In a major addition to the academic library on the cinema of Youssef Chahine and on Arab and Egyptian cinema in general, Malek Khouri here presents the most comprehensive and up-to-date study on Chahine's work to appear since his death in 2008. The methodological approach of the book, and more precisely the discussion of the theme of Arab national unity from a post-colonial point of view, emphasizes the ideological underpinnings of this Egyptian director's themes as well as his esthetics. The author focuses on the interaction between Chahine's personal and political preoccupations, his eclectic cinematic style, and his devotion to connecting with a wide audience of filmgoers. The Arab National Project in Youssef Chahine's Cinema is an important contribution to original scholarship in the fields of cultural studies, sociology of film, and history of cinema, and will be of great interest to scholars, students, and cinema lovers all over the world.

This book sheds light on cultural expressions of Arab Nationalism and the contradictory meanings often attached to it. It presents nationalism as an experienceable set of identity markers – in stories, visual culture, narratives of memory and struggles with ideology. Using case studies, the book transcends a conventional history that reduces nationalism in the Arab lands to a pattern of political rise and decline. It suggests Arabs have constructed an identifiable shared national culture, and it critically dissects conceptions about Arab nationalism as an easily graspable secular and authoritarian ideology modelled on Western ideas and visions of modernity.

In this book, Robert K. Beshara applies decolonial film theory to an analysis of Youssef Chahine's (1997) Al-Masir (Destiny). Transmodern Cinema and Decolonial Film Theory is the first book on decolonial film theory, which unpacks key concepts in decoloniality and decolonial aesthetics. Decolonial film theory is then applied to Youssef Chahine's (1997) historical drama al-Ma?ir in an effort to juxtapose the Egyptian filmmaker (Chahine) and his decolonial cinema to the Andalusian polymath (Ibn Rushd) and his Islamic philosophy.

The Routledge Companion to World Cinema explores and examines a global range of films and filmmakers, their movements and audiences, comparing their cultural, technological and political dynamics, identifying the impulses that constantly reshape the form and function of the cinemas of the world. Each of the forty chapters provides a survey of a topic, explaining why the issue or area is important, and critically discussing the leading views in the area. Designed as a dynamic forum for forty-three world-leading scholars, this companion contains significant expertise and insight and is dedicated to challenging complacent views of hegemonic film cultures and replacing outmoded ideas about production, distribution and reception. It offers both a survey and an investigation into the condition and activity of contemporary filmmaking worldwide, often challenging long-standing categories and weighted—often politically motivated—value judgements, thereby grounding and aligning the reader in an activity of remapping which is designed to prompt rethinking.

Many global film industries fail in expanding the role of Muslims on screen. Too often they produce a dichotomy between "good" and "bad" Muslims, limiting the narrative domain to issues of national security, war, and terrorism. Naturally, much of the previous scholarship on Muslims in film focused on stereotypes and the politics of representation. This collection of essays, from an international panel of contributors, significantly expands the boundaries of discussion around Muslims in film, asking new questions of the archive and magnifying analyses of particular cultural productions. The volume includes the exploration of regional cinemas, detailed analysis of auteurs and individual films, comparison across global cinema, and new explorations that have not yet entered the conversation. The interdisciplinary collection provides an examination of the multiple roles Islam plays in film and the various ways Muslims are depicted. Across the chapters, key intersecting themes arise that push the limits of how we currently approach issues of Muslims in cinema and ventures to lead us in new directions for future scholarship. This book adds new depth to the matrix of previous scholarship by revisiting methodological structures and sources, as well as exploring new visual geographies, transnational circuits, and approaches. It reframes the presiding scholarly conventions in five novel trajectories: considering new sources, exploring new communities, probing new perspectives, charting new theoretical directions, and offering new ways of understanding conflict in cinema. As such, it will be of great use to scholars working in Islamic Studies, Film Studies, Religious Studies, and Media.

Localities, countries, and regions develop through complex interactions with others. This striking volume highlights global interconnectedness seen through the prism of the Middle East, both “global-in” and “global-out.” It delves into the region’s scientific, artistic, economic, political, religious, and intellectual formations and traces how they have taken shape through a dynamic set of encounters and exchanges. Written in short and accessible essays by prominent experts on the region, Global Middle East covers topics including God, Rumi, food, film, fashion, music, sports, science, and the flow of people, goods, and ideas. The text explores social and political movements from human rights, Salafism, and cosmopolitanism to radicalism and revolutions. Using the insights of global studies, students will glean new perspectives about the region.

