: University of California Press, 2000: 161-181.

February 2 The Palestine Issue Screening: Paradise Now (Hany Abu-Assad, 2005) Reading: Haim Bresheeth. “Telling the Stories of Heim and Heimat: Home and Exile in Recent Palestinian Films and Iconic Parable of the Invisible Palestine,” in New Cinemas: Journal of Contemporary Film 1 (2002): 24-39.

February 9 Arab Women Filmmaking Screening: Satin Rouge (Raja Amri, 2002) Reading: Rebecca Hillauer. “The History of the Camera and the Veil,” in Encyclopedia of Arab Women Filmmakers. Cairo: American University in Cairo Press, 2005: 9-26.

February 16 Nation and Gender Screening: Silence of the Palaces (Moufida Tlatli, 1994) Reading: Laura Mulvey. “Moving Bodies,” in Sight and Sound, no. 3 (March 1995): 18-20.

February 23 (Reading Week)

March 2 (First Assignment Due in Class) Queer Sensibilities in New Arab Cinema Screening: Crazy of You (Akram Zaatari, 1997) The Red Chewing Gum (Akram Zaatari, Aand The Road to Love (Remi Lange, 2002). Reading: Garay Menicucci. “Unlocking the Arab Celluloid Closet: Homosexuality in Egyptian Film,” in Middle East Report, no. 206. www.merip.org/mer/mer206/egyfilm.htm, 12 pages.

March 9 National Identity and Religious Fundamentalism Screening: Destiny (Youssef Chahine, 1997) Reading: Malek Khouri. “Anxieties of Fundamentalism and Post-colonial Modernist Resistance: Youssef Chahine’s Al Maseer (The Destiny),” in CineAction, no. 69 (Spring 2006), pp. 12-23.

March 16 Heterogeneity and National Identity Screening: Forget Baghdad (Samir, 2002) Reading: Ella Shohat, and Robert Stam. “Third Worldist Film,” in Unthinking Eurocentrism: multiculturalism and the media. London: Routledge, 1994: 248- 255.

March 23 Class and Social and Neo-Realisms Screening: Ali Zoua: Prince of the Streets (Nabil Ayouch, 2000) Reading: Roy Armes. “A New Realism? Ali Zaoua (1999),” in Postcolonial Images: Studies in North African Film. Bloomington and Indianapolis: Indiana University Press, 2005: 169-177.

March 30 Modernism and Reflexivity (1) Screening: Devine Intervention (Elia Suleiman, 2002) Reading: “Zero Gravity.” Sight and Sound, issue 1 (January 2003): 16-18. “Minority Report.” Film Comment, no. 1 (January/February 2003): 28-31.

April 6 (No Class)

April 13 Modernism and Reflexivity (2) Screening: West Beirut (Ziad Doueiri, 1998) No Reading.

April 16, 2007 Second Assignment due in my Office



LIST OF ARAB FILMS AVAILABLE AT THE THE MEDIA LIBRARY, UNIVERSITY OF CALGARY

Adieu Bonaparte (Youssef Chahine, Egypt, 1986)

Alexandria, why (Youssef Chahine, Egypt, 1978)

Alexandria again and again (Youssef Chahine, Egypt, 1990)

Ali Zaoua: Prince of the Streets (Nabil Ayouch, Morocco, 2000)

Bab El-Oued City (Merzak Allouache, Algeria, 1994)

Cairo as Seen by Chahine (Youssef Chahine, Egypt, 1991)

Cairo Station (Youssef Chahine, Egypt, 1958)

Closed Doors (Atef Hatata, Egypt, 1999)

Crazy of You (Akram Zaatari, Lebanon, 1997)

Date Wine (Radwan El-Kashef, Egypt, 1998)

Destiny, The (Youssef Chahine, Egypt, 1997)

Divine Intervention (Ilia Suleiman, Palestine, 2002)

Dreams of Hind and Camilia (Mohammad Khan, Egypt, 1989)

Egyptian Story, An (Youssef Chahine, Egypt, 1982)

