Middle Eastern/North African Cinema:
A Bibliography of Materials in the UC Berkeley Library












General Works

Algeria/Morocco/Tunisia

Egypt
Youssef Chahine
Iran
Rakhshan Bani-Etemad
Abbas Kiarostami
Mohsen Makhmalbaf
Majid Majidi
Tahmineh Milani

Israel/Palestine
Amos Gitai

Turkey

For books in languages other than English, consult PATHFINDER

General Works

Abdel-Malek, Kamal.
The rhetoric of violence : Arab-Jewish encounters in contemporary Palestinian literature and film New York : Palgrave Macmillan, 2005.
MAIN: PJ7519.J4 A233 2005

Addoum, Nada.
"Gender and crime - Representations and constructions of deviant femininity in Arab cinema." Al-Raida; SPRING, 2006, Vol. 23 Issue 113, p55, 4p
UC users only

Armes, Roy.
Arab Filmmakers of the Middle East : A Dictionary Bloomington, Ind. : Indiana University Press, c2010.
Full-text available online (UC Berkeley users only)
Doe Reference PN1993.5.A65 A76 2010

Armes, Roy.
Postcolonial images : studies in North African film Bloomington : Indiana University Press, c2005.
MAIN: PN1993.5.A35 A76 2005; View current status of this item
Table of contents http://www.loc.gov/catdir/toc/ecip0417/2004007896.html

Armes, Roy
"Women pioneers of Arab cinema." Screen; Winter2007, Vol. 48 Issue 4, p517-520, 4p
UC users only

Asfour, Nana.
"The Politics of Arab Cinema: Middle Eastern Filmmakers Face up to Their Reality." Cineaste 2000, 26:1, 46-48.
UC users only
"The state of contemporary Arab filmmaking is discussed. Arab cinema has been stagnant for the past 30 years. Recently, even the number of domestic productions in Egypt, a bastion of Arab cinema, has shriveled dramatically. In the Lebanon, filmmakers have been excelling in documentary and short film formats, but yearly film production remains at only one or two full-length features, and the International Beirut Film Festival, which was proving to be an important cinematic event, has been canceled for 2000. However, the cinematic productions of Palestine, where politics and cinema have always coexisted, are being brought into the international limelight by directors like Michel Khleifi, Ali Nassar, Rashid Masharawi, and Elia Suleiman. Moreover, in their separate films, Suleiman and Lebanon native Ziad Doueiri, who directed West Beiruit, have skilfully blended humor and drama with compelling cinematography without stretching too far from the content's "Arabness." [Art Index]

Bouzid, Nouri; Ezabi, Shereen-el (translator)
"New Realism in Arab Cinema: The Defeat-Conscious Cinema." Alif: Journal of Comparative Poetics, 1995, 15, 242-50 (English section), 199-200 (Arabic section)

Camera Afrique; Camera Arabe.[Video]
Two documentary films by the Tunisian director and critic Ferid Boughedir which constitute an indispensable introduction to film making in Africa and the Arab world. Camera Afrique (Tunisia, 1983, 95 min.), a documentary celebrating 20 years of African film production, presents early film pioneers with film clips and production histories. Camera Arabe (Tunisia, 1987, 62 min.) looks at the new Arab cinema of the post-colonial era. It includes interviews with filmmakers from North Africa and the wider Arab worlds and clips from a wide range of key Arab films. PAL format.
Video/C 6326

The cinema of North Africa and the Middle East / Edited by Gonul Donmez-Colin ; [preface by Abbas Kiarostami]. London ; New York : Wallflower Press, 2007.
MAIN: PN1993.5.M638 C56 2007
Contents: Twenty-four essays on individual selected films, many by scholars and writers based in the region. It explores established film cultures such as those of Turkey and Iran, and also nascent cinemas such as Israel, Palestine and Syria. Selected films include Cairo Station (Egypt, 1958), Umat (Turkey, 1970), The Runner (Iran, 1989), Once upon a time, Beriut (Lebanon, 1994), Chronicle of a disappearance (Palestine, 1996), Circle of dreams (Israel, 2000), Ten (Iran, 2002) and Uzak (Turkey, 2003)."--P. 4 of cover. Includes bibliographical references (p. 273-286) and index. Preface / Abbas Kiarostami -- Introduction / Gonul Donmez-Colin -- Ghazal al-banat = Candy Floss / Kay Dickinson -- Bab el-Hadid = Cairo Station / Lina Khatib -- Al-Momia = The mummy / Iman Haman -- Umut = Hope / Gonul Donmez-Colin -- Gelin = The bride / Ayla Kanbur -- Tabiat-e Bijan = Still life / Mehrnaz Saeed-Vafa -- Traversees = Crossing over / Roy Armes -- Davandeh = The runner / Hamid Dabashi -- Lo Sam Zaylin = I don't give a damn / Yehuda Judd Neeman -- Nujum al-Nahar = Stars in broad daylight / Rasha Salti -- Docharkheh Savar = The cyclist / Gonul Donmez-Colin -- Bab al-sama Maftouh = A door to the sky / Florence Martin -- Youcef ou la Legende du septieme dormant = Joussef or the Legend of the seventh sleeper / Roy Armes -- Samt al-qusur = Silences of the palace / Viola Shafik -- Kan ya ma kan Beirut = Once upon a time, Beirut / Lina Khatib -- Segell ikhtifa = Chronicle of a disappearance / Haim Bresheeth -- Eskiya = The bandit / Nezih Erdogan -- Beyrouth al Gharbiyya = West Beirut / Mona Deeley -- Kikar Hahalomot = Circle of dreams / Shoshana Madmoni-Gerber -- Kippur / Nitzan Ben-Shaul -- Muwatin, mukhbir wa harami = Citizen, detective and thief / Viola Shafik -- Ten / Gonul Donmez-Colin -- Uzak / Distant / S. Ruken Ozturk -- Forget Baghdad : Jews and Arabs - the Iraqi connection / Ruth Tsoffar

Les Cinemas arabes
Dossier reuni par Mouny Berrah, Jacques Levy et Claude-Michel Cluny; prefaces de Tahar Ben Jelloun et Ferid Boughedir. Paris: Cerf: Institut du monde arabe, c1987. Series title: CinemAction; 43.
UCB Main PN1993.5.A1 C5 1987

Companion encyclopedia of Middle Eastern and North African film
Edited by Oliver Leaman. London ; New York : Routledge, 2001.
Media Center: PN1993.5.A65 C66 200

Conference de la Table Ronde (1962: Bayreuth, Germany)
Cinema et culture arabes; conferences de la Table Ronde sous les auspices et avec la participation de l'UNESCO. Beyrouth, Octobre 1962. Beyrouth, Centre Interarabe du Cinema et de la Television [1964].
NRLF PN1993.5.N4C6 1962

Donmez-Colin, Gonul.
Cinemas of the other : a personal journey with film-makers from the Middle East and Central Asia Bristol, UK ; Portland, OR, USA : Intellect, c2006.
Full text available online [UCB users only] MOFF: PN1993.5.M638 D66 2006;

Fawal, Ibrahim.
"Three Perspectives on Arab Cinema." Edebiyat: The Journal of Middle Eastern Literatures, 2000, 11:2, 275-82.

Ghareeb, Shirin.
"An Overview of Arab Cinema." Critique Journal for Critical Studies of the Middle East, 1997 Fall, 11, 119-27.

Habib, Samar.
"Some Like it Luke-Warm: A Brief History of the Representation of (Homo)Sexuality in Egyptian film." In: Female homosexuality in the Middle East : histories and representations New York : Routledge, c2007.
MAIN: HQ75.6.M628 H33 2007

Haugbolle, Sune
War and memory in Lebanon / Sune Haugbolle. New York : Cambridge University Press, 2010.
Main (Gardner) Stacks DS87.5 .H384 2010
"From 1975 to 1990, Lebanon endured one of the most protracted and bloody civil wars of the twentieth century. Sune Haugbolle's timely and often poignant book chronicles the battle over ideas that emerged from the wreckage of that war. While the Lebanese state encouraged forgetfulness and political parties created sectarian interpretations of the war through cults of dead leaders, intellectuals and activists--inspired by the example of truth and reconciliation movements in different parts of the world--advanced the idea that confronting and remembering the war was necessary for political and cultural renewal. Through an analysis of different cultural productions--media, art, literature, film, posters, and architecture--the author shows how the recollection and reconstruction of political and sectarian violence that took place during the war have helped in Lebanon's healing process. He also shows how a willingness to confront the past influenced the popular uprising in Lebanon after the assassination of Prime Minister Rafiq Hariri"--Provided by publisher.

Hillauer, Rebecca. Encyclopedia of Arab women filmmakers / Rebecca Hillauer ; translated by Allison Brown, Deborah Cohen, and Nancy Joyce. Cairo ; New York : American University in Cairo Press, c2005.
Full-text available online (UC Berkeley users only)
Main (Gardner) Stacks PN1998.2 .H5513 2005

Hollywood harems [Video]
This documentary examines Hollywood stereotypes of the East, with particular attention paid to the Middle East and the depiction of women of the East. Juxtaposing film clips from the 20s through the 80s, the filmmaker argues these fantasies have worked both to shape and reinforce often derogative assumptions about the peoples of the East while at the same time reinscribing the moral, spiritual, and cultural supremacy of the Anglo-European West.
Media Resources Center Video/C 7079

Holmes, Winifred
Orient: a survey of films produced in countries of Arab and Asian culture / prepared by Winifred Holmes for the British Film Institute. London: The Institute, 1959.
UCB Main PN1993.5.A1 H6

Jaafar, Ali
"War of the worlds." Sight & Sound v. ns16 no. 10 (October 2006) p. 18-20
UC users only
"Part of a special section on the film world's response to the terrorist attacks of September 11, 2001. A discussion of Middle Eastern cinema since 9/11. Over the past five years, filmmakers in the Middle East have been preoccupied not with the actual day but with its tragic aftermath, including the United States-led invasions of Afghanistan and Iraq and the burgeoning of Islamic fundamentalism. Siddig Barmak's 2003 film, Osama, for example, tells a bitter tale of a girl's struggle to survive under Taliban rule, while the Iranian director Bahman Ghobadi, in his 2004 film, Turtles Can Fly, depicts the disillusionment of Kurds with the United States. In his 2005 film, Paradise Now, Hany Abu-Assad portrays the process by which two ordinary Palestinians are made into suicide bombers." [Art Index]

Khatib, Lina (Lina H.)
Filming the modern Middle East : politics in the cinemas of Hollywood and the Arab world London ; New York : I.B. Tauris ; New York : Distributed in the United States by Palgrave Macmillan, 2006.
Full text available online [UCB users only]
PFA : PN1993.5.A66 K38 2006
MAIN: PN1993.5.A65 K38 2006

Khoury, Malek.
"Origins And Patterns in the Discourse of New Arab Cinema." Arab Studies Quarterly, Winter/Spring2005, Vol. 27 Issue 1/2, p1-20, 20p
UC users only

Landau, Jacob M.
Studies in the Arab theater and cinema. Pref. by H. A. R. Gibb. Philadelphia, University of Pennsylvania Press [1958].
UCB Main PN2960.A67 L3
NRLF PN2960.A67L3 off campus

Malkmus, Lizbeth.
Arab and African film making / Lizbeth Malkmus and Roy Armes. London; Atlantic Highlands, N.J., USA: Zed Books, 1991. UCB Main PN1993.5.A65 M3 1991

Michalek, Laurence.
"The Arab in American Cinema: A Century of Otherness." Cineaste 1989, 17:1, 3-9.

Sadoul, Georges
The cinema in the Arab countries; anthology prepared for UNESCO. Beirut, Interarab Centre of Cinema & Television, 1966.
NRLF B 3 567 925

Naficy, Hamid.
An accented cinema : exilic and diasporic filmmaking / Hamid Naficy. Princeton, N.J. : Princeton University Press, c2001.
Anthropology PN1993.5.D44.N34 2001
Main Stack PN1993.5.D44.N34 2001
PFA PN1993.5.D44.N34 2001

O'Riley, Michael F.
Cinema in an age of terror : North Africa, victimization, and colonial history / Michael F. O'Riley. Lincoln : University of Nebraska Press, c2010.
Pacific Film Archive PN1995.9.P6 O75 2010

Samak, Qussai.
"The Arab Cinema And The National Question: From the Trivial to the Sacrosanct." Cineaste, Spring79, Vol. 9 Issue 3, p32-34, 3p

Shafik, Viola.
Arab cinema: history and cultural identity / Viola Shafik. Cairo : American University in Cairo Press, 2007.
Full-text available online (UC Berkeley users only)

Shafik, Viola.
"Women: National liberation and melodrama in Arab cinema: Some considerations." Al-Raida; SUMMER/FALL, 1999, Vol. 16 Issue 86-87, p12, 7p

Shaheen, Jack G.
"The Arab World as Place." In: Beyond the stars - vol 4 / edited by Paul Loukides and Linda K. Fuller. Bowling Green, Ohio : Bowling Green University Popular Press, c1990
Main Stack PN1995.9.C36.B49 1990 Library has: v.[1]-5 (c1990-c1996)
Moffitt PN1995.9.C36.B49 1990 Library has: v.[1]-5 (c1990-c1996)

Shafik, Viola
Arab cinema: history and cultural identity / Viola Shafik. Cairo: American University in Cairo Press, c1998.
UCB Main PN1993.5.A65 S4613 1998

Works by Country

Algeria/Morocco/Tunisia

Immigrants within Europe

Akalay, O. (Omar)
Au service du cinema marocain / Omar Akalay. [Rabat] : Al Asas, c2003.
Main (Gardner) Stacks PN1993.5.M67 A43 2003

