Roots of the New Arab Film deals with the generation of filmmakers from across North Africa and the Middle East who created an international awareness of Arab film from the mid-1980s onwards. These seminal filmmakers experienced the moment of national independence first-hand in their youth and retained a deep attachment to their homeland. Although these aspiring filmmakers had to seek their training abroad, they witnessed a time of filmic revival in Europe – Fellini and Antonioni in Italy, the French New Wave, and British Free Cinema. Returning home, these filmmakers brought a unique insider/outsider perspective to bear on local developments in society since independence, including the divide between urban and rural communities, the continuing power of traditional values and the status of women in a changing society. As they made their first films back home, the feelings of participation in a worldwide movement of new, independent filmmaking was palpable. Roots of the New Arab Film is a necessary and comprehensive resource for anyone interested in the foundations of Arab cinema.

Roots of the New Arab Film deals with the generation of filmmakers from across North Africa and the Middle East who created an international awareness of Arab film from the mid-1980s onwards. These seminal filmmakers experienced the moment of national independence first-hand in their youth and retained a deep attachment to their homeland. Although these aspiring filmmakers had to seek their training abroad, they witnessed a time of filmic revival in Europe – Fellini and Antonioni in Italy, the French New Wave, and British Free Cinema. Returning home, these filmmakers brought a unique insider/outsider perspective to bear on local developments in society since independence, including the divide between urban and rural communities, the continuing power of traditional values and the status of women in a changing society. As they made their first films back home, the feelings of participation in a worldwide movement of new, independent filmmaking was palpable. Roots of the New Arab Film is a necessary and comprehensive resource for anyone interested in the foundations of Arab cinema.

WINNER OF THE ARAB AMERICAN BOOK AWARD • NAMED ONE OF THE BEST BOOKS OF THE YEAR BY NPR The stunning debut of a brilliant nonfiction writer whose vivid account of his grandparents' lives in Egypt, Tunisia, Palestine, and Los Angeles reclaims his family's Jewish Arab identity There was a time when being an "Arab" didn't mean you were necessarily Muslim. It was a time when Oscar Hayoun, a Jewish Arab, strode along the Nile in a fashionable suit, long before he and his father arrived at the port of Haifa to join the Zionist state only to find themselves hosed down with DDT and then left unemployed on the margins of society. In that time, Arabness was a mark of cosmopolitanism, of intellectualism. Today, in the age of the Likud and ISIS, Oscar's son, the Jewish Arab journalist Massoud Hayoun whom Oscar raised in Los Angeles, finds his voice by telling his family's story. To reclaim a worldly, nuanced Arab identity is, for Hayoun, part of the larger project to recall a time before ethnic identity was mangled for political ends. It is also a journey deep into a lost age of sophisticated innocence in the Arab world; an age that is now nearly lost. When We Were Arabs showcases the gorgeous prose of the Eppy Award–winning writer Massoud Hayoun, bringing the worlds of his grandparents alive, vividly shattering our contemporary understanding of what makes an Arab, what makes a Jew, and how we draw the lines over which we do battle.

Intended for scholars of film and the contemporary Middle East, this title provides a comprehensive overview of cinema in the Arab world, tracing the industry's development, since colonial times. It analyzes the ambiguous relationship with commercial western cinema, and the effect of Egyptian market dominance in the region.

Less than twenty-four months after the hope-filled Arab uprising, the popular movement had morphed into a dystopia of resurgent dictators, failed states, and civil wars. Egypt's epochal transition to democracy ended in a violent military coup. Yemen and Libya collapsed into civil war, while Bahrain erupted in smothering sectarian repression. Syria proved the greatest victim of all, ripped apart by internationally fueled insurgencies and an externally supported, bloody-minded regime. Amidst the chaos, a virulently militant group declared an Islamic State, seizing vast territories and inspiring terrorism across the globe. What happened? The New Arab Wars is a profound illumination of the causes of this nightmare. It details the costs of the poor choices made by regional actors, delivers a scathing analysis of Western misreadings of the conflict, and condemns international interference that has stoked the violence. Informed by commentators and analysts from the Arab world, Marc Lynch's narrative of a vital region's collapse is both wildly dramatic and likely to prove definitive. Most important, he shows that the region's upheavals have only just begun -- and that the hopes of Arab regimes and Western policy makers to retreat to old habits of authoritarian stability are doomed to fail.

Arab Modernism as World Cinema explores the radically beautiful films of Moroccan filmmaker Moumen Smihi, demonstrating the importance of Moroccan and Arab film cultures in histories of world cinema. Addressing the legacy of the Nahda or “Arab Renaissance” of the nineteenth and early twentieth century—when Arab writers and artists reenergized Arab culture by engaging with other languages and societies—Peter Limbrick argues that Smihi’s films take up the spirit of the Nahda for a new age. Examining Smihi’s oeuvre, which enacts an exchange of images and ideas between Arab and non-Arab cultures, Limbrick rethinks the relation of Arab cinema to modernism and further engages debates about the use of modernist forms by filmmakers in the Global South. This original study offers new routes for thinking about world cinema and modernism in the Middle East and North Africa, and about Arab cinema in the world.

Featuring nearly three thousand film stills, production shots, and other illustrations, an authoritative history of the cinema traces the development of the medium, its filmmakers and stars, and the evolution of national cinemas around the world.

'Arab Cultural Studies: Mapping the Field' is the first attempt to explore ways of conceptualising and theorising the nascent field of Arab Cultural Studies. It reflects and engages in an interdisciplinary discussion on the different facets of Arab cultural studies, including gender, economy, history, epistemology, language, method, politics, literary and cultural criticism, institutionalization, popular culture, creativity and much more. The book presents a meta-narrative about how scholars have thus far thought and re-thought the field. It brings together prominent and emerging experts, writing from both Arab and Western academia, to engage with key complex, epistemic and methodological questions and to articulate in the meantime the new kinds of language and hermeneutics necessary for the appropriation of an historically conscious and coherent field of scientific enquiry into contemporary Arab media, culture and society.

This hugely successful, ground-breaking book is the first introductory textbook on the Modern Middle East to foreground the urban, rural, cultural and gender histories of the region over its political and economic history. Distancing himself from more traditional modernising approaches, Ilan Pappé is concerned with the ideological question of whom we investigate in the past rather than how we investigate the past. Pappé begins his narrative at the end of the First World War with the Ottoman heritage, and concludes at the present day with the political discourse of Islam. Providing full geographical coverage of the region, The Modern Middle East: opens with a carefully argued introduction which outlines the methodology used in the textbook provides a thematic and comparative approach to the region, helping students to see the peoples of the Middle East and the developments that affect their lives as part of a larger world includes insights gained from new historiographical trends and a critical approach to conventional state- and nation-centred historiographies includes case studies, debates, maps, photos, an up-to-date bibliography and a glossarial index. This third edition has been brought right up to date with recent events, and includes the developments through the Arab Spring, more economic history, much more focus on gender history and discussion of religion in the region from a broad perspective. Accessible and original, The Modern Middle East continues to energise discussion and stimulate debate on the region’s history, and provides new insights and perspectives on its story.

More than 70 scholars examine how filmmakers have presented and interpreted the most important events, topics, eras and figures in the American past, often comparing the film versions of events with the interpretations of the best historians who have explored the topic.