{"id":363,"count":10,"description":"<h2>What\u2019s Going On? Focus: The Arab World<\/h2>\r\n\u00bbLike most artists, I want to be one step ahead of developments and create new concepts. For me as a woman this means that I also stand up for a new image of women.\u00ab\r\nJocelyne Saab\r\n\r\nInsurgence is not a new subject in Arab filmmaking, on the contrary, public filmmaking in Arab republics often began with revolutionary cinema. Appropriating one\u2019s own history, leading a self-determined cultural life and having control over images were central aspects of every anticolonial struggle. In this sense, film was used as a weapon against foreign rule.\r\nAfter independence, plans to set up self-financing film industries backfired. It was not possible to compete with the studios in the USA, in Europe and \u2013 in to a lesser extent \u2013 with India and Egypt, the only Arab country that was able to set up its own industry back in the 1920s. Foreign distributors dominated and continue dominating the market, home-grown film technicians had to be sent abroad to be trained for several years and financial models needed to be developed, while decisions on the structure of the state economy had not yet been taken. At the same time the region suffered from several wars, the new states were very unstable and soon restrictive laws were introduced to defend the newly won liberties \u2013 and ultimately to restrain them. For a long time Morocco was the only Arab monarchy that maintained a film centre and promoted homegrown production. As far as non-commercial cinema was concerned, all Arab directors continued to rely, as before, on co-productions with Europe, irrespective of whether their country provides state film funding or not.\r\nIn this programme we are presenting films produced before the current uprisings, and which by means of filmmaking reflect the field of tension and contradictions in the Arab world in recent decades. What forms did filmmaking take after independence? What effects do co-productions with the West have on the image presented by Arab societies, by Arab women? What stories are told by Arab women directors and how are their female figures presented?\r\nAt least until the beginning of 2011, Tunisia was consideredto be the Arab state with the most progressive women\u2019s rights. Moufida Tlatli\u2019s internationally successful feminist film classic, <strong>The Silences of the Palace<\/strong>, reflects the modern spirit of Bourguiba and Ben Ali as one facet of independent Tunisia. Leila Marrakchi\u2019s Moroccan co-financed <strong>Marock<\/strong> is set among the rich upper-class of Casablanca, which takes us into a world hardly ever presented in the cinema, and adds an important angle to the Western image of the region. Dalila Ennadre portrays a poor and old Berber woman in a manner that contradicts all clich\u00e9s and provides a deep insight into the heritage of the colonial history of Morocco. In her work, Jocelyne Saab challenges those in power and questions the status quo. Her long experimental film <strong>What\u2019s Going On?<\/strong> examines the power of the imagination. Iraqi director Maysoon Pachachi, who lives in London, has for many years been documenting women from various countries of the Middle East, and will present her work in a workshop discussion.\r\nA central point of identification in the Arab world is the Palestinian revolution. The young generation of Palestinian filmmakers questions the inertia and challenges this with very diverse forms of persistence. In other places as well the failure of the revolutionary dream and the urge for change can be felt. In Egyptian films of recent years, the homogenisation of society was initially an important topic, until the call for disobedience created space.\r\n\r\n_Irit Neidhardt","link":"https:\/\/frauenfilmfest.com\/en\/movie-category\/focus-en-2012\/","name":"Focus","slug":"focus-en-2012","taxonomy":"movie_cat","parent":358,"meta":[],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.1 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Focus - Internationales Frauen Film Fest<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/frauenfilmfest.com\/movie-category\/fokus-2012\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Focus - Internationales Frauen Film Fest\" \/>\n<meta property=\"og:description\" content=\"What\u2019s Going On? Focus: The Arab World \u00bbLike most artists, I want to be one step ahead of developments and create new concepts. For me as a woman this means that I also stand up for a new image of women.