L'Algérie vue par son cinéma : une documentation
préparée par Jean-Pierre Brossard. Locarno : Editions Festival du film, [1981?]
Pacific Film Archive PN1993.5.A4 A47 1981

Algerian cinema
Edited by Hala Salmane, Simon Hartog and David Wilson. London : British Film Institute, 1976.
MAIN: PN1993.5.A4A451 1976
PFA : PN1993.5.A4A451 1976

Armes, Roy.
"Cinemas of the Maghreb." Black Camera: An International Film Journal Winter 2009, Vol. 1, No. 1, Pages 5-29
UC users only

Armes, Roy.
Dictionary of North African film makers / Roy Armes. Armes, Roy. Paris : Association des trois mondes, 1996.
Main (Gardner) Stacks PN1998.2 .A76 1996 AVAILABLE
Pacific Film Archive PN1998.2 .A76 1996 LIB USE

Armes, Roy.
Postcolonial images : studies in North African film Bloomington : Indiana University Press, c2005.
MAIN: PN1993.5.A35 A76 2005; View current status of this item
Table of contents http://www.loc.gov/catdir/toc/ecip0417/2004007896.html

Boudjedra, Rachid
Naissance du cinéma algérien. Paris, F. Maspéro, 1971.
NRLF (UCB) PN1993.5.A4 B6

Carter, Sandra G.
"Constructing an independent Moroccan nation and national identity through cinema and institutions." The Journal of North African Studies, 1743-9345, Volume 13, Issue 4, 2008, Pages 531 – 559
UC users only

The cinema of North Africa and the Middle East / Edited by Gonul Donmez-Colin ; [preface by Abbas Kiarostami]. London ; New York : Wallflower Press, 2007.
MAIN: PN1993.5.M638 C56 2007
Contents: Twenty-four essays on individual selected films, many by scholars and writers based in the region. It explores established film cultures such as those of Turkey and Iran, and also nascent cinemas such as Israel, Palestine and Syria. Selected films include Cairo Station (Egypt, 1958), Umat (Turkey, 1970), The Runner (Iran, 1989), Once upon a time, Beriut (Lebanon, 1994), Chronicle of a disappearance (Palestine, 1996), Circle of dreams (Israel, 2000), Ten (Iran, 2002) and Uzak (Turkey, 2003)."--P. 4 of cover. Includes bibliographical references (p. 273-286) and index. Preface / Abbas Kiarostami -- Introduction / Gonul Donmez-Colin -- Ghazal al-banat = Candy Floss / Kay Dickinson -- Bab el-Hadid = Cairo Station / Lina Khatib -- Al-Momia = The mummy / Iman Haman -- Umut = Hope / Gonul Donmez-Colin -- Gelin = The bride / Ayla Kanbur -- Tabiat-e Bijan = Still life / Mehrnaz Saeed-Vafa -- Traversees = Crossing over / Roy Armes -- Davandeh = The runner / Hamid Dabashi -- Lo Sam Zaylin = I don't give a damn / Yehuda Judd Neeman -- Nujum al-Nahar = Stars in broad daylight / Rasha Salti -- Docharkheh Savar = The cyclist / Gonul Donmez-Colin -- Bab al-sama Maftouh = A door to the sky / Florence Martin -- Youcef ou la Legende du septieme dormant = Joussef or the Legend of the seventh sleeper / Roy Armes -- Samt al-qusur = Silences of the palace / Viola Shafik -- Kan ya ma kan Beirut = Once upon a time, Beirut / Lina Khatib -- Segell ikhtifa = Chronicle of a disappearance / Haim Bresheeth -- Eskiya = The bandit / Nezih Erdogan -- Beyrouth al Gharbiyya = West Beirut / Mona Deeley -- Kikar Hahalomot = Circle of dreams / Shoshana Madmoni-Gerber -- Kippur / Nitzan Ben-Shaul -- Muwatin, mukhbir wa harami = Citizen, detective and thief / Viola Shafik -- Ten / Gonul Donmez-Colin -- Uzak / Distant / S. Ruken Ozturk -- Forget Baghdad : Jews and Arabs - the Iraqi connection / Ruth Tsoffar

Companion encyclopedia of Middle Eastern and North African film
Edited by Oliver Leaman. London ; New York : Routledge, 2001.
Media Resources Center PN1993.5.A65 C66 2001
Pacific Film Archive PN1993.5.A66 C66 2001 ref

Dine, Philip.
Images of the Algerian War : French fiction and film, 1954-1992 Oxford [England] : Clarendon Press ; New York : Oxford University Press, 1994. MAIN: PQ673 .D55 1994; PFA : PQ673 .D55 1994

Dwyer, Kevin
"Moroccan Cinema and the Promotion of Culture." The Journal of North African Studies, 1743-9345, Volume 12, Issue 3, 2007, Pages 277 – 286
UC users only

Edwards, B T.
"Marock in Morocco: Reading Moroccan Films in the Age of Circulation." The Journal of North African Studies, 12(3): pp. 287-307
UC users only

Gana, Nouri
"Bourguiba's sons: melancholy manhood in modern Tunisian cinema." The Journal of North African Studies, 1743-9345, Volume 15, Issue 1, 2010, Pages 105 – 126
UC users only

Hadj-Moussa, Ratiba
Le corps, l'histoire, le territoire : les rapports de genre dans le cinéma algérien / Ratiba Hadj-Moussa. Montréal : Éditions Balzac ; Paris : Publisud, c1994.
Main (Gardner) Stacks

Hadj-Moussa, Ratiba
"Marginality and ordinary memory: body centrality and the plea for recognition in recent Algerian films." The Journal of North African Studies, 1743-9345, Volume 13, Issue 2, 2008, Pages 187 – 199

Hadj-Moussa, Ratiba
"Marginality and ordinary memory: body centrality and the plea for recognition in recent Algerian films." The Journal of North African Studies, 1743-9345, Volume 13, Issue 2, 2008, Pages 187 – 199
UC users only

Hamil, Mustapha.
"Itineraries of Revival and Ambivalence in Postcolonial North African Cinema: From Benlyazid's Door to the Sky to Moknèche's Viva Laidgérie." African Studies Review, Dec2009, Vol. 52 Issue 3, p73-87, 15p
UC users only

Higbee, Will
"Locating the Postcolonial in Transnational Cinema: The Place of Algerian Emigré Directors in Contemporary French Film." Modern & Contemporary France, vol. 15, no. 1, pp. 51-64, February 2007

Higbee, Will
"Beyond the (Trans)National: Towards a Cinema of Transvergence in Postcolonial and Diasporic Francophone Cinema(s)." Studies in French Cinema, vol. 7, no. 2, pp. 79-91, 2007
UC users only

Kchir-Bendana, Kmar
"Ideologies of the nation in Tunisian cinema." The Journal of North African Studies, 1743-9345, Volume 8, Issue 1, 2003, Pages 35 – 42
UC users only

Liberation & alienation in Algerian cinema. Cambridge, Mass. : August Light Productions, [1991]
PFA : PN1993.5.A4 L53 1991

North African cinema in a global context : through the lens of diaspora
Edited by Andrea Khalil. London : Routledge, 2008.
Main (Gardner) Stacks PN1993.5.A355 N67 2008

Salhi, Kamal
"Visualising postcolonial cultural politics in Algeria: from state cinema to cinéma d'auteur." The Journal of North African Studies, 1743-9345, Volume 13, Issue 4, 2008, Pages 441 – 454
UC users only

Stollery, Martin.
"Masculinities, generations, and cultural transformation in contemporary Tunisian cinema." Screen, Spring2001, Vol. 42 Issue 1, p49-63, 15p
UC users only
This article examines the representations of masculinities and intergenerational relationships in the Tunisian films "Rih al-sadd/Man of Ashes," "Asfour stah/Halfaouine" and "çoumt al-Quçour/Silences of the Palace." The films are important because of their esteem and popularity within North African and Middle Eastern film cultures. Each won the top prize at the Carthage Film Festival and each attracted large Tunisian and North African audiences. Some of the films' precursors within Arab cinema are considered.

Tazi, M. A. (Mohamed Abderrahman)
Beyond Casablanca : M.A. Tazi and the adventure of Moroccan cinema / Kevin Dwyer. Bloomington : Indiana University Press, c2004.
Full text available online (UCB users only)
Main (Gardner) Stacks PN1998.3.T397 A3 2004
Pacific Film Archive PN1998.3.T397 A3 2004

Weber-Feve, Stacey
Re-hybridizing transnational domesticity and femininity : women's contemporary filmmaking and lifewriting in France, Algeria, and Tunisia / Stacey Weber-Fève. Lanham : Lexington Books, c2010.
Main (Gardner) Stacks PQ149 .W38 2010

Egypt

Abou Shadi, Aly.
A Chronology of the Egyptian cinema in Hundred years, 1896-1994 / by Aly Abou Chady; translated by Nora Amine. [Cairo]: al-Majlis al-A'la lil-Thaqafah, 1998.
UCB Main PN1993.5.E3 A2613 1998

Al-Obaidi, Jabbar A.
"Egyptian Film: Gender and Class Violence Three Cycles." (Statistical Data Included) . International Journal of Instructional Media Summer 2000 v27 i3 p261
UC users only
"In this paper the researcher attempts to introduce the level of physical and verbal violence that aimed, intentionally or unintentionally, at women (gender) and Alsa'ayda (class). The paper argues that Egyptian films produced in the 1950's and through the 1960s and 1970s lured the film-goers and the public at large to a wrong direction when the women issue is involved. At the present time, the expanding accessibility of Egyptian films to an engrossed and addictive audience have allowed it to present a stronger influence and play a crucial role in the reconstruction of gender and class identities in response to a variety of political, social, and religious changes in the country." [Expanded Academic Index]

Armbrust, Walter.
"The golden age before the golden age: commercial Egyptian cinema before the 1960s." In: Mass mediations [electronic resource] : new approaches to popular culture in the Middle East and beyond / edited by Berkeley : University of California Press, c2000
Full-text available online (UC Berkeley users only)

Armbrust, Walter.
"Islamists in Egyptian Cinema." American Anthropologist, Sep2002, Vol. 104 Issue 3, p922, 10p

Armbrust, Walter.
"New Cinema, Commercial Cinema, and the Modernist Tradition in Egypt."Alif: Journal of Comparative Poetics. 15:81-129 (English section), 191-92 (Arabic section). 1995.

Armbrust, Walter.
"The rise and fall of nationalism in the Egyptian cinema." In: Social constructions of nationalism in the Middle East / edited by Fatma Muge Gocek. Albany : State University of New York Press, 2002
Anthropology DS63.5.S63 2002
Main Stack DS63.5.S63 2002

Baker, Raymond.
"Combative Cultural Politics: Film Art and Political Spaces in Egypt." Alif: Journal of Comparative Poetics. 15:6-38 (English section), 189-90 (Arabic section). 1995. Cairo, Egypt

Culhane, Hind Rassam
East/West, an ambiguous state of being: the construction and representation of Egyptian cultural identity in Egyptian film / Hind Rassam Culhane. New York: P. Lang, c1995. Series title: Intercultural studies vol. 4.
UCB Main PN1993.5.E3 C85 1995

Darwish, Mustafa.
Dream makers on the Nile: a portrait of Egyptian cinema / by Mustafa Darwish. Cairo: American University in Cairo Press, 1998.
UCB Main PN1993.5.E3 D37 1998

Dickinson, Kay.
""I Have One Daughter and That Is Egyptian Cinema": 'Azi-za Ami-r amid the Histories and Geographies of National Allegory." Camera Obscura, Jan2007, Vol. 22 Issue 64, p136-177, 42p
UC users only

Gaffney, Jane.
"The Egyptian Cinema: Industry And Art In A Changing Society." Arab Studies Quarterly 1987 9(1): 53-73.

Gordon, Joel.
"Class-Crossed Lovers: Popular Film and Social Change in Nasser's New Egypt."Quarterly Review of Film & Video. 18(4):385-96. 2001 Oct
UC users only
Many Egyptian films from the 1950s demonstrate the significant cultural and social changes inspired by Gamal Abdel Nasser. Musical comedies and melodramas during this period often included political commentary about the image of an independent, progressive Egypt.

Gordon, Joel.
"Days of Anxiety/Days of Sadat: Impersonating Egypt's Flawed Hero on the Egyptian Screen." Journal of Film & Video, Summer/Fall2002, Vol. 54 Issue 2/3, p27-42, 16p
UC users only

Gordon, Joel.
Revolutionary melodrama: popular film and civic identity in Nasser's Egypt Chicago : Middle East Documentation Center, 2002.
UCB Main PN1993.5.E3 G67 2002;

Khan, Mohamed.
An introduction to the Egyptian cinema [by] M. Khan. London, Informatics, 1969.
NRLF $D 62 594

Khatib, Lina.
"Nationalism and Otherness: The representation of Islamic fundamentalism in Egyptian cinema." European Journal of Cultural Studies, Feb2006, Vol. 9 Issue 1, p63-80, 18p
UC users only

Samak, Qussai
"The Politics of Egyptian Cinema." MERIP Reports, No. 56. (Apr., 1977), pp. 12-15.
UC users only

Shafik, Viola.
Popular Egyptian cinema : gender, class, and nation / Viola Shafik.
Full-text available online (UC Berkeley users only)
Main (Gardner) Stacks PN1993.5.E3 S424 2007
Pacific Film Archive PN1993.5.E3 S424 2007

Malkmus, Lizbeth.
"The 'New' Egyptian Cinema: Adapting Genre Conventions to a Changing Society."Cineaste. 16(3):30-33. 1988.

Wassef, Magda.
"Egypt through the looking-glass." (motion pictures) UNESCO Courier, July-August 1995 p49(4)
UC users only
Egyptians have been avid movie fans ever since the Lumiere shorts were shown in Alexandria in 1896. However, it was not until 1922 when the first Egyptian feature film was made. Contemporary Egyptian cinema is noted for its excellent directors, including Youssef Chahine and Mohamad Khan.

