Film production in Arab cinema Īrab cinema did not flourish before the national independence of each of them, and even after, the films production of Arab cinema was restricted to short-length films. Although these films are produced in the Arab world, they mostly are directed, produced, or had any artistic sides from foreigners or immigrants. At this time, the process of inserting the sound into movies used to be done in Paris, and Egypt were able to produce two sound film, one entitled Awlad Al-Bhawat (' Sons of Aristocrats') and the other Unshudat Al-Fu’ad (' The Song of the Heart'). For instance, the Syrian film Al-Muttaham Albari' (' The Innocent Accused') which was presented in 1928, Mughamarat Ilyas Mabruk (' The Adventures of Ilyas Mabruk') in Lebanon in 1929, the Egyptian film Layla in 1927. Origins įull-length feature films began to be produced locally in the Arab world after the 1920s. However, the production of Arab cinema has declined in the last decades and many filmmakers in the Middle East gathered to hold a meeting and discuss the current state of Arab cinema. Arab woman shaped a great portion of the film industry in the Arab world by employing their cinematic talents in improving the production of Arab films.

Apart from the history of Arab cinema, recently the portrayal of women became an important aspect in the production of Arab cinema. In fact, colonization did not only influence Arab films, but it also had an impact on Arab movies theaters. It has also attempted to escape from its earlier tendency to mimic and rely on Western film devices. Īrab cinema has explored many topics from politics, colonialism, tradition, modernity and social taboos. For example, films from Lebanon, Algeria, Morocco, Palestine, Syria, and Tunisia are making wider and more frequent rounds than ever before in local film festivals and repertoire theaters. There is increased interest in films originating in the Arab world. These films helped to advance certain social causes such as independence, and other social, economic and political agendas. Most films produced at that time were funded by the state and contained a nationalistic dimension. This was during the post-independence and is when most Arab cinema took root. Įlsewhere in North Africa and the Middle East, film production was scarce until the late 1960s and early 1970s when filmmakers began to received funding and financial assistance from state organizations. Even today, the majority of film production in countries like Bahrain, Libya, Saudi Arabia, Sudan, and the United Arab Emirates is limited to television or short films. While Egyptian and Lebanese cinema have a long history of production, most other Arab countries did not witness film production until after independence.

According to film critic and historian Roy Armes, Lebanese cinema is the only other cinema in the Arabic-speaking region that could amount to a national cinema. As such, Arabic cinema is dominated by films from Egypt, where three quarters of all Arab movies are produced. A sustained film industry was able to emerge in Egypt when other parts of the Arab world had only been able to sporadically produce feature-length films due to limited financing. Įgypt, in particular, is a pioneer among Arab countries in the field of cinema. However, it has and continues to constantly change and evolve, as each country in the region has its own unique characteristics and identifiable brand of cinema. In its inception, Arab cinema was mostly an imitation of Western cinema. Salah Zulfikar and Soad Hosny, stars of Arab Cinema Īrab cinema mostly includes films made in Egypt, Lebanon, Syria, Iraq, Kuwait, Algeria, Morocco, and Tunisia however, but definition, it also includes Bahrain, Djibouti, Jordan, Libya, Oman, Palestine, Qatar, Saudi Arabia, Somalia, Sudan, United Arab Emirates, and Yemen. There is no single description of Arab cinema since it includes films from various countries and cultures of the Arab world and therefore does not have one form, structure, or style.

5.2.1 Dubai International Film Festival.

2.3 Impact of conflict on Egyptian and Palestinian cinema.

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