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Narrative forms and co-production in Arab cinemas

Formes narratives et coproduction dans les cinémas du monde arabe

Norms, constraints, and margins of freedom

Normes, contraintes et libertés

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Published on Monday, November 25, 2019 by Céline Guilleux

Summary

Film industry in the Arab world remains generally underdeveloped. Arab countries still depend on international film support funds, mainly European. This puts Arab producers, scriptwriters and filmmakers in a subaltern position in relation to European producers and funders, whose expectations in terms of content as well as narrative and aesthetic forms end up strongly impacting the film creation process. On the other hand, margins of freedom and resistance can be created within this system. This edition of Regards aims at addressing the complex relation between Arab cinemas and international film support funds.

Announcement

Argument

Film industry in the Arab world remains underdeveloped, despite the success of some contemporary Arab films and the emergence of new film festivals in the Arab world. With the exception of few examples such as Egypt and, to a certain extent, Morocco, who were able to develop local production systems, Arab countries still depend on international film support funds, mainly European. This puts Arab producers, scriptwriters and filmmakers in a subaltern position in relation to European producers and funders, whose expectations in terms of content, narrative and aesthetic forms end up strongly impacting the film creation process.

 One of the aims of this edition of Regards is to address the impact of European film funds on the co-funded films. How does this impact take place? How and to what extent do Arab filmmakers, scriptwriters and producers actually comply with pre-defined norms and constraints? Moreover, to what extent can locally produced films also be influenced by this power relation, through a mechanism of imitation for example, or as a way to obtain international recognition?

On the other hand, a margin of freedom can emerge within this system. In fact, the coproduction system can offer to the Arab creators a space of expression free from state censorship which is usually exerted more strictly on locally produced films. Also, some filmmakers manage to find a certain compromise and to create film forms that go against norms usually imposed by hegemonic systems. This edition will also address the mechanism through which these margins of freedom can be created.

Finally, some filmmakers choose to break with the system, and opt for alternative modes of production (crowdfunding, auto-financing, film cooperatives, etc.), or for other forms of cinematic practices like experimental cinema or video installations. This edition of Regards also aims at shedding light on these alternative practices of cinema in the Arab world.

Authors can choose one or more topics among the ones suggested below.

  • Economy of Arab cinemas (funding, markets, distribution...).
  • Popular reception of co-produced films.
  • Arab cinemas and international festivals.
  • Politics of local film festivals.
  • Film genres in co-produced cinemas.
  • State censorship and foreign expectations. Auteur films and the coproduction system.
  • Narrative norms and margins of creation.
  • Original narrative forms.
  • Alternative modes of production.

Additionally, they can address any other topic that can be of interest to the conference.

Submission guidelines

Authors wishing to submit an abstract (in French, English or Arabic) are invited to send it to the following address:regards@usj.edu.lb.

Before December 31, 2019.

Authors should provide the following information:

  • An abstract of the article (approx. 500 words).
  • A mini bio-bibliography (approx. 100 words).

The abstracts will be examined by the editorial committee, and the authors will receive an answer before January 10, 2019.

Scientific Committee

  • Hamid Aidouni, PR (Université Abdelmalek Essaadi, Maroc)
  • Karl Akiki, MCF (Université Saint-Joseph de Beyrouth, Liban)
  • Riccardo Bocco, PR (Graduate Institute of International and Development Studies Genève, IHEID, Suisse)
  • Fabien Boully, MCF (Université Paris Nanterre, France)
  • André Habib, PR (Université de Montréal, Canada)
  • Dalia Mostafa, MCF (University of Manchester, Angleterre)
  • José Moure, PR (Université Paris Panthéon Sorbonne – Paris 1, France)
  • Jacqueline Nacache, PR (Université Paris Diderot – Paris 7, France)
  • Ghada Sayegh, MCF (IESAV, Université Saint-Joseph de Beyrouth, Liban)
  • Kirsten Scheid, Associate PR (American University of Beirut, Liban)

Editor-in-chief: Joseph Korkmaz, PR (Université Saint-Joseph de Beyrouth, Liban)

Edition editors: José Moure (Université Paris Panthéon-Sorbonne, Paris 1), Wissam Mouawad (Académie Libanaise des Beaux-Arts, University of Balamand), Elie Yazbek (IESAV, Université Saint-Joseph de Beyrouth)

Places

  • Beirut, Lebanon

Date(s)

  • Tuesday, December 31, 2019

Keywords

  • cinéma, production, narration, monde arabe

Contact(s)

  • Elie Yazbek
    courriel : Regards [at] usj [dot] edu [dot] lb

Information source

  • Toufic El-Khoury
    courriel : toufic [dot] khoury [at] usj [dot] edu [dot] lb

To cite this announcement

« Narrative forms and co-production in Arab cinemas », Call for papers, Calenda, Published on Monday, November 25, 2019, https://calenda.org/707123

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