Youssef Chahine

Daney, Serge; Toubiana, Serge
"Alexandrie, parce que."Cahiers du Cinéma;nr.431-432 (May 1990); p.44-50,52
Director Y.C. speaks of his training as an actor, and his latest film "Alexandrie, encore et toujours".

Ehrenstein, David
"Alexandria Again and Forever." (movie reviews) The Advocate (The national gay & lesbian newsmagazine) July 2, 1991 n580 p89(1)

Fargeon, Michael
"Youssef Chahine." (Egyptian film director)(Interview) UNESCO Courier Sept 1997 p47(3)
UC users only

Jousse, T.
"Entretien avec Youssef Chahine." Cahiers du Cinéma no. 517 (October 1997) p. 35-9
"In an interview, Youssef Chahine discusses his film Le Destin. He discusses several topics, including the dangers of fundamentalism, a subject on which the film is explicit; how he became interested in the character of Averroes, the 12th-century Andalusian philosopher who is the main character in the film; what caused most difficulties during the filming; the significance of the character of the gypsy woman; and his films L'Emigre and Le Destin as historical films that are also very contemporary." [Art Index]

Jousse, T.
"Youssef Chahine: "les Cahiers m'ont aide face a mon gouvernement" [interview with Youssef Chahine]. Cahiers du Cinéma no. 556 (April 2001) p. 18-19
"In an interview on the occasion of the broadcast on French television on May 17, 2001, of Le Cinema des Cahiers, a film tracing the history of Cahiers du Cinéma, filmmaker Youssef Chahine discusses his connection with the publication over the years, including his first encounter with the publication, the disagreements he has occasionally had with opinions expressed in Cahiers, and the influence its coverage of his films has had on the recognition of his work in America." [Art Index]

Kehr, Dave
"The waters of Alexandria: the films of Youssef Chahine." Film Comment Nov-Dec 1996 v32 n6 p23(5)
Chahine is one of Egypt's leading filmmakers, and a recent retrospective of his work was shown at the 1996 Locarno Film Festival in Switzerland. He has produced 31 features and 6 shorts including 'Central Station,' 'Alexandria, Why?' and 'Farewell, Bonaparte.' An examination of his works is given." [Expanded Academic Index]

Khouri, Malek.
Arab national project in Youssef Chahine's cinema / Malek Khouri. Cairo ; New York : American University in Cairo Press, 2010.
Full-text available online (UC Berkeley users only)

Kiernan, Maureen.
"Cultural Hegemony and National Film Language: Youssef Chahine."Alif: Journal of Comparative Poetics. 15:130-52 (English section), 192-93 (Arabic section). 1995.

Klawans, Stuart
"Nine views in a looking glass: Film trilogies by Chahine, Gitai, and Kiarostami." Parnassus: Poetry in Review Spring 2000 v25 i1-2 p231(2) Similarities in the works of film makers Abbas Kiarostami of Iran, Amos Gitai of Israel, and Yuossef Chahine of Egypt are examined. The film makers are recognised as industry leaders in their respective countries.

Le Péron, Serge; Daney, Serge
"Le syndrôme Alexandrie./ Entretien avec Youssef Chahine." Cahiers du Cinéma; nr.310 (Apr 1980); p.18-25
"[Chahine] recalls how an imminent heart operation prompted him to commit himself to a truly personal, autobiographical film, should he survive the surgery; he discusses the result, "Askndrie... lie?", and comments on its outcome" [FIAF]

Massad, Joseph
"Art and politics in the cinema of Youssef Chahine." (Egyptian film director)(Interview) Journal of Palestine Studies Wntr 1999 v28 i2 p77(1)
UC users only
"Egyptian film director Youssef Chahine believes that films must focus on people not on politics. More importantly, Chahine thinks that while the drama is central to a film's message, it is not necessarily weighted down by an exploration of the underlying political issues that may have shaped the conflicts in the story. Chahine believes that Arab governments do not provide enough support to filmmakers and considers the attention being showered on his films by members of the Western literati to be welcome. Chahine was a lifetime achievement awardee at the 1997 Cannes film festival." [Expanded Academic Index]

Nazarenko, J. M.
"Alexandrie, toujours."Cahiers du Cinéma; nr.427 (Jan 1990); p.9

Reynaud Bérénice
"Everywhere desire." (profile of the works of Egyptian film director Youssef Chahine) Sight and Sound August 1997 v7 n8 p20(3)
"Egyptian film-maker, Youssef Chahine, was awarded the Lifetime Achievement Award at the 1997 Cannes Film Festival. The event also marked the presentation of Chahine's latest motion picture 'Destiny' which portrays the life of 12th-century Arab philosopher Averroes. The movie attacks Islamic fundamentalism and features dancing, singing, comedy and love. A profile of Chahine and his works to date is given." [Expanded Academic Index]

Iran

Bahari, Maziar; Power, Carla
"Freedom for Film." (Iran) Newsweek International, May 28, 2001 p56

Chaudhuri, Shohini. Finn, Howard.
"The Open Image: Poetic Realism and the New Iranian Cinema." Screen. 44 (1): 38-57. 2003 Spring

Cherigny, C.
"Identity crisis in Iran." (film censorship rules) S. Hashemi, World Press Review Feb 1992 v39 n2 p53(1)
"Islam laws govern the motion picture industry in Iran.Rules dictate that women cannot raise their veils on the screen, couples cannot touch unless they are married in real life. Change may come if film makers can create an art independent of reality." [Expanded Academic Index]

Cheshire, Godfrey.
"Where Iranian cinema is." Film Comment, Mar/Apr93, Vol. 29 Issue 2, p38, 6p
UC users only

Dabashi, Hamid
Close up : Iranian cinema, past, present and future / Hamid Dabashi. London ; New York : Verso, 2001.
UCB Main PN1993.5.I846 D23 2001

Dabashi, Hamid
Masters & masterpieces of Iranian cinema Washington, DC : Mage Publishers, 2007.
MAIN: PN1993.5.I846 D33 2007;
Table of contents http://www.loc.gov/catdir/toc/ecip073/2006034780.html

Dabashi, Hamid
"Persian blues" (Urban legends; ten cities that shook cinema) Sight & Sound v. ns12 no. 1 (January 2002) p. 32-4
UC users only
"The writer discusses the cinema of Iran, focusing on Tehran. After a decade of "sacred rage" that followed the Islamic Revolution of 1979, Tehran became the crucible for an innovative cinema in the 1990s that analyzes the tensions of modern life while tapping into deep roots of Persian poetry. The hopeful spirit of resurrection and the feeling of renewal that followed the election of Seyyed Mohammad Khatami to the presidency is captured in films such as Abbas Kiarostami's A Taste of Cherry and Majid Majidi's The Colour of Paradise. The influx of Afghan refugees is represented in films such as Mohsen Makhmalbaf's The Cyclist, the dispirited middle class is portrayed in Dariush Mehrjui's trilogy, and Tehran's contemporary problems of poverty, prostitution, and muted violence are examined in Jafar Panahi's The Circle." [Art Index]

Haghighat, Mamad.
"After the revolution: the cinema will carry us."(cinema flourishes in Iran) UNESCO Courier (Oct, 2000):26.
UC users only

Hamid, R.
"Panning Out for a Wider View: Iranian Cinema Beyond Its Borders." Cineaste v. 31 no. 3 (Summer 2006) p. 48-50
UC users only
"Part of a special section on contemporary Iranian cinema. Iranian filmmakers have begun to make films that take place outside of Iran. Made largely in response to the US military actions in Afghanistan and Iraq, these films provide a privileged glimpse into Iran's perspective on its neighbors and on the internal politics of the Near East. They also provide a counterpoint to the images of these countries that we see through the news media, while reminding us that the concerns of any country and its national cinema extend beyond national borders. A number of recent films made outside Iran are discussed here: Bahman Ghobadi's Turtles Can Fly, Mohsen Makhmalbaf's Kandahar, and Abbas Kiarostami's ABC Africa.." [Art Index]

Holman, Rosa
"Caught Between Poetry and Censorship': The Influence of State Regulations and Sufi Poeticism on Contemporary Iranian Cinema" Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema, vol. 41, pp. (no pagination), Oct 2006

Issari, Mohammad Ali.
Cinema in Iran, 1900-1979 / by M. Ali Issari. Metuchen, N.J.: Scarecrow Press, 1989.
UCB Main PN1993.5.I846 I871 1989

Kalami, Proshot
" Whom does Iranian Cinema Speak to?: Double Life of a Poetic Cinema." International Journal of the Humanities; 2009, Vol. 6 Issue 9, p37-45, 9p, 2 bw
UC users only

Landesman, O.
"In the Mix: Reality Meets Fiction in Contemporary Iranian Cinema." Cineaste v. 31 no. 3 (Summer 2006) p. 45-7
UC users only
"Part of a special section on contemporary Iranian cinema. The writer discusses the merger of reality and fiction in contemporary Iranian cinema. The most interesting contemporary cinematic voices in Iran--Abbas Kiarostami, Jafar Panahi, and Mohsen and Samira Makhmalbaf, to name a few--have been freely blending fact and fiction to create a hybrid cinema that addresses the nation's social and political issues. Many have explained the appeal of this aesthetic development as a means of overcoming the limitations of censorship, but given the new spirit of relatively free speech in Iran, it is more likely down to an artistic wish to expand and rethink the documentary form. Whatever the reasons may be, it is clear that not since the early days of Italian neorealism have art and life seemed so inextricably connected in cinema." [Art Index]

Mahmoudi, Ali-Reza
"Five Iranian Films." Cinemaya: The Asian Film Quarterly, vol. 53, pp. 34-38, Fall 2001.

Mir-Hosseini, Ziba
"Iranian Cinema: Art, Society and the State." Middle East Report, Report 219 - Summer 2001

Mir-Hosseini, Ziba
"Negotiating the Forbidden: On Women and Sexual Love in Iranian Cinema." Comparative Studies of South Asia, Africa and the Middle East, vol. 27, no. 3, pp. 673-679, 2007
UC users only

Mirbakhtyar, Shahla.
Iranian cinema and the Islamic revolution Jefferson, N.C. : McFarland, c2006.
MAIN: PN1993.5.I846 M55 2006;
Table of contents http://www.loc.gov/catdir/toc/ecip0611/2006010925.html

Mohammadi, Ali; Egan, Eric,
"Cinema and Iran: Culture and Politics in the Islamic Republic." Asian Cinema, vol. 12, no. 1, pp. 14-28, Spring 2001.

Mohammadi, Ali
"The Impact of Globalization on Iranian Cinema." Asian Cinema, vol. 13, no. 1, pp. 3-16, Spring 2002.

Moruzzi, Norma Claire.
"Women In Iran: Notes On Film And From The Field." Feminist Studies 2001 27(1): 89-100.
UC users only

Naficy, Hamid
"Iranian Cinema under the Islamic Republic." American Anthropologist, New Series, Vol. 97, No. 3 (Sep., 1995), pp. 548-558
UC users only

Naghibi, Nima.
"Female Homosocial Communities in Iranian Feminist Film." In: Rethinking global sisterhood : western feminism and Iran / <2007> Minneapolis : University of Minnesota Press, c2007.
MAIN: HQ1735.2 .N34 2007; View current status of this item
Table of contents http://www.loc.gov/catdir/toc/ecip077/2006101635.html

Najafi, Behrad.
Film in Iran, 1900 to 1979: a political and cultural analysis / by Behrad Najafi. Stockholm: Universitet Stockholms, Dept. of Theatre and Cinema Arts, 1986.
UCB Main PN1993.5.I846 N35 1986

Naficy, Hamid
"Iranian Cinema under the Islamic Republic." American Anthropologist, New Series, Vol. 97, No. 3. (Sep., 1995), pp. 548-558.

Negar Mottahedeh
"Bahram Bayzai's Maybe . . . Some Other Time: The un-Present-able Iran ."Camera Obscura 15.1 (2000) 162-191
UC Berkeley users only

The new Iranian cinema : politics, representation and identity
Edited by Richard Tapper. London ; New York : I.B. Tauris, 2002
Full text available online [UCB users only]
UCB Main PN1993.5.I846 N49 2002

Poudeh, Reza J.; Shirvani, M. Reza
"Issues and Paradoxes in the Development of Iranian National Cinema: An Overview." Iranian Studies: Journal of the International Society for Iranian Studies, vol. 41, no. 3, pp. 323-341, June 2008

Rezai-Rashti, Goli M.
"Transcending the Limitations: Women and the Post-Revolutionary Iranian Cinema." Critique: Critical Middle Eastern Studies, vol. 16, no. 2, pp. 191-206, Summer 2007

Rosenbaum, Jonathan
" A Few Underpinnings of the New Iranian Cinema." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema, vol. 21, pp. (no pagination), Summer 2002

Sadr, Hamid Riza.
Iranian cinema : a political history London ; New York : I.B. Tauris ; New York : Distributed in the United States by Palgrave Macmillan, 2006.
Full text available online [UCB users only]
MAIN: PN1993.5.I846 S24 2006
MOFF: PN1993.5.I846 S24 2006;

Safawi, Azarmi Dukht.
Revolution and creativity : a survey of Iranian literature, films, and art in the post revolutionary era New Delhi : Rupa & Co. , 2006.
MAIN: PK6415.5 .S24 2006

Siavoshi, Sussan.
"Cultural Policies And The Islamic Republic: Cinema And Book Publication." International Journal of Middle East Studies 1997 29(4): 509-530.
"The Islamic Republic of Iran has been characterized by a shifting factionalism which has affected the regulation of films and book publishing in surprising ways. While tolerant factions under the leadership of Muhammad Khutami have predominated, intellectuals have nonetheless experienced insecurity. Knowing that they faced opposition from within a divided government, the creators of literature and film were reluctant to give full support to any regime. For the government's part, the internal divisiveness opened the way for modes of artistic expression that challenged traditional strictures. Since the early 1990's constraints have tightened, but factionalism is still prominent among the leadership, continuing the government's weakness and perhaps encouraging a renewed push for openness." [Historical Abstracts]

"A Special Focus on Contemporary Iranian Cinema." Cineaste: America's Leading Magazine on the Art and Politics of the Cinema, vol. 31, no. 3, pp. 38-50, Summer 2006

Thrupkaew, Noy
"Will and testament: what Iranian filmmakers are showing the wider world." (Film). The American Prospect June 2003 v14 i6 p45(2) (1614 words)

Weinberger, Stephen
"Joe Breen, The Ayatollah Khomeni, and Film Censorship." Quarterly Review of Film & Video, May2009, Vol. 26 Issue 3, p206-215, 10p
UC users only

Weinberger, Stephen
"Neorealism, Iranian Style." Iranian Studies; Feb2007, Vol. 40 Issue 1, p5-16, 12p
UC users only

Whatley, Sheri.
"Iranian Women Film Directors: A Clever Activism." Off Our Backs: The Feminist Newsjournal. 33 (3-4): 30-32. 2003 Mar-Apr.