The late President of Egypt, Gamal Abdel Nasser (1918-1970), has been represented in many major works of Egyptian literature and film, and continues to have a presence in everyday life and discourse in the country. Omar Khalifah's analysis of these representations focuses on how the historical character of Nasser has emerged in the Egyptian imaginary. He explores the recurrent images of Nasser in literature and film and shows how Nasser constitutes a perfect site for plural interpretations. He argues that Nasser has become a rhetorical device, a figure of speech, a trope that connotes specific images constantly invoked whenever he is mentioned. His study makes a case for literature and art to be seen as alternative archives that question, erase, distort and add to the official history of Nasser.

Edward Said was an exiled individual – the 'out of place' Palestinian in the USA. He saw the consequences of the 1948 dismantling of Palestine and the establishment of Israel through his parents' experiences and through the collective statelessness imposed on the Palestinians. His own personal experience of exile intensified when he moved to the USA. Yet despite the significance of exile to Said's lifeand work, no scholarship has yet focused on this theme in his writings or traced its ongoing applicability and importance. Rehnuma Sazzad fulfils this pressing need in literary and cultural research by providing the first comprehensive definition of Said's theory of exile and reveals its legacy in relation to five Middle Eastern intellectuals: Naguib Mahfouz, Mahmoud Darwish, Leila Ahmed, Nawal El Saadawi and Youssef Chahine. By selecting a novelist, poet, feminist, filmmaker and essayist, Sazzad shows how, for Said, the ideal intellectual is a metaphorical exile, demonstrating a willing homelessness. This book creates a portrait of redoubtable intellectual practice and in the twenty-first-century context, when the frontiers of belonging are being constantly redrawn, Edward Said's Concept of Exile adds new depths to discourses of resistance, home and identity.

This book, first ethnographic attempt, examines negated spaces, practices, and relationships that have been intentionally or unintentionally dismissed from academic and non-academic studies, articles, reports, and policy papers that investigate and debate the experiences of Coptic Orthodox Christians in Egypt. By taking the Coptic identity and faith to bars, liquor stores, coffeehouses, weed gatherings, prisons, casinos, night clubs, brothels, dating applications, and porn sites, this book argues that airing out this “dirty laundry” points to the limits of victimhood and activist narratives that shape the representation of Coptic grievances and interests on both national and international levels. By introducing misfits who exist in the shadows of the well-studied Coptic rituals, traditions, miracles, saints’ apparitions, and street protests, the book highlights the contradiction between the centrality of sin to the (Coptic) Christian tradition and theology, on one hand, and on the other hand the dismissal of lives that are dominantly labelled as sinful while simultaneously studying Copts as agents or victims of history and in today’s Egyptian society. Drawing on many years of fieldwork accompanied and preceded by periods the author spent as a student and a lay servant in different forms of services in the Coptic Orthodox Church, the book acknowledges the recent anthropological work that is critical of how the secular West and its academia misrepresent God and His believers in the Middle East. However, the fact that this book extends its arguments from “ethnographic confessions” collected from who deal with God on a daily basis since their childhood, it investigates the implications and consequences of inviting God to be part of an anthropological study that complicates aspects of repentance and salvation among the largest Christian minority in the Middle East.

Tunisian cinema is often described as the most daring of all Arab cinemas, a model of equipoise between ÒEastÓ and ÒWestÓ and the defender of a fierce, sovereign style. Even during the repressive regime that ruled Tunisia from 1987 to 2011, a generation of filmmakers produced allegories of resistance that defied their societyÕs increasingly illiberal trends. In New Tunisian Cinema, Robert Lang reads eight contemporary Tunisian films, many by some of the nationÕs best-known directors, including: Man of Ashes (1986), Bezness (1992), and Making Of (2006) by Nouri Bouzid; Halfaouine (1990) by FŽrid Boughedir; The Silences of the Palace (1994) by Moufida Tlatli; Essa•da (1997) by Mohamed Zran; Bedwin Hacker (2002) by Nadia El Fani; and The TV Is Coming (2006) by Moncef Dhouib. He explores the political economy and social, historical, and psychoanalytic dimensions of these works and the strategies filmmakers deployed to preserve cinemaÕs ability to shape debates about national identity. These debates, Lang argues, not only helped initiate the 2011 uprising that ousted Ben AliÕs regime but also did much to inform and articulate the social, political, and cultural aspirations of the Tunisian people in the new millennium.