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035 $a(DE-B1597)9780748696079
035 $a(oapen)https://directory.doabooks.org/handle/20.500.12854/95756
035 $a(EXLCZ)993710000001156157
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101 0 $aeng
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181 $ctxt$2rdacontent
182 $cc$2rdamedia
183 $acr$2rdacarrier
200 10$aNegotiating dissidence $ethe pioneering women of Arab documentary /$fStefanie Van de Peer$b[electronic resource]
210 $cEdinburgh University Press$d2017
210 1$aEdinburgh :$cEdinburgh University Press,$d2017.
215 $a1 online resource (238 pages) $cdigital, PDF file(s)
300 $aTitle from publisher's bibliographic system (viewed on 23 Feb 2018).
311 $a0-7486-9606-7
320 $aIncludes bibliographical references and index.
327 $tFrontmatter -- $tContents -- $tList of Figures -- $tAcknowledgements -- $tIntroduction -- $t1 Ateyyat El Abnoudy: Poetic Realism in Egyptian Documentaries -- $t2 Jocelyne Saab: Artistic-Journalistic Documentaries in Lebanese Times of War -- $t3 Selma Baccar: Non-fiction in Tunisia, the Land of Fictions -- $t4 Assia Djebar: Algerian Images-son in Experimental Documentaries -- $t5 Mai Masri: Mothering Film-makers in Palestinian Revolutionary Cinema -- $t6 Izza Génini: The Performance of Heritage in Moroccan Music Documentaries -- $t7 Hala Alabdallah Yakoub: Documentary as Poetic Subjective Experience in Syria -- $tWorks Cited -- $tIndex
330 $aIn spite of harsh censorship, conservative morals and a lack of investment, women documentarists in the Arab world have found ways to subtly negotiate dissidence in their films, something that is becoming more apparent since the 'Arab Revolutions'. In this book, Stefanie Van de Peer traces the very beginnings of Arab women making documentaries in the Middle East and North Africa (MENA), from the 1970s and 1980s in Egypt and Lebanon, to the 1990s and 2000s in Morocco and Syria.
Supporting a historical overview of the documentary form in the Arab world with a series of in-depth case studies, Van de Peer looks at the work of pioneering figures like Ateyyat El Abnoudy, the 'mother of Egyptian documentary', Tunisia's Selma Baccar and the Palestinian filmmaker Mai Masri. Addressing the context of the films' production, distribution and exhibition, the book also asks why these women held on to the ideals of a type of filmmaking that was unlikely to be accepted by the censor, and looks at precisely how the women documentarists managed to frame expressions of dissent with the tools available to the documentary maker.
606 $aDocumentary films$zMiddle East$xHistory and criticism
606 $aDocumentary films$zAfrica, North$xHistory and criticism
606 $aWomen motion picture producers and directors$zAfrica, North$xHistory
606 $aWomen motion picture producers and directors$zMiddle East$xHistory
606 $aCensorship$zMiddle East$xHistory
606 $aCensorship$zAfrica, North$xHistory
607 $aAfrica, North$2fast
607 $aMiddle East$2fast
608 $aCriticism, interpretation, etc.$2fast
610 $aPerforming Arts
610 $aFilm
610 $aDirection & Production
615 0$aDocumentary films$xHistory and criticism.
615 0$aDocumentary films$xHistory and criticism.
615 0$aWomen motion picture producers and directors$xHistory.
615 0$aWomen motion picture producers and directors$xHistory.
615 0$aCensorship$xHistory.
615 0$aCensorship$xHistory.
676 $a070.18174927
700 $aVan de Peer$b Stefanie$0790068
801 0$bUkCbUP
801 1$bUkCbUP
906 $aBOOK
912 $a996465264603316
996 $aNegotiating dissidence$92832020
997 $aUNISA