Zeydabadi-Nejad, S.
"Iranian Intellectuals and Contact with the West: The Case of Iranian Cinema." British Journal of Middle Eastern Studies, Vol. 34, No. 3, Iranian Intellectuals (1997-2007) (Dec., 2007), pp. 375-398
UC users only

Rakhshan Bani-Etemad

Derayeh, Minoo.
"Depiction of women in Iranian cinema, 1970s to present" Women's Studies International Forum; May2010, Vol. 33 Issue 3, p151, 8p
UC users only

Dönmez-Colin, Gönül.
"Rakhshan Bani-Etemad: The Hidden Half." In: Cinemas of the other : a personal journey with film-makers from the Middle East and Central Asia / Bristol, UK ; Portland, OR, USA : Intellect, c2006.
Full text available online [UCB users only]
Moffitt PN1993.5.M638 D66 2006

Moore, Lindsey.
"Women in a Widening Frame: (Cross-)Cultural Projection, Spectatorship, and Iranian Cinema." Camera Obscura; May2005, Vol. 20 Issue 59, preceding p1-33, 34p
UC users only

Naficy, Hamid
"Veiled Voice and Vision in Iranian Cinema: The Evolution of Rakhshan Banietemad's Films." In: Ladies and gentlemen, boys and girls : gender in film at the end of the twentieth century / edited by Murray Pomerance. Albany : State University of New York Press, c2001.
Main (Gardner) Stacks PN1995.9.S47 L33 2001
Contents via Google books <

Tracz, Tamara.
"Home Is Where the Heart Is: Rakshan Bani-Etemad's Under the Skin of the City." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema, vol. 21, pp. (no pagination), July 2002

Varzi, Roxanne.
"Iran's pieta: motherhood, sacrifice and film in the aftermath of the Iran--Iraq war." Feminist Review; 2008, Issue 88, p86-98, 13p
UC users only

Whatley, Sheri.
"Iranian Women Film Directors: A Clever Activism." Off Our Backs; Mar/Apr2003, Vol. 33 Issue 3/4, p30, 3p
UC users only

Abbas Kiarostami

"Abbas Kiarostami."(interview with Iranian film director)(Interview) UNESCO Courier (July-August, 1995):38 (3 pages).
UC users only
Iranian film director Abbas Kiarostami says that religious restrictions hinder the accurate portrayal of present Iranian society in motion pictures. Although Kiarostami admits that the ban on American films benefits local filmmakers, he deplores the fact that Iranian audiences can never see good American films.

Andrew, Geoff.
"Drive, He Said."Sight & Sound. 12(10):30-32. 2002 Oct
Analysis of Abbas Kiarostami's latest film "10". A road movie set entirely in the front seat of a car, it, like his other films, demands interpretation on several levels. Primarily it is about the lives and status of women in Tehran.

Aufderheide, Pat.
"Real life is more important than cinema: an interview with Abbas Kiarostami." (filmmaker)(Interview) Cineaste v21, n3 (Summer, 1995):31 (3 pages).
UC users only
"Iranian filmmaker Abbas Kiarostami has been compared to Satyajit Ray for his attention to detail and his close examination of human values. His work typically focuses on the experiences of individuals as well as the small moments of revelation that seem to transform the dreariness of existence into something transcendent. Kiarostami's neorealist style was by filmmakers Roberto Rossellini and Francoise Truffaut. His productions have had limited distribution in Iran, but the Farabi Film Foundation has been instrumental in distributing some of his works." [Expanded Academic Index]

Balaghi, Shiva; Shadid, Anthony
"Nature Has No Culture: The Photographs of Abbas Kiarostami." Middle East Report, No. 219 (Summer, 2001), pp. 30-33
UC users only

"Between dreams and reality."(film director Abbas Kiarostami's view on Iranian films)(Interview)
UNESCO Courier (Feb, 1998):48 (3 pages).
Iranian film director Abbas Kiarostami revealed that some violent movie scenes are prohibited in Iran due to the existence of restriction on Iranian cinema. Kiarostami is an internationally renowned film director whose credits include the movie 'The Taste of Cherry.'.

Bouruet-Aubertot, Veronique
"Abbas Kiarostami." Beaux Arts Magazine [lang: French] no187 Dec 1999. p. 54-7
"An interview with Iranian filmmaker and photographer Abbas Kiarostami on the occasion of "Photographies d'Abbas Kiarostami," an exhibition of his photographs at the Galerie de France, Paris, from November 30, 1999, to January 30, 2000. Kiarostami, who won the Palme d'Or at the 1997 Cannes film festival for his film le Gout de la cerise, has become the leading figure in contemporary Iranian cinema. Topics discussed include the mystic character of his relationship with nature, how his love of nature lead to his interest in photography, his formal training in fine art in Teheran, and how he works within the limits of the censorship imposed by the Iranian government." [Art Abstracts]

"Les cadres de Kiarostami." (cameraman describes filming process in A. Kiarostami films)
Cahiers du Cinéma no493 July/Aug 1995. p. 87
Part of a special section on Iranian film director Abbas Kiarostami. Homayun Payvar describes what it was like to work as director of photography for Kiarostami. Payvar found the work difficult as Kiarostami never explained his wishes fully; the effect of this was to allow Payvar a creative input, which he found to be a source of revelations and inspiration.

Cheshire, Godfrey.
"Abbas Kiarostami: a cinema of questions." Film Comment v32, n4 (July-August, 1996):34 (6 pages).
"According to Europe, Iranian Abbas Kiarostami is the most important filmmaker to appear on the world stage in the 1990s. His films are as forceful in their moral acuity as they are lyrical in expression. They show that in reality, beneath the surface orthodoxy imposed by Iran's present regime, there is still Persia, a cosmopolitan culture of long-standing artistic and literary sophistication. In 1969, Kiarostami was invited to help found the cinema department of the Institute for the Intellectual Development of Children and Young Adults. This organization gave him a stable artistic home and got him into the business of making films about children. This proved particularly useful after the revolution when many other areas of dramatic inquiry were restricted, as the world of children remained an open and fertile garden of metaphor. Kiarostami's work is discussed." [Art Abstracts]

Cheshire, Godfrey.
"How to Read Kiasrostami."(Critical Essay) Cineaste v25, n4 (Fall, 2000):8.
UC users only
"The relationship of the films of Iranian director Abbas Kiarostami to Modernist poetry is considered. Fruitful comparisons for the basic artistic impulses in Kiarostami's films can be found in the poetry of William Carlos Williams and Marianne Moore, Ezra Pound, or Wallace Stevens. Modernism has been especially influential on his idea of the "half-made film, which implies a cultured, discerning viewer willing to fill in the gaps in a condensed, allusive, incomplete narrative. However, his latest film, The Wind Will Carry Us, seems to want to move beyond a strictly Modernist understanding of his cinematic poetry. It contains quotes from Iranian modern poet Forugh Farrokzhad and Omar Khayyam, a classical poet with a very modern-seeming sensual bent. For anyone who came of age in the 1960s and embraced Modernist poetry, the natural tendency would be to vaunt the new at the expense of the old. However, the film clearly shows that Kiarostami's stance is not "Farrok!" zhad or Khayyam" but rather "Farrokzhad and Khayyam." [Art Index]

Cheshire, Godfrey.
"The Iranian who won the world's attention." (profile of filmmaker Abbas Kiasrostami, director of 'Taste of Cherry,' which won the Palme d'Or at 1987 Cannes Film Festival) New York Times v147, sec2 (Sun, Sept 28, 1997):AR11(N), AR11(L), col 1, 40 col in.

Dalby, Alexa.
"Kudos at Cannes." (50th Cannes Film Festival awards the Palme d'Or to Abas Kiarostami) Middle East, n269 (July-August, 1997):40 (2 pages).
"The Cannes Film Festival provides motion picture directors and producers with the opportunity to show their films to the whole world. Its influence lies in its power to exert pressure on different governments to allow the showing of controversial films in particular. At the 50th annual Cannes Film Festival, Abbas Kiarostami was the joint winner for the Palme d'Or for his film Ta me Guilas. Back in Iran, the film has been allowed to be shown just before the end of the film festival despite a previous ban which opposed its theme of suicide." [Magazine Index]

Della Nave, Marco
Abbas Kiarostami Milano : Editrice Il castoro, 1999.
MAIN: PN1998.3.K58 D45 1999

Dönmez-Colin, Gönül.
"Abbas Kiarostami: Life and Nothing But...Reality Without Interruption ." In: Cinemas of the other : a personal journey with film-makers from the Middle East and Central Asia / Bristol, UK ; Portland, OR, USA : Intellect, c2006.
Full text available online [UCB users only]
PN1993.5.M638 D66 2006)

Elena, Alberto
The cinema of Abbas Kiarostami London : Saqi in association with Iran Heritage Foundation, 2005.
MAIN: PN1998.3.K58 E44 2005
PFA : PN1998.3.K485 E44 2005

"Filmographie." (reviews of 21 A. Kiarostami's films)
Cahiers du Cinéma no493 July/Aug 1995. p. 92-111
Part of a special section on Iranian film director Abbas Kiarostami. A filmography with reviews of 21 films made by Kiarostami from 1970 to 1994.

Fozooni, Babak
"Kiarostami debunked!" New Cinemas: Journal of Contemporary Film Volume: 2 | Issue: 2 September 2004 Page(s): 73-90
Kiarostami continues to be an enigma for most cinephiles partly due to his own conscious attempts at concealment and prevarication. The article attempts to clarify his political, ideological and philosophical positions and contextualize his output within the dynamics of Iranian capitalism. Beginning with an investigation of his film techniques (including his use of framing, sound, image and music) I will discuss his attitude toward nationalism, psychology and religion. I end by suggesting reasons for his popularity outside Iran.

Frodon, Jean Michel.
"The universal Iranian."(filmmaker Abbas Kiarostami) SAIS Review v21, n2 (Summer-Fall, 2001):217 (8 pages).
This article provides an evaluation of the work of Iranian filmmaker Abbas Kiarostami. The author discusses the reaction of the Iranian government to the cinema, Kiarostami's ability to avoid any conflict with the government, and his common portrayal of children.

Giavarini, Laurence; Jousse, Thierry; Jahanbegloo, Ramin (translator)
"Entretien avec Abbas Kiarostami." Cahiers du Cinéma 1992 Nov, 461, 32-36.

Giavarini, Laurence
"Visite a Van Eyck." (comparison of Van Eyck's Arnolfini portrait and A. Kiarostami's films) Cahiers du Cinéma no493 July/Aug 1995. p. 90-1
Part of a special section on Iranian film director Abbas Kiarostami. Often in the creation of his films, Kiarostami uses a mental image as a starting point. An example of this aspect of Kiarostami's work can be seen in his use of Jan van Eyck's painting Les epoux Arnolfini (the Arnolfini wedding) in his film Et la vie continue..

Haghighat, Mamad.
"After the revolution: the cinema will carry us."(cinema flourishes in Iran) UNESCO Courier (Oct, 2000):26.
UC users only

Hamid, Nassia.
"Near and far." (motion picture director Abbas Kiarostami) Sight and Sound v7, n2 (Feb, 1997):22 (3 pages).
"Teheran-born Abbas Kiarostami, director of 'Through the Olive Trees,' reveals his views about cinema, filmmaking, and his early years as a director. He says cinema cannot directly mirror life but tries to imitate it. The distanciation technique works for him well as it helps him pursue his objective in an unattached manner and therefore, allows him to sift the emotional blocks which could distract both the filmmaker and the audience from trying to elicit the truth from the film." [Magazine Index]

Ishaghpour, Youssef.
Le reel, face et pile : le cinema d'Abbas Kiarostami Tours : Farrago, c2000 (2001 printing) Location:
MAIN: PN1998.3.K58 I84 2000

Jones, Dan.
"Kiarostami's life lessons: how art flourishes where it would suffer, and struggles where it should thrive." CineAction - Spring 2009 i76 p16(6)
UC users only

Jousse, Thierry; Toubiana, Serge
"Un film n'a pas de passeport . . . : entretien avec Abbas Kiarostami." [lang: French] Cahiers du Cinémano541 Dec 1999. p. 30-3
An interview with Iranian filmmaker Abbas Kiarostami on the occasion of the release of his film Le Vent nous emportera. Topics discussed include his decision to stop entering competitions in film festivals; the relaxed attitude of the Iranian authorities to his work because it is not directly political; how he likes to offer audiences several possible interpretations of his films; the difficulties he encountered while making the film, such as the refusal of the villagers to act in front of the camera; and how he used sounds instead of music to accompany certain images." [Art Abstracts]

Kiarostami, Abbas.
"A taste of my cinema / a conversation with Abbas Kiarostami." In: My sister, guard your veil; my brother, guard your eyes : uncensored Iranian voices / Lila Azam Zanganeh, editor. Boston, Mass. : Beacon Press, c2006.
Moffitt HQ1735.2.M93 2006
Table of contents http://www.loc.gov/catdir/toc/ecip0519/2005027496.html

Kiarostami, Abbas.
Current Biography July 1998 v59 n7 p26(3)

Kiarostami, Abbas.
Abbas Kiarostami: textes, entretiens, filmographie complete. [Paris]: Cahiers du Cinéma, c1997. Series title: Petite bibliotheque des Cahiers du Cinéma.
NRLF $B 364 552

Kiarostami, Abbas.
"Un sacre citoyen!" Cahiers du Cinéma no493 July/Aug 1995. p. 112-13
Part of a special section on Iranian film director Abbas Kiarostami. An extract from a story written by Kiarostami, which was inspired by an experience that he had while in Sao Paulo, Brazil.