Emigrant, The (Youssef Chahine, Egypt, 1994)

Extras, The (Nabil El Maleh, Syria, 1993)

Forget Baghdad (Samir, Iraq, 2002)

Grand Voyage, Le (Ismael Ferrouki, Morocco, 2004)

Gulf War, What Next?, The ( Various Arab filmmakers, 1991)

Halfaouine B Boy of the Terraces (Ferid Boughdir, Tunisia, 1990)

Insan (Ibrahim Shaddad, Sudan, 1994)

The Land (Youssef Chahine, Egypt, 1969)

Lion of the Desert (Moustafa Akkad, Syria, 1981)

Little Dreams (Khaled El Hagar, Egypt, 1993)

Mercides (Yousri Nasrallah, Egypt, 1993)

Nasser 56 (Mohamed Fadel, Egypt, 1996)

Once Upon a Time: Beirut (Jocelyn Saab, Lebanon, 1994)

Other, The (Youssef Chahine, Egypt, 1999)

Paradise Now (Hany Abu-Assad, Palestine, 2005)

Red Chewing Gum, The (Akram Zaatari, Lebanon, 2000)

Return of The Prodigal Son (Youssef Chahine, Egypt, 1976)

Road to Love, The (Rami Lange, France/Algeria, 2002)

Saladin (Youssef Chahine, Egypt, 1963)

Salut Cousin (Merzak Allouach, Algeria, 1996)

Satin Rouge (Raja Amari, Tunisia, 2002)

Sparrow, The (Youssef Chahine, Egypt, 1972)

Silences of The Palace, The (Moufida Tlatli, Tunisia, 1994)

Sixth Day, The (Youssef Chahine, Egypt, 1986)

Summer in La Goulette, A (Ferid Boughdir, Tunisia, 1996)

Tale of the Three Jewels (Michel Khleifi, Palestine, 1994)

Tornado, The (Samir Habshi, Lebanon, 1992)

Water-bearer is Dead (Salah Abu-Seif, Egypt, 1977)

West Beirut (Ziad Doueiri, Lebanon, 1998)

Wedding in Galilee (Michel Khleifi, Palestine, 1987)

Women Who Love Cinema (Marianne Khoury, Egypt, 2002)





SECLECT BIBLIROGRAPHY ON ARAB CINEMAS

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Arab Cinema and Culture; Round Table Conference. 3 vols. Beirut: Arab Film and Television Centre, 1965.

Arasoughly, Alia, ed. Screens of Life: Critical Film Writing. Quebec: World Heritage Press, Quebec, 1996.

Armbrust, Walter, ed. Mass Mediations: New Approaches to Popular Culture in the Middle East and Beyond, Berkeley: University of California Press, 2000.

-----. “Farid Shauqi. Tough Guy, Family Man, Cinema Star.” In Imagined Masculinities: Male Identity and Culture in the Modern Middle East. Ghassoub, Mai, and Emma Sinclair-Webb, eds. London: Saqi Books, 2000: 199-226.

-----. “The Golden Age before the Golden Age: Commercial Egyptian Cinema before the 1960s.” In Mass Mediations: New Approaches to Popular Culture in the Middle East and Beyond. Edited by Walter Armbrust. Berkeley: University of California Press, 2000: 292-327.

-----. Mass Culture and Modernism in Egypt, Cambridge: Cambridge University Press, 1996.

Armes, Roy. Postcolonial Images: Studies in North African Film. Bloomington and Indianapolis: Indiana University Press, 2005.

-----. Third World Film Making and the West. Berkeley: University of California Press, 1987.

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Bresheeth, Haim. “Telling the Stories of Heim and Heimat: Home and Exile in Recent Palestinian Films and Iconic Parable of the Invisible Palestine.” New Cinemas: Journal of Contemporary Film 1 (2002): 24-39.

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Cluny, Claude Michel. Dictionnaire des Nouveaux Cinemas Arabes. Paris: Sindbad, 1978.

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