\u00ab Jocelyne Saab Insurgence is not a new subject in Arab filmmaking, on the contrary, public filmmaking in Arab republics often began with revolutionary cinema. Appropriating one\u2019s own history, leading a self-determined cultural life and having control over images were central aspects of every anticolonial struggle. In this sense, film was used as a weapon against foreign rule. After independence, plans to set up self-financing film industries backfired. It was not possible to compete with the studios in the USA, in Europe and \u2013 in to a lesser extent \u2013 with India and Egypt, the only Arab country that was able to set up its own industry back in the 1920s. Foreign distributors dominated and continue dominating the market, home-grown film technicians had to be sent abroad to be trained for several years and financial models needed to be developed, while decisions on the structure of the state economy had not yet been taken. At the same time the region suffered from several wars, the new states were very unstable and soon restrictive laws were introduced to defend the newly won liberties \u2013 and ultimately to restrain them. For a long time Morocco was the only Arab monarchy that maintained a film centre and promoted homegrown production. As far as non-commercial cinema was concerned, all Arab directors continued to rely, as before, on co-productions with Europe, irrespective of whether their country provides state film funding or not. In this programme we are presenting films produced before the current uprisings, and which by means of filmmaking reflect the field of tension and contradictions in the Arab world in recent decades. What forms did filmmaking take after independence? What effects do co-productions with the West have on the image presented by Arab societies, by Arab women? What stories are told by Arab women directors and how are their female figures presented? At least until the beginning of 2011, Tunisia was consideredto be the Arab state with the most progressive women\u2019s rights. Moufida Tlatli\u2019s internationally successful feminist film classic, The Silences of the Palace, reflects the modern spirit of Bourguiba and Ben Ali as one facet of independent Tunisia. Leila Marrakchi\u2019s Moroccan co-financed Marock is set among the rich upper-class of Casablanca, which takes us into a world hardly ever presented in the cinema, and adds an important angle to the Western image of the region. Dalila Ennadre portrays a poor and old Berber woman in a manner that contradicts all clich\u00e9s and provides a deep insight into the heritage of the colonial history of Morocco. In her work, Jocelyne Saab challenges those in power and questions the status quo. Her long experimental film What\u2019s Going On? examines the power of the imagination. Iraqi director Maysoon Pachachi, who lives in London, has for many years been documenting women from various countries of the Middle East, and will present her work in a workshop discussion. A central point of identification in the Arab world is the Palestinian revolution. The young generation of Palestinian filmmakers questions the inertia and challenges this with very diverse forms of persistence. In other places as well the failure of the revolutionary dream and the urge for change can be felt. In Egyptian films of recent years, the homogenisation of society was initially an important topic, until the call for disobedience created space. _Irit Neidhardt\" \/>\n<meta property=\"og:url\" content=\"https:\/\/frauenfilmfest.com\/movie-category\/fokus-2012\/\" \/>\n<meta property=\"og:site_name\" content=\"Internationales Frauen Film Fest\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:site\" content=\"@frauenfilmfest\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"CollectionPage\",\"@id\":\"https:\\\/\\\/frauenfilmfest.com\\\/movie-category\\\/fokus-2012\\\/\",\"url\":\"https:\\\/\\\/frauenfilmfest.com\\\/movie-category\\\/fokus-2012\\\/\",\"name\":\"Focus - Internationales Frauen Film Fest\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/frauenfilmfest.com\\\/#website\"},\"breadcrumb\":{\"@id\":\"https:\\\/\\\/frauenfilmfest.com\\\/movie-category\\\/fokus-2012\\\/#breadcrumb\"},\"inLanguage\":\"en-US\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/frauenfilmfest.com\\\/movie-category\\\/fokus-2012\\\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\\\/\\\/frauenfilmfest.com\\\/en\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"2012\",\"item\":\"https:\\\/\\\/frauenfilmfest.com\\\/movie-category\\\/2012\\\/\"},{\"@type\":\"ListItem\",\"position\":3,\"name\":\"Fokus\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/frauenfilmfest.com\\\/#website\",\"url\":\"https:\\\/\\\/frauenfilmfest.com\\\/\",\"name\":\"Internationales Frauen Film Fest\",\"description\":\"\",\"publisher\":{\"@id\":\"https:\\\/\\\/frauenfilmfest.com\\\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\\\/\\\/frauenfilmfest.com\\\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\\\/\\\/frauenfilmfest.com\\\/#organization\",\"name\":\"Internationales Frauenfilmfestival Dortmund|K\u00f6ln e.V.\",\"url\":\"https:\\\/\\\/frauenfilmfest.com\\\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/frauenfilmfest.com\\\/#\\\/schema\\\/logo\\\/image\\\/\",\"url\":\"https:\\\/\\\/frauenfilmfest.com\\\/wp-content\\\/uploads\\\/2021\\\/03\\\/menu-logo.svg\",\"contentUrl\":\"https:\\\/\\\/frauenfilmfest.com\\\/wp-content\\\/uploads\\\/2021\\\/03\\\/menu-logo.svg\",\"width\":214,\"height\":59,\"caption\":\"Internationales Frauenfilmfestival Dortmund|K\u00f6ln e.V.\"},\"image\":{\"@id\":\"https:\\\/\\\/frauenfilmfest.com\\\/#\\\/schema\\\/logo\\\/image\\\/\"},\"sameAs\":[\"https:\\\/\\\/www.facebook.com\\\/IFFF.Dortmund.Koeln\\\/\",\"https:\\\/\\\/x.com\\\/frauenfilmfest\",\"https:\\\/\\\/www.instagram.com\\\/frauenfilmfestival\\\/\"]}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Focus - Internationales Frauen Film Fest","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/frauenfilmfest.com\/movie-category\/fokus-2012\/","og_locale":"en_US","og_type":"article","og_title":"Focus - Internationales Frauen Film Fest","og_description":"What\u2019s Going On? Focus: The Arab World \u00bbLike most artists, I want to be one step ahead of developments and create new concepts. For me as a woman this means that I also stand up for a new image of women.\u00ab Jocelyne Saab Insurgence is not a new subject in Arab filmmaking, on the contrary, public filmmaking in Arab republics often began with revolutionary cinema. Appropriating one\u2019s own history, leading a self-determined cultural life and having control over images were central aspects of every anticolonial struggle. In this sense, film was used as a weapon against foreign rule. After independence, plans to set up self-financing film industries backfired. It was not possible to compete with the studios in the USA, in Europe and \u2013 in to a lesser extent \u2013 with India and Egypt, the only Arab country that was able to set up its own industry back in the 1920s. Foreign distributors dominated and continue dominating the market, home-grown film technicians had to be sent abroad to be trained for several years and financial models needed to be developed, while decisions on the structure of the state economy had not yet been taken. At the same time the region suffered from several wars, the new states were very unstable and soon restrictive laws were introduced to defend the newly won liberties \u2013 and ultimately to restrain them. For a long time Morocco was the only Arab monarchy that maintained a film centre and promoted homegrown production. As far as non-commercial cinema was concerned, all Arab directors continued to rely, as before, on co-productions with Europe, irrespective of whether their country provides state film funding or not. In this programme we are presenting films produced before the current uprisings, and which by means of filmmaking reflect the field of tension and contradictions in the Arab world in recent decades. What forms did filmmaking take after independence? What effects do co-productions with the West have on the image presented by Arab societies, by Arab women? What stories are