Kiarostami, Abbas.
"Le monde d' A. K." (Iranian filmmaker A. Kiarostami on his film trajectory) Cahiers du Cinéma no493 July/Aug 1995. p. 80-6
Part of a special section on Iranian film director Abbas Kiarostami. Kiarostami recounts the development of his career from his early days as a painter and a commercial artist, recalls his first commissioned film work, and discusses aspects of filmmaking, including censorship, illusion, and sound.

Kiarostami File
Web site devoted to Kiarostami. Includes articles from various sources and other writing.

Klawans, Stuart
"Nine views in a looking glass: Film trilogies by Chahine, Gitai, and Kiarostami." Parnassus: Poetry in Review Spring 2000 v25 i1-2 p231(2) Similarities in the works of film makers Abbas Kiarostami of Iran, Amos Gitai of Israel, and Yuossef Chahine of Egypt are examined. The film makers are recognised as industry leaders in their respective countries.

Knox, Jim.
"Cacti Blossom in a Desert: Some Short Films of Abbas Kiarostami."Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema. 29: (no pagination). 2003 Nov-Dec.

Labi, Aisha
"Director's Cut: Iranian auteur Abbas Kiarostami can't visit New York, buthis film is the talk of the town." (Profile)(Interview) Time International Oct 14, 2002 v160 i16 p95

Limosin, Jean-Pierre; Gheerbrant, Denis; Biette, Jean-Claude
"Six regards en contrechamp." (critics analyze 6 film stills by A. Kiarostami) Cahiers du Cinéma no493 July/Aug 1995. p. 74-5
Part of a special section on Iranian film director Abbas Kiarostami. Six critics examine stills from Kiarostami's films and discuss his use of camera angles, light, color, and psychological tension.

Lopate, Phillip.
Kiarostami close up. (Iranian filmmaker Abbas Kiarostami)(Interview) Film Comment v32, n4 (July-August, 1996):37 (4 pages).
Iranian filmmaker Kiarostami talks about his film career and how he developed his passion for movies. Kiarostami's earliest recollections of movies were of the American variety, but he credits the early Italian neorealist films for being the biggest influence on his life.

McGavin, Patrick Z.
"A taste of Kiarostami." (Iranian filmmaker Abbas Kiarostami) Nation v265, n10 (Oct 6, 1997):50 (4 pages).
"Kiarostami's film 'The Taste of Cherry' won the prestigious Palme d'Or prize at the 1997 Cannes Film Festival, but the film has still not been released in Iran or internationally due to government regulations. The election of Pres Mohammed Khatami may ease censorship in Iran." [Magazine Index]

Rist, Peter.
"Meeting Abbas Kiarostami."Off Screen (Concordia University)

Mulvey, Laura.
"Kiarostami's Uncertainty Principle." Sight and Sound, 1998 June, 8:6, 24-27.
"The films of the Iranian director Abbas Kiarostami challenge our sense of the real and transcend our desire for easy endings. Both actually and metaphorically, the journeys Kiarostami's narratives take become a space of personal transformation. This transformation, however, is not that of traditional folktales, in which there is a transition to a new status in the world or to the successful accomplishment of a quest, but to a new level of understanding." [Art Abstracts]

Nayeri, Farah.
"Iranian Cinema: What Happened in Between." Sight and Sound, 1993 Dec, 3:12, 26-28.
"Iranian film maker Abbas Kiarostami speaks about his life, inspirations and the movies he made. He prefers to use children in his movies which are usually based on true stories, including 'Where is My Friend's House?' and 'Life and Nothing More.' The Iranian audience is not very disciplined and directors have to follow rigorous religious, moral and political structure while making their films." [Expanded Academic Index]

Perez, Gilberto.
"Film in review." Yale Review v85, n1 (Jan, 1997):171 (14 pages).
Film is the dominant art form of the 20th century, and the preeminent form of film is a classical style exemplified by Hollywood. Naturalism is an insuppressible element of film and brings with it Modernism. These elements are seen in the work of Iranian filmmaker Abbas Kiarostami.

Proctor, Minna.
"The road out: Abbas Kiarostami's views of the infinite." Aperture no164 Summer 2001. p. 66-70.

"Qui etes-vous, Mousieur Kiarostami." (6 article special section)
Cahiers du Cinéma no493 July/Aug 1995. p. 67-114
A special section on Iranian director Abbas Kiarostami. Articles feature a discussion of Kiarostami's various talents, an examination by six critics of stills from Kiarostami's films, Kiarostami's account of the development of his work, an account by cinematographer Homayun Payvar of what it was like to work with Kiarostami, an examination of his use of images from his mind or from culture as a starting point, a filmography with reviews of his works from 1970 to 1994, and an excerpt from a story written by Kiarostami.

Rosen, Miriam.
"Abbas Kiarostami." (Kiarostami as photographer)Artforum International v38, n7 (March, 2000):136.
"Abbas Kiarostami, one of Iran's best known filmmakers, believes in making films that reflect his person and the audience. He feels that all filmmakers actually make only one film in the course of their lifetimes. He treats reality and experience as his influences and tries to forget technical information during film projects. He also stressed the importance of continuity in the expressions of central characters and coherence in the overall body of a movie." [Magazine Index]

Rosen, Miriam.
"The Camera of Art: An Interview with Abbas Kiarostami." Cineaste 1992, 19:2-3, 38-40.

Rosen, Miriam.
"Life lines." (interview with filmmaker Abbas Kiarostami)(Interview) Artforum International April 1998 v36 n8 p102(5)

Rosenbaum, Jonathan.
"Short and sweet."Film Comment v 36 no4 July/Aug 2000. p. 26-7.
UC users only
"Viewers confused by Iranian film director Abbas Kiarostami's features may find his short films more accessible. The nine shorts he made between 1970 and 1982 for the film division of the Center for the Intellectual Development of Children and Young Adults, which he cofounded in 1969, are the most important. Kiarostami's previous experience involved making commercials and credit sequences for features, and according to the director, he did not consider himself a film artist at this time. He took the job seriously, and the results are experimental films in the best sense, without pretension. The shorts are designed to assist children in reflecting on ethical, aesthetic, and practical issues, ranging from the virtues of dental care in Toothache (1980) to the specific properties of color and sound in Colors (1976)." [Art Index]

Roth, Laurent
"Abbas Kiarostami, le dompteur de regard." Cahiers du Cinéma no493 July/Aug 1995. p. 68-73
Part of a special section on Iranian film director Abbas Kiarostami. The writer examines the many talents of Kiarostami, who has become better known through his first commercial success Au travers des oliviers. Painter, photographer, graphic artist, and director of 17 educational films as well as commercials, Kiarostami struggles for free expression within the rules of the Islamic state.

Saeed-Vafa, Mehrnaz
"Abbas Kiarostami" (Great Directors: A Critical Database)Senses of Cinema

Saeed-Vafa, Mehrnaz
Abbas Kiarostami Urbana : University of Illinois Press, c2003.
MAIN: PN1998.3.K58 S23 2003

Sterritt, David.
"Lifting the veil on Iranian Cinema; Considered exotic territory by many Americans, the world of Iranian." (Features)(Arts & Leisure) Christian Science Monitor (Jan 7, 2000):13.

Sterritt, David.
"A Taste of Kiarostami."Senses of Cinema, Issue No. 9, Sep-Oct 2000

Sterritt, David.
"With borrowed eyes." Film Comment v 36 no4 July/Aug 2000. p. 20-2, 25-6.
UC users only
"With his unique form of poetic cinema, Abbas Kiarostami deserves unparalleled credit for fueling the recent rise of Iranian cinema. The excitement began with the arrival of his slyly reflective film Close-Up to the international circuit in the early nineties and crested when his extraordinary Taste of Cherry won the Palme d'Or at Cannes in 1997. In his new film, The Wind Will Carry Us, Kiarostami weaves one of his most suggestive philosophical webs around the deceptively simple story of a filmmaker who barges into a rural town, seeking to record a folk ritual that will happen after an old woman's impending death. In an interview, Kiarostami discusses, among other topics, the concept of national cinema in a contemporary context and current filmmakers who are working on a similar wavelength to himself." [Art Index]

Stone, Judy.
"Talking About Life and Death, and Whatever Else You Want: Iranian director Abbas Kiarostami doesn't have a fixed message--he wants to get you thinking." (Calendar) Los Angeles Times (April 27, 2001):F-12.

Thrupkaew, Noy
"Will and testament: what Iranian filmmakers are showing the wider world." (Film). The American Prospect June 2003 v14 i6 p45(2) (1614 words)
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Weinberger, Stephen
"Neorealism, Iranian Style." Iranian Studies; Feb2007, Vol. 40 Issue 1, p5-16, 12p
UC users only

Life and Nothing More

Rosenbaum, Jonathan.
"Life and nothing more: Abbas Kiarostami's African musical." Film Comment v 37 no5 Sept/Oct 2001. p. 20-1.
UC users only
"Abbas Kiarostami's video documentary "A.B.C. Africa", financed by the Uganda Women's Efforts to Save Orphans, is a semi-fictionalized, strangely upbeat film. Kiarostami's career and his new devotion to digital video are analyzed." [Expanded Academic Index]

Taste of Cherry

Burdeau,-Emmanuel, reviewer
"Le gout de la cerise." (motion picture review) Cahiers du Cinéma no518 Nov 1997. p. 62-5
"A review of A Taste of Cherry, a film by Abbas Kiarostami. The film centers on Mr. Baadi, a man who not only has decided to die but also to pay someone to make sure he is dead. It is only through the condition of credibility that his desire to die can be satisfied, and this is the strangely twisted logic of Kiarostami's characters: Only fiction can make reality possible and only fiction can make it obligatory. However, in this film, when the fiction is at last ready to take place, Kiarostami and all his team suddenly arrive on screen; this conclusion is above all a simple signature through which the director relinquishes his authority and puts the film back in the hands of the viewer." [Art Abstracts]

Cardullo, Bert.
"Suicide is Painless: Taste of Cherry." (Review)Hudson Review v52, n2 (Summer, 1999):297 (8 pages).
UC users only

Corliss, Mary.
"Taste of Cherry." (Review) Film Comment v33, n4 (July-August, 1997):11 (1 page).

Corliss, Richard.
"Taste of Cherry." (Review) Time v151, n16 (April 27, 1998):68 (1 page).

Denby, David.
"Taste of Cherry." (Review) New York v31, n13 (April 6, 1998):234 (3 pages).

Erickson, Steve.
"Taste of Cherry." (Review) Film Quarterly v52, n3 (Spring, 1999):52.
UC users only
"Abbas Kiarostami's Taste of Cherry was the joint winner of the 1997 Palme d'Or at Cannes. It follows the journey of Badii, a man in his fifties who is played by Homayoun Ershadi, as he travels the outskirts of Teheran, Iran, in search of someone who will help him to commit suicide. The third man he encounters agrees to help him, but during the conversations with all the characters, Kiarostami brilliantly avoids mentioning the reasons why Badii may have reached such despair, allowing the viewer to read into the enormous, eloquent hollows under the character's eyes any number of motives. Although the movie concludes without our ever knowing whether Badii lived or died, it prompts us to realize the richness of life going on around him and, by implication, us." [Art Abstracts]

Graffy, Julian.
"Taste of Cherry." (Review)Sight and Sound v8, n6 (June, 1998):57 (1 page).
": This film is based around the structural repetition of the hero's car driving along the roads above Teheran. These repetitions are mesmeric rather than irritating, their cumulative effect being to draw the viewer into ever greater complicity with the events and ideas acted out before him." [Art Abstracts]

Holden, Stphen.
"Taste of Cherry." (Review) New York Times v147 (Sat, Sept 27, 1997):A18(N), B7(L), col 5, 18 col in.

Holden, Stephen.
"Taste of Cherry." (Review) New York Times v147 (Fri, March 20, 1998):B20(N), E20(L), col 5, 14 col in.

Kauffman, Stanley.
"Taste of Cherry." (Review) New Republic v218, n15 (April 13, 1998):24 (2 pages).

Khosrokhavar, Farhad
"La mort volontaire en Iran." Cahiers du Cinéma no519 Dec 1997. p. 7
"The writer discusses the issue of suicide in Abbas Kiarostami's film Le Gout de la cerise. The interest in the film lies in the meticulous nature of the main character's preparation for his own death. If he is trying to persuade others to bury him, it is not because of religious concerns but because he wants to be the subject of his death, as he could not be the subject of his life. In this sense, his death is associated with those of many young followers of Bassidje, the revolutionary Islamic organization, for whom death is, among other things, the only chance to show that one existed. Thus, while the film seems to be totally apolitical, it bears witness to Iranian society, which remains under the domination of an Islamic power, while denying its legitimacy." [Art Abstracts]

Klawans, Stuart.
"Taste of Cherry." (Review) Nation v266, n13 (April 13, 1998):32 (5 pages).

Lalanne, Jean-Marc
"Le gout de la cerise." (motion picture review) Cahiers du Cinéma no514 June 1997. p. 22
"Part of a special section on the 1997 Cannes Film Festival, held in Cannes, France. A review of Le Gout de la cerise, a film by Abbas Kiarostami. The film centers on a fiftysomething man who wants to die and who drives around offering young men money to bury him. Its obvious insurrectionary force is to maintain that, even in Iran--a state founded on various incontestable religious and political truths--it is permissible to have doubts that life is worth living. With this short film, Kiarostami has succeeded in condensing into brief and dazzling form the essence of his rapport with the world and the quintessence of his writing." [Art Abstracts]

Maslin, Janet
"A film from Iran overcomes censorship and makes it to Cannes." (Abbas Kiarostami's "The Taste of Cherries" is shown at Cannes Film Festival, Cannes, France) The New York Times May 17, 1997 v146 p12(N) p13(L) col 3 (24 col in)

McGavin, Patrick Z.
"A taste of Kiarostami." (Iranian filmmaker Abbas Kiarostami) Nation v265, n10 (Oct 6, 1997):50 (4 pages).
"Kiarostami's film 'The Taste of Cherry' won the prestigious Palme d'Or prize at the 1997 Cannes Film Festival, but the film has still not been released in Iran or internationally due to government regulations. The election of Pres Mohammed Khatami may ease censorship in Iran." [Magazine Index]

Nichols, Peter M.
"Seeking death on a dusty road." (Review)New York Times, sec2 (Sun, August 22, 1999):AR23(N), AR23(L), col 1, 12 col in.

Orgeron, Devin
"The import/export business: the road to Abbas Kiarostami's Taste of Cherry." CineAction Wntr 2002 p46(6) (4692 words)

Roberts, Rex.
"Taste of Cherry." (Review)Insight on the News v14, n17 (May 11, 1998):39 (1 page).

Santas, Constantine.
"Concepts of Suicide in Kiarostami's Taste of Cherry."Senses of Cinema 2000 Sept-Oct, 9, (no pagination)

Sherman, Betsy
"Taste of Cherry." (Review) Art New England v 19 no3 Apr/May 1998. p. 8
"A review of Taste of Cherry, a film directed by Abbas Kiarostami. Set in Iran, the film follows an apparently well-educated and middle-class man as he searches for someone willing to bury him after he commits suicide. The director keeps the audience hungry for answers about this troubled man. As disarming and stunning as Kiarostami's previous works, this latest masterpiece uses subtle means to draw the audience into a highly charged situation." [Art Abstracts]

Sterritt, David.
"Taste of Kiarostami."Senses of Cinema 2000 Sept-Oct, 9, (no pagination)

Toubiana, Serge
"Le gout du cache: entretien avec Abbas Kiarostami." Cahiers du Cinéma no518 Nov 1997. p. 66-9
"In an interview, Abbas Kiarostami discusses his film A Taste of Cherry. He discusses several topics, including the reception in Iran of the Palme d'Or won by the film at the Cannes film festival; the decision of the main character, Mr. Baadi, to kill himself as an expression of a kind of liberty; the idea of life as a choice and not an obligation as one of the reasons he decided to make the film; why he included at the end of the film a scene of the actual filming; the the significance of the motif of the man in the car; and how he developed the dialogs of the three characters encountered by Mr. Baadi." [Art Abstracts]

Through the Olive Trees

Acquarello.
"Through the Olive Trees: Life as Art ... as Life."Senses of Cinema 2000 Sept-Oct, 9, (no pagination)
UC users only

Dabashi, Hamid.
"Re-Reading Reality: Kiarostami's Through the Olive Trees and the Cultural Politics of a Postrevolutionary Aesthetics." Critique: Journal for Critical Studies of the Middle-East, 1995 Fall, 7, 63-89.

Holden, Stephen.
"Through the Olive Trees." (movie reviews) New York Times v145 (Fri, April 26, 1996):C5(L), col 1, 9 col in.

James, Nick.
"Through the Olive Trees." (movie reviews) Sight and Sound v7, n1 (Jan, 1997):52 (1 page).

Kauffmann, Stanley.
"Through the Olive Trees." (movie reviews) New Republic v212, n12 (March 20, 1995):28 (2 pages).

James, Nick
"Through the Olive Trees." (movie reviews) Sight and Sound ns7 Jan 1997. p. 52
"This film makes clear, despite its simple tale of two young lovers shrugging off the grief caused by an earthquake disaster, that director Kiarostami's mission is not simply to interrogate the filmmaking process. He aims to offer a representation that is at once naturalistic and discreetly formal, in which filmmaking has become a part of village life. Despite its conceptual success and fragile sense of intimacy, the film is often a gruelling viewing experience." [Art Abstracts]

Moore, Lindsey.
"Women in a Widening Frame: (Cross-)Cultural Projection, Spectatorship, and Iranian Cinema." Camera Obscura; May2005, Vol. 20 Issue 59, preceding p1-33, 34p
UC users only

Morice, Jacques
"Au travers des oliviers." (motion picture review) Cahiers du Cinèma no481 June 1994. p. 33-4
"The writer discusses the film Au travers des oliviers by Iranian director Abbas Kiarostami. A sequel to his earlier film Ou est la maison de mon ami?, the film takes up the story of the protagonists who were children in the first film and who are now almost grown up. The film deals with man's relationship with the cinema and features two actors playing roles as directors. Set in the impoverished Koker region of Iran devastated by an earthquake, the film conveys the beauty of the area." [Art Abstracts]

Perez, Gilberto
"Film in review." (Through the Olive Trees, by Abbas Kiarostami)(Movie Review)Yale Review Oct 2003 v91 i4 p185-201

Tanner, Louise
"Arabs inside, looking out." Films in Review v 45 Nov/Dec 1994. p. 39
In an interview, director Abbas Kiarostami discusses his film Through the Olive Trees, the third film in a trilogy, set in a tiny town that has just been devastated by an earthquake.

The White Balloon

Cardullo, Bert.
"The White Balloon." (movie reviews) Hudson Review v49, n3 (Fall, 1996):475 (8 pages).
UC users only

Corliss, Richard.
"The White Balloon." (movie reviews) Time v147, n7 (Feb 12, 1996):76 (1 page).

Johnson, Brian D.
"The White Balloon." (movie reviews)Maclean's v109, n11 (March 11, 1996):60 (1 page).

Kaufmann, Stanley.
"The White Balloon." (movie reviews) New Republic v214, n9 (Feb 26, 1996):28 (1 page).

Klawans, Stuart.
"The White Balloon." (movie reviews)Nation v262, n5 (Feb 5, 1996):36 (1 page).

Louvish, Simon.
"The White Balloon." (movie reviews) (Badkonak-E Sefid). (movie reviews) Sight and Sound v6, n1 (Jan, 1996):57 (1 page).

Simon, John.
"The White Balloon." (movie reviews) National Review v48, n5 (March 25, 1996):62 (1 page).

The Wind Will Carry Us

Aloi, Peg.
"The mundane and the magical: Kiarostami and Greenaway." Art New England v 21 no4 [ie no5] Aug/Sept 2000. p. 4, 75.
"Abbas Kiarostomi's film The Wind Will Carry Us is about an unnamed filmmaker who seeks a close-up view of the death of an elderly woman in a tiny Kurdistan village. This film will continue to receive generous critical acclaim. However, Peter Greenaway's film 8 Women, whose plot centers on the story of a harem of women installed in the palatial mansion of an aging man, is bound to be a disappointment even to Greenaway's devoted fans." [Art Index]

Cardullo, Bert
"Still Life." The Hudson Review, Vol. 55, No. 2 (Summer, 2002), pp. 277-285
UC users only

Corliss, Richard.
"The Wind Will Carry Us: Directed by Abbas Kiarostami." (The Arts/Short Takes/Cinema)(Review) (movie review) Time v156, n5 (July 31, 2000):62.

Jones, Kent
"The Wind Will Carry Us." (movie review)Film Comment v 36 no2 Mar/Apr 2000. p. 72-3.
UC users only
"The Wind Will Carry Us offers a fairly good illustration of Abbas Kiarostami's filmmaking genius. The film focuses on a television producer called Behzad who arrives in a remote Kurdish mountain village where he has been informed that a secret ceremony of self-mutilation will take place after the imminent death of a 100-year-old woman. The film is Kiarostami's most sheerly beautiful work, creating a quite magnificent portrait of a place. Although some might be inclined to regard The Wind Will Carry Us as a grand midcareer summation of the themes in Kiarostami's films to date, the film feels like a work of self-containment rather than self-discovery." [Art Index]

Kauffmann, Stanley
"A Homeland." (Review) (movie review) New Republic (August 14, 2000):28.

Kehr, Dave.
"An Iranian's themes."(Living Arts Pages) New York Times (Fri, July 28, 2000):B18(N), E18(L), col 4, 5 col in.

Klawans, Stuart.
"Poetry in Motion." (Review) (movie review) Nation v271, n5 (August 7, 2000):43.

Lippard, Chris
"Disappearing into the Distance and Getting Closer All the Time: Vision, Position, and Thought in Kiarostami’s The Wind Will Carry Us." Journal of Film and Video Volume 61, Number 4, Winter 2009 pp. 31-40
UC users only

Mulvey, Laura
"The Wind Will Carry Us." (feature article) Sight and Sound ns10 no10 Oct 2000. p. 63.
UC users only
Kiarostami's new film moves the audience's curiosity away from the protagonist's personal dilemma to wider issues of life and death. His devotion to landscape as cinematic spectacle is still there, but it is complemented by the "village-scape" of Siah Dareh. Although very little "happens," the film teems with everyday life." [Art Index]

Rainer, Peter.
"The Wind Will Carry Us." (movie review) New York v33, n30 (August 7, 2000):66 (2 pages).

Scott, A.O.
"Finding the beauty of life in a rural corner of Iran." (movie review). New York Times (Fri, July 28, 2000):B7(N), E7(L), col 1, 35 col in.

Tesson, Charles
"Le Vent nous emportera." (motion picture review) Cahiers du Cinéma no541 Dec 1999. p. 26-9
"A review of Le Vent nous emportera, a film by Abbas Kiarostami. The film opens with a shot of a mountainous area in which an automobile descends a sinuous road. The child who awaits the arrival of the automobile at the entrance to a village knows the reason for the travelers' visit, but the villagers and the audience do not. One of the travelers asks the child to show him the house of a dying woman; the reason for the visit is linked to the predictable death of this woman. This man may be an ethnographer on a study mission in a remote Iranian village in order to observe disappearing funeral rites, but the great intelligence of the film lies in the fact that his activities are surrounded by ambiguity. This is Kiarostami's most disconcerting film to date and his most important since Close-up." [Art Abstracts]

Young, Deborah.
"The Wind Will Carry Us." (movie review) Variety v376, n4 (Sept 13, 1999):46.

Mohsen Makhmalbaf

Bear, Liza.
"Mohsen Makhmalbaf."BOMB. 79: 56-59. 2002 Spring.
"Mohsen Makhmalbaf's film 'Kandahar' depicts the problems Afghanistani women face under a repressive regime. He feels the US desire to destroy terrorism and the Pakistani goal of maintaining a military presence in Afghanistan will continue that nation's poverty, ignorance, and tendency toward violence." [Expanded Academic Index]

Cheshire, Godfrey.
"Makhmalbaf: the figure in the carpet." (Iranian film director Mohsen Makhmalbaf)Film Comment July-August 1997 v33 n4 p62(8) (4292 words)
"In recent interviews, Iranian director Mohsen Makhmalbaf has said that he sees his work as divisible into four phases. The first phase, which is dominated by faith and revolution, ends with Boycott. The second phase, which is concerned with vibrant social criticism, consists of The Peddler, The Cyclist, and Marriage of the Blessed. The third, which the director considers to have begun with A Time for Love, sees Makhmalbaf withdrawing from the immediacy of Iranian social crises in order to observe the world from a more detached, ruminative, and changeable viewpoint. The fourth phase, the beginning of which Makhmalbaf regards as being marked by Gabbeh, sees the director striving toward a complete identification with cinema itself." [Art Index]

Danks, Adrian.
"The House that Mohsen Built: The Films of Samira Makhmalbaf and Marzieh Meshinki."Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema. 22: (no pagination). 2002 Sept-Oct.

Ditmars, Hadani.
"From the top of the hill." (film director Mohsen Makhmalbaf)(Interview)Sight and Sound Dec 1996 v6 n12 p10(4)
"Iranian film director Mohsen Makhmalbaf claims that his 1996 film 'Gabbeh,' banned in Iran as subversive, simply deals with love and beauty and is devoid of any political metaphor. He affirms that the film was inspired by the carpets, also called gabbeh, woven by the nomadic tribes of South-East Iran. Makhmalbaf observes that he wanted to come close to the story-telling tradition of his country by depicting the lives of the nomads, who spontaneously weave their dreams into their carpets. He focuses on Iran's censorship system." [Expanded Academic Index]

Dönmez-Colin, Gönül.
"Mohsen Makhmalbaf: Portrait of the Revolutionary as Artist: Take One/Take Two ." In: Cinemas of the other : a personal journey with film-makers from the Middle East and Central Asia / Bristol, UK ; Portland, OR, USA : Intellect, c2006.
Full text available online [UCB users only]
PN1993.5.M638 D66 2006)

Donmuz-Colin, Gonul.
"Portrait of the Revolutionary as an Artist: Two Interviews." Blimp: Film Magazine. 35: 33-38. 1996 Spring.