told by Arab women directors and how are their female figures presented? At least until the beginning of 2011, Tunisia was consideredto be the Arab state with the most progressive women\u2019s rights. Moufida Tlatli\u2019s internationally successful feminist film classic, The Silences of the Palace, reflects the modern spirit of Bourguiba and Ben Ali as one facet of independent Tunisia. Leila Marrakchi\u2019s Moroccan co-financed Marock is set among the rich upper-class of Casablanca, which takes us into a world hardly ever presented in the cinema, and adds an important angle to the Western image of the region. Dalila Ennadre portrays a poor and old Berber woman in a manner that contradicts all clich\u00e9s and provides a deep insight into the heritage of the colonial history of Morocco. In her work, Jocelyne Saab challenges those in power and questions the status quo. Her long experimental film What\u2019s Going On? examines the power of the imagination. Iraqi director Maysoon Pachachi, who lives in London, has for many years been documenting women from various countries of the Middle East, and will present her work in a workshop discussion. A central point of identification in the Arab world is the Palestinian revolution. The young generation of Palestinian filmmakers questions the inertia and challenges this with very diverse forms of persistence. In other places as well the failure of the revolutionary dream and the urge for change can be felt. In Egyptian films of recent years, the homogenisation of society was initially an important topic, until the call for disobedience created space. _Irit Neidhardt","og_url":"https:\/\/frauenfilmfest.com\/movie-category\/fokus-2012\/","og_site_name":"Internationales Frauen Film Fest","twitter_card":"summary_large_image","twitter_site":"@frauenfilmfest","schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"CollectionPage","@id":"https:\/\/frauenfilmfest.com\/movie-category\/fokus-2012\/","url":"https:\/\/frauenfilmfest.com\/movie-category\/fokus-2012\/","name":"Focus - Internationales Frauen Film Fest","isPartOf":{"@id":"https:\/\/frauenfilmfest.com\/#website"},"breadcrumb":{"@id":"https:\/\/frauenfilmfest.com\/movie-category\/fokus-2012\/#breadcrumb"},"inLanguage":"en-US"},{"@type":"BreadcrumbList","@id":"https:\/\/frauenfilmfest.com\/movie-category\/fokus-2012\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/frauenfilmfest.com\/en\/"},{"@type":"ListItem","position":2,"name":"2012","item":"https:\/\/frauenfilmfest.com\/movie-category\/2012\/"},{"@type":"ListItem","position":3,"name":"Fokus"}]},{"@type":"WebSite","@id":"https:\/\/frauenfilmfest.com\/#website","url":"https:\/\/frauenfilmfest.com\/","name":"Internationales Frauen Film Fest","description":"","publisher":{"@id":"https:\/\/frauenfilmfest.com\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/frauenfilmfest.com\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/frauenfilmfest.com\/#organization","name":"Internationales Frauenfilmfestival Dortmund|K\u00f6ln e.V.","url":"https:\/\/frauenfilmfest.com\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/frauenfilmfest.com\/#\/schema\/logo\/image\/","url":"https:\/\/frauenfilmfest.com\/wp-content\/uploads\/2021\/03\/menu-logo.svg","contentUrl":"https:\/\/frauenfilmfest.com\/wp-content\/uploads\/2021\/03\/menu-logo.svg","width":214,"height":59,"caption":"Internationales Frauenfilmfestival Dortmund|K\u00f6ln e.V."},"image":{"@id":"https:\/\/frauenfilmfest.com\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.facebook.com\/IFFF.Dortmund.Koeln\/","https:\/\/x.com\/frauenfilmfest","https:\/\/www.instagram.com\/frauenfilmfestival\/"]}]}},"_links":{"self":[{"href":"https:\/\/frauenfilmfest.com\/en\/wp-json\/wp\/v2\/movie_cat\/363","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/frauenfilmfest.com\/en\/wp-json\/wp\/v2\/movie_cat"}],"about":[{"href":"https:\/\/frauenfilmfest.com\/en\/wp-json\/wp\/v2\/taxonomies\/movie_cat"}],"up":[{"embeddable":true,"href":"https:\/\/frauenfilmfest.com\/en\/wp-json\/wp\/v2\/movie_cat\/358"}],"wp:post_type":[{"href":"https:\/\/frauenfilmfest.com\/en\/wp-json\/wp\/v2\/movie?movie_cat=363"},{"href":"https:\/\/frauenfilmfest.com\/en\/wp-json\/wp\/v2\/event?movie_cat=363"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}