Egan, Eric.
The films of Makhmalbaf : cinema, politics & culture in Iran Washington, DC : Mage Publishers, 2005.
MAIN: PN1998.3.M3375 E42 2005
PFA : PN1998.3.M23 E42 2005
Table of contents http://www.loc.gov/catdir/toc/ecip054/2004028534.html

Hamid, Rahul A
"Filmmaker at the Barricades: The Cinematic and Political Evolution of Mohsen Makhmalbaf." Cineaste - America's Leading Magazine on the Art and Politics of the Cinema 34:4 (Fall 2009) p. 6-9
UC users only

Hamid, Rahul.
"Films by and about Mohsen Makhmalbaf."Cineaste: America's Leading Magazine on the Art and Politics of the Cinema. 27 (1): 40-41. 2001 Winter.
UC users only
"Five early films by Iranian filmmaker Mohsen Makhmalbaf have been released on video. Based on his own arrest as a leftist-Islamic radical in Iran, Makhmalbaf's gripping first film, Boycott, is full of raw emotion, inflamed by his disillusionment with political activism and extremism of any kind. Marriage of the Blessed centers on a photojournalist deeply affected by the violence of the past, while The Actor, is an absurdist comedy and a reflection on wealth, ego, and fame in the film business. The short film Images from the Qajar Dynasty is a beautiful impressionistic collage that portrays Iranian art from the 1700s to the time of the last Shah, and The School Blown Away by the Wind is a short, resonant, elegant piece in which Makhmalbaf visits northern Iran following the devastating earthquakes. Finally, Stardust Stricken, Mohsen Makhmalbaf: A Portrait is a biographical film on Makhmalbaf in which he is extremely frank and thoughtful about his work." [Art Index]

Hoffman, Adina
"Makhmalbaf's Moment." (Iranian director Mohsen Makhmalbaf) The American Prospect April 24, 2000 v11 i11 p46 (1784 words)
UC users only

MacFarquahar, Neil
"An unlikely auteur from Iran; Mohsen Makhmalbaf is now a director acclaimed in the West, but once he was a religious zealot."The New York Times June 8, 1997 v146 s2 pH22(N) pH22(L) col 4 (31 col in)

Ridgeon, Lloyd
"Makhmalbaf's broken mirror: the socio-political significance of modern Iranian cinema." Durham Middle East papers ; 64, MIDDLE EAST AND ISLAMIC STUDIES, University of Durham.(2000)

Salaam cinema! : Films of Makhmalbaf family
Editor, Kim Ji-Seok. Pusan : Pusan International Film Festival, 2000.
PFA : PN1998.3.M23 P87 2000

Totaro, Donato.
"Reflexivity in Recent Iranian Cinema: The Case of Mohsen Makhmalbaf."Asian Cinema. 11 (2): 32-46. 2000 Fall-Winter.

Weinberger, Stephen
"Neorealism, Iranian Style." Iranian Studies; Feb2007, Vol. 40 Issue 1, p5-16, 12p
UC users only

West, Dennis
"I Make Cinema in Order to Breathe: An Interview with Mohsen Makhmalbaf." Cineaste - America's Leading Magazine on the Art and Politics of the Cinema 34:4 (Fall 2009) p. 10-15
UC users only

Beneath the Clouds

Tsiolkas, Christos.
"Through Clouds: A Discussion of Kandahar and Beneath Clouds."Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema. 20: (no pagination). 2002 May-June.

Close-up

Romney, Jonathan.
"Close-up/Namayeh Nazdik." (movie reviews)Sight and Sound Dec 1997 v7 n12 p40(2)

Gabbeh

Corliss, Richard.
"Gabbeh." (movie reviews) Time June 16, 1997 v149 n24 p76(2) (1293 words)

Johnson, William
"Gabbeh." (movie reviews) Film Quarterly Fall 1997 v51 n1 p32(4)
UC users only

Kauffmann, Stanley .
"Gabbeh." (movie reviews) The New Republic July 7, 1997 v217 n1 p26(2) (1152 words)

Klawans, Stuart.
"Gabbeh." (movie reviews) The Nation June 30, 1997 v264 n25 p35(2) (1358 words)

Louvish, Simon.
"Gabbeh." (movie reviews)Sight and Sound Dec 1996 v6 n12 p47(1)

Mottahedeh, Negar
"Life Is Color!" Toward a Transnational Feminist Analysis of Mohsen Makhmalbaf's Gabbeh."Signs. Chicago: Autumn 2004. Vol. 30, Iss. 1; p. 1403 (26 pages)
UC users only

Kandahar

Brown, Stephen.
"Beauty and the bleak." (movie review)TLS. Times Literary Supplement Dec 21, 2001 i5151 p18(1)

Chattaway. Peter T.
"Kandahar: Mixing fiction and documentary, a film from Iran explores the Taliban's heart of darkness." (movie review)Books & Culture Jan-Feb 2002 v8 i1 p9(1) (1401 words)
UC users only

Kerr, Phillip.
"Invisible women." (Kandahar)(Review)New Statesman (1996) Oct 29, 2001 v130 i4561 p45 (691 words)

Kramer. Martin.
"The camera and the 'burqa.'" ('Beneath the Veil' and 'Kandahar') (movie review)Middle East Quarterly Spring 2002 v9 i2 p69(8)

Mitchell, Elvis
"Veils of tears frame lives in Kandahar." (Review)The New York Times Dec 14, 2001 pE25(N) pE27(L) col 1 (20 col in)

Mosley, Philip.
"Mohsen Makhmalbaf's Kandahar: Lifting a Veil in Afghanistan." In: Film and television after 9/11 / edited by Wheeler Winston Dixon. Carbondale : Southern Illinois University Press, c2004.
Electronic location: Table of contents http://www.loc.gov/catdir/toc/ecip043/2003010378.html
Main Stack PN1993.5.U6.F477 2004
Moffitt PN1993.5.U6.F477 2004

Onstad, Katrina.
"Afghan exile turned reluctant star." (Nelofer Pazira in "Kandahar")(Living Arts Pages)The New York Times Nov 5, 2001 pE1(N) pE1(L) col 4 (30 col in)

Pazira, Nelofer.
"Refuge in the Dust."Sight and Sound. 11 (7): 12-13. 2001 July.
UC users only
"Nelofer Pazira, an Afghan woman whose family fled to Canada in 1989, asked Iranian filmmaker Mohsen Makhmalbaf to accompany her to Afghanistan to find a friend living under Taliban rule who was considering suicide. Although Makhmalbaf refused to go with her, he subsequently cast her in the film Kandahar that is a lightly fictionalized account of her journey and the real people she encountered. She describes her experiences making the film and states that her reason for doing it was to tell the story of a people's devastation and a country's destruction." [Art Index]

Riding, Alan
"A suddenly timely Afghan journey." (the movie, "Kandahar")(Living Arts Pages)The New York Times Nov 5, 2001 pE1(N) pE1(L) col 2 (30 col in)

Schickel, Richard.
"A Gorgeous Journey Through Hell." (Cover/Lifting The Veil/Kandahar: The Movie)(Kandahar)(Review)Time Dec 3, 2001 v158 i24 p47 (487 words)
UC users only

Steyn, Mark.
"Kandahar: Cinema." (Crusading message). (Brief Article)Spectator Nov 17, 2001 v287 i9041 p65(1) (872 words)

Tsiolkas, Christos.
"Through Clouds: A Discussion of Kandahar and Beneath Clouds."Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema. 20: (no pagination). 2002 May-June.

Varzi, Roxanne
"Picturing change: Mohsen Makhmalbaf's Kandahar." American Anthropologist. Washington: Sep 2002. Vol. 104, Iss. 3; p. 931 (4 pages)
UC users only

A Moment of Innocence

Danks, Adrian.
"The Tailor, the Filmmaker and the Cop."Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema. 21: (no pagination). 2002 July-Aug.

Holden, Stephen .
"Tales like Persian carpets on screen." (movie review) The New York Times Nov 10, 1999 pB5(N) pE5(L) col 1 (35 col in)

Klawans, Stuart.
"Innocents Abroad." (movie review) The Nation Nov 29, 1999 v269 i18 p51 (1671 words)

Macnab, Geoffrey.
"A Moment of Innocence/Noon va Goldoon." ( (movie reviews)Sight and Sound Dec 1998 v8 i12 p50(2)

Rahimieh, Nasrin.
"Capturing Cultural Transformation on Film: Makhmalbaf's A Moment of Innocence."Edebiyat: The Journal of Middle Eastern Literatures. 12 (2): 195-214. 2001.

Ridgeon, Lloyd.
"The Islamic Apocalypse: Mohsen Makhmalbaf's Moment of Innocence." In: Representing religion in world cinema : filmmaking, mythmaking, culture making / edited by S. Brent Plate. pp: 145-58. New York : Palgrave Macmillan, 2003.
Main Stack PN1995.5.R47 2003

The Peddler

Johnson, William
"The Peddler." Film Quarterly, Vol. 43, No. 3. (Spring, 1990), pp. 38-40.
UC users only

Naficy, Hamid.
"Selected filmography -- The Peddler (Dastforush) directed by Mohsen Makhmalbaf." American Anthropologist. Washington: Sep 1995. Vol. 97, Iss. 3; p. 554

Makhmalbaf, Mohsen.
"The Peddler." (movie reviews)Film Quarterly Spring 1990 v43 n3 p38(3)

Maslin, Janet.
"The Peddler." (movie reviews) The New York Times March 26, 1989 v138 s1 p17(N) p45(L) col 5 (13 col in)

Majid Majidi

Dönmez-Colin, Gönül.
"Abolfazl Jalili: Treading the Thin Line: Fiction as Documentary." In: Cinemas of the other : a personal journey with film-makers from the Middle East and Central Asia / Bristol, UK ; Portland, OR, USA : Intellect, c2006.
Full text available online [UCB users only]
PN1993.5.M638 D66 2006)

Dönmez-Colin, Gönül.
"Refugees in Love and Life: An Interview with Majid Majidi." Asian Cinema, vol. 13, no. 1, pp. 87-92, Spring 2002

Gregory, Annie.
"Majid Majidi and New Iranian Cinema." Journal of Religion & Film; Apr2008, Vol. 12 Issue 1, p8-8, 1p
"UC users only
Weinberger, Stephen. "Neorealism, Iranian Style." Iranian Studies; Feb2007, Vol. 40 Issue 1, p5-16, 12p UC users only

Baran

Hamid, Rahul.
"Baran." Cineaste, Spring2002, Vol. 27 Issue 2, p36-38, 3p
UC users only

Wilson, Brian.
"Woman as the Object of Desire: Notes toward a Reading of Baran." Film Journal, vol. 1, no. 13, pp. [no pagination], Winter 2006

Children of Heaven

Cardullo, Bert.
"Angels beyond America." Hudson Review; Spring2000, Vol. 53 Issue 1, p107, 8p

Cardullo, Bert.
"The Children of Heaven, on Earth: Neorealism, Iranian Style." Literature Film Quarterly, 2002, Vol. 30 Issue 2, p111, 4p
UC users only

The Color of Paradise

Cooper, Rand Richards.
"A blind boy who sees." Commonweal. Jun 16, 2000. Vol. 127, Iss. 12; p. 16 (2 pages)
UC users only

Jaafar, Ali. "The Color of Paradise."
Sight & Sound, Sep2005, Vol. 15 Issue 9, p86-87, 2p
UC users only

The Song of Sparrows

Kauffmann, Stanley
"Iran Exported." New Republic; 5/6/2009, Vol. 240 Issue 7, p26-27, 2p
UC users only

Sklar, Robert.
"The Song of Sparrows." Cineaste, Summer2009, Vol. 34 Issue 3, p46-47, 2p
UC users only

Tahmineh Milani

Crowder, Melissa. "All Of Her Words: Iranian Film and Individual Female Identity." MP: A Feminist Journal Online; Jan2008, Vol. 2 Issue 1, p10-16, 7p UC users only

Derayeh, Minoo.
"Depiction of women in Iranian cinema, 1970s to present" Women's Studies International Forum; May2010, Vol. 33 Issue 3, p151, 8p
UC users only

Dönmez-Colin, Gönül.
"Tahmineh Milani: The Real Identity of Women." In: Cinemas of the other : a personal journey with film-makers from the Middle East and Central Asia / Bristol, UK ; Portland, OR, USA : Intellect, c2006.
(Full text available online [UCB users only]
Moffitt PN1993.5.M638 D66 2006

Moruzzi, Norma Claire.
"Women in Iran: Notes On Film and From the Field." Feminist Studies; Spring2001, Vol. 27 Issue 1, p89, 12p
UC users only

Whatley, Sheri. "Iranian Women Film Directors: A Clever Activism." Off Our Backs; Mar/Apr2003, Vol. 33 Issue 3/4, p30, 3p UC users only

Osama(Directed by Siddiq Barmak)

Barrett, Jennifer. "Another Face For Osama; Siddiq Barmak." (Interview) Newsweek International Feb 16, 2004 p66 (856 words)

Basoli, A.G.
"Emerging from the Taliban's grim legacy: an interview with Siddiq Barmak." Cineaste Summer 2004 v29 i3 p38(4) (3923 words)
UC users only

Calhoun, Dave.
"Afghan aftermath."Sight and Sound Feb 2004 v14 i2 p20(3)
"Afghan director Siddiq Barmak's 'Osama', which won the Sutherland Trophy at the 2003 London festival, and Iranian director Samira Makhmalbaf's 'At Five in the Afternoon' indicate that a new film culture might be emerging in Afghanistan. However, if Afghan cinema has to succeed, it has to cross many obstacles like the competition with Indian and other foreign films for audience attention and the scarcity of resources." [Expanded Academic Index]

Cardullo, Bert.
"An Afghan is a woman." The Hudson Review 58.2 (Summer 2005): 302-310.
UC users only
Dönmez-Colin, Gönül. "Refugees in Love and Life: An Interview with Majid Majidi." Asian Cinema, vol. 13, no. 1, pp. 87-92, Spring 2002

Corliss, Richard.
"A Bright Hope In A Sad Land: The first post-Taliban film from Afghanistan stirs the heart with its story of a girl in a man's world." ("Osama")(Movie Review) Time Jan 26, 2004 v163 i4 p66 (516 words)
UC users only

Feld, Bruce.
"Osama." (Movie Review)Film Journal International Dec 2003 v106 i12 p44(1) (563 words)
UC users only

Gilbey, Ryan.
"Osama." (Movie Review)Sight and Sound March 2004 v14 i3 p52(2)

Greer, Darroch.
"Film: Post-Taliban Production."Millimeter - The Magazine of Motion Picture and Television Production 32:3 [March 2004] p. 13
UC users only

Kauffmann, Stanley.
"Islam: Two Versions." (Osama)(Monsieur Ibrahim)(Movie Review)The New Republic March 8, 2004 p22 (1253 words)
UC users only

Israel/Palestine

Abdel-Malek, Kamal
The rhetoric of violence : Arab-Jewish encounters in contemporary Palestinian literature and film New York : Palgrave Macmillan, 2005.
MAIN: PJ7519.J4 A233 2005

Assadi, G.
"Upholding the Palestinian Image in Israeli Cinema: An Interview with Mohammad Bakri." Cineaste v. 29 no. 4 (Fall 2004) p. 41-3
UC users only
"An interview with actor/director Mohammad Bakri. Bakri has found himself virtually blacklisted in Israeli cinema since making Jenin Jenin, a controversial documentary that scrutinizes the aftermath of the destruction of the Jenin refuge camp in the West Bank as part of the Israeli Army's Operation "Defensive Shield." He recalls the challenges involved in becoming an actor. He discusses how he was affected by the first and second Intifada. He elaborates how he altered the way Arabs are viewed in Israeli films. Other topics discussed include why he decided to try directing, and how he got people to tell their stories for his documentaries." [Art Index]

Avisar, Ilan
"The National and the Popular in Israeli Cinema." Shofar: An Interdisciplinary Journal of Jewish Studies Volume 24, Number 1, Fall 2005
UC users only
The article examines Israeli cinema as a critical participant in the local drama of national ideology and national identity. Israeli filmmakers have engaged in enunciating the national culture, in the context of the medium's history, political ideologies, and the tension between high art and popular culture. The historical review of Israeli films shows dramatic changes over the years from nationalistic propaganda to radical critique and post-Zionism. Israeli cinema appears now to seek a constructive and fruitful dialogue with viewers. In the recent wave of popular films, the national ideology is more conscious of its past mistakes and inherent deficiencies; its presentation of national identity is less narrow and more open to alternative types, thereby suggesting new vistas of national culture.

Avisar, Ilan
"Personal fears and national nightmares : the Holocaust complex in Israeli cinema." In: Breaking crystal : writing and memory after Auschwitz / edited by Efraim Sicher. Urbana : University of Illinois Press, c1998.
Main Stack D804.3.B6926 1998

Arzooni, O. G. J. (Ora Gloria Jacob)
The Israeli film : social and cultural influences, 1912-1973 New York : Garland, 1983.
MAIN: PN1993.5.I86 A79 1983

Ball, Anna.
"Between a Postcolonial Nation and Fantasies of the Feminine: The Contested Visions of Palestinian Cinema." Camera Obscura, Sep2009, Vol. 23 Issue 69, preceding p1-33, 34p
UC users only

Bachmann, Gideon
"Young Israelis." Sight & Sound Vol XLVII nr 2 (Spring 1978); p 83-84
Account of the young Israeli Cinema movement and reasons for its lack of audience.

Bardenstein, Carol
"Cross-cast : passing in Israeli and Palestinian cinema." In: Palestine, Israel, and the politics of popular culture / Rebecca L. Stein and Ted Swedenburg, editors. Durham : Duke University Press, 2005.
Main Stack DS113.P35 2005

Ben-Shaul, Nitzan S.
Mythical expressions of siege in Israeli films Lewiston : Edwin Mellen Press, c1997.
MAIN: PN1995.9.J45 B46 1997

Bleach, Anthony C.
"Hooray for Hollywood: the creation of an Israeli national identity in Amos Oz's Panther in the basement." Literature/Film Quarterly Vol XXXI nr 1 (2003); p 50-56
Explores how cinematic techniques and American popular film culture influence the form and content of Amos Oz's novel 'Panther in the basement'. Also examines the impact American films can have on the Israeli national identity.

Brown, Hannah
"The Ghost Landscape of Israeli Movies." Journal of Applied Psychoanalytic Studies Issue: Volume 4, Number 3 July 2002 Pages: 365 - 369
UC users only

Brumm, Anne-Marie
"Migration, Marginality, and Cultural Conflict in Recent Israeli and Palestinian Cinema." Canadian Review of Comparative Literature/Revue Canadienne de Littérature Comparée, vol. 23, no. 2, pp. 561-76, June 1996.

Castiel, Élie
"Israël et son cinéma: racines et modernité."Séquences nr 179 (July-Aug 1995); p 30-34
A history of Israeli cinema, noting the contributions of Michal Bat-Adam and David Perlov.

Chamish, Barry
"Sex, Religion and Satire in the Israeli Cinema: Black Banana." Cineaste: America's Leading Magazine on the Art and Politics of the Cinema, vol. 11, no. 4, pp. 26-29, 1982.
Religious satire is treated in the same manner as hard-core pornography by Israeli censors. Discussed against the backdrop of Ben Hayeem's "The black banana", censorship is seen as a hindrance to creativity.

Dreams of a nation : [on Palestinian cinema]
Edited with an introduction by Hamid Dabashi ; preface by Edward Said]. London ; New York : Verso, 2006.
MAIN: PN1993.5.P35 D74 2006
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PFA : PN1993.5.P35 D74 2006

Erens, Patricia
"Israeli cinema." Film Comment Vol XVII nr 1 (Jan-Feb 1981); p 60-66
Historical survey of the Israeli cinema.

Fainaru, Dan
"Israeli Film: A Short Personal History." New Orleans Review, vol. 9, no. 3, pp. 81-87, Winter 1982.

Gendered memories : transgressions in German and Israeli film and theatre
Vera Apfelthaler and Julia B. Kohne (eds.). Wien : Turia + Kant, 2007.
MAIN: PN1995.9.M455 G46 2007

Gertz, Nurith
"The Early Israeli Cinema as Silencer of Memory." Shofar: An Interdisciplinary Journal of Jewish Studies Volume 24, Number 1, Fall 2005
UC users only
"Israeli documentary films of the 1940s and 1950s that deal with the Holocaust and Holocaust survivors point to the existence of a personal repressed Holocaust narrative in an era when such a narrative was stifled by the collective narrative of Holocaust and heroism. In these repressed narratives, remembrance of the Holocaust erupts in the present and disrupts the Zionist narrative that leads from the obliteration of the Diaspora past to the formation of the Israeli present and future. This is the narrative of people who remained foreign and "other" in Israeli society, who did not exchange their identities as Zionism expected of them. The films attempt to integrate these people into the Israeli collective, but their individuality, illuminated by the subversive reading, makes this integration difficult to achieve. The article analyzes the early documentary cinema in order to show that the survivors' personal narrative sabotages the national narrative from within."

Gertz, Nurith
"Gender and Space in the New Israeli Cinema." Shofar: An Interdisciplinary Journal of Jewish Studies, vol. 22, no. 1, pp. 110-16, Fall 2003.
UC users only

Gertz, Nurith; Zanger, Anat; Ne'eman, Judd
"Israeli Cinema: Editors' Introduction." Shofar: An Interdisciplinary Journal of Jewish Studies 24.1 (2005) 1-3
UC users only

Gertz, Nurith
"The myth of masculinity reflected in Israeli cinema." In: Modern Jewish mythologies / edited by Glenda Abramson. Cincinnati, OH : Hebrew Union College Press, 1999.
Main Stack DS113.M58 1999

Gertz, Nurith
"The others in Israeli cinema of the 1940s and 1950s: Holocaust survivors, women, and Arabs." In: Israeli and Palestinian identities in history and literature / edited by Kamal Abdel-Malek and David C. Jacobson. 1st ed. New York : St. Martin's Press, 1999.
Main Stack DS113.7.I86 1999

Gertz, Nurith
"Woman-The Image of the 'Other' in Israeli Society." Literature/Film Quarterly, vol. 24, no. 1, pp. 39-46, 1996.
The Israeli film's explicit acceptance of male and female stereotypes undermines the strength and validity of the criticisms of Israeli militarism levied by Yitschak Ben Ner, the author of the short story upon which the film is based. Ben Ner wrote from the point of view of a woman whose husband was killed in war. He empowered her to criticize militarism as an Israeli outsider and not simply as a wife who had suffered a loss. The film portrays her as passive and only allows her an identity, as wife and mother, that is defined in relation to men, undermining the author's political criticism.

Hakak, Lev.
Modern Hebrew literature made into films Lanham, Md. : University Press of America, c2001.
MAIN: PN1995.3 .H26 2001

Helman, Anat
"Hollywood in an Israeli kibbutz: going to the movies in 1950's Afikim." Historical Journal of Film, Radio and Television Vol XXIII nr 2 (June 2003); p 153-163
Examines the cultural role of movie going in a kibbutz during the early years of the Isaeli state. It does not focus on specific movies, but rather describes their general consumption patterns and their social reception.

Klein, Uri
"On the brink: once seen in Israel as the bastard child of the country's arts, cinema has finally come of age." Film Comment 41.5 (Sept-Oct 2005): p19(4). (2476 words)

Kronish, Amy. Israeli film : a reference guide / Westport, CT : Praeger, 2003.
MAIN: PN1993.5.I86 K76 2003; PFA : PN1993.5.I86 K76 2003; View current status of this item
Table of contents http://www.loc.gov/catdir/toc/fy038/2002028310.html

Kronish, Amy.
World cinema : Israel / Madison, NJ : Fairleigh Dickinson University Press, c1996.
MAIN: PN1993.5.I86 K76 1996
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Liebes, Tamar
"Debating the Portrayal of the Other as One of Us: Palestinians in the New Israeli Cinema." Jewish Folklore and Ethnology Review, vol. 16, no. 1, pp. 30-34, 1994.

Loshitzky, Yosefa.
Identity politics on the Israeli screen Austin : University of Texas Press, 2001.
Full text available online [UCB users only]
MAIN: PN1993.5.I86 L37 2001

Loshitzky, Yosefa.
"Orientalist Representations: Palestinians and Arabs in Some Postcolonial Film and Literature." In: Cultural encounters : representing 'otherness' / edited by Elizabeth Hallam and Brian V. Street. London ; New York : Routledge, 2000.
Anthropology GN495.6.C83 2000

Louvish, Simon; Erens, Patricia
"Out of the shadows./ No closer to Eden." Sight & Sound Vol III nr 6 (June 1993); p 18-20
Discusses the Jewish experience as imagined by Hollywood and contrasting the viewpoint of recent Israeli cinema; plus an article questioning whether recent films such as "Mr. Saturday Night" and "Used people" offer new visions of Jewish identity.

Lubin, Orly.
"Body and Territory: Women in Israeli Cinema." Israel Studies 4.1 (Spring 1999): 175.
UC users only
Women in the films of Moshe Mizrakhi live on the margins of Zionism and Ashkenazi dominance. They are often of North African descent, and largely ignore national events while concentrating on maintaining their private lives. Mizrakhi's women offer alternative experiences to that of most Israelis, creating unique ethnic, national and gendered subjects.

"Restaging the Primal Scene of Loss: Melancholia and Ethnicity in Israeli Cinema." Third Text v. 20 no. 3/4 (May/July 2006) p. 487-98

Naaman, Dorit
"Orientalism as Alterity in Israeli Cinema." Cinema Journal, vol. 40, no. 4, pp. 36-54, Summer 2001.
UC users only

Ne'eman, Judd.
"The Death Mask of the Moderns: A Genealogy of New Sensibility Cinema in Israel." Israel Studies 4.1 (Spring 1999): p100. (10439 words)
UC users only
"Avant-garde cinema in Israel encountered Zionism, and the result made the film industry stronger economically but blunted the movement's philosophical edge. Contemporary Israeli cinema is dominated by what may be called the New Sensibility, which resisted the fixation with death prominent in Russia and France. Israeli political films radically critique the Zionist consensus." [Expanded Academic Index]

Ne'eman, Judd.
"The Jar and the Blade: Fertility Myth and Medieval Romance in Israeli Political Films." Prooftexts: A Journal of Jewish Literary History, vol. 22, no. 1-2, pp. 141-56, Winter 2002.

Ne'eman, Judd.
"The Tragic Sense of Zionism: Shadow Cinema and the Holocaust." Shofar: An Interdisciplinary Journal of Jewish Studies Volume 24, Number 1, Fall 2005
UC users only
"Holocaust-related films in Israeli cinema appear in several cycles. The 1980s cycle, which I call Shadow Cinema, expresses ambivalence and guilt and professes a perverse loyalty to a wound that will not heal and to the dead that have never been buried. The analysis of certain junctures in these films brings forth an unexpected analogy between the Sabra new Jew and the Nazi. I argue that these films echo a deeply ingrained recognition that the liquidation of the Diaspora sought by Zionism through immigration of millions of Jews to Palestine, was actually achieved by Nazi Germany through extermination of those same millions. Such inadvertent conflation must have elicited guilt feelings in the Jewish Yishuv in Palestine that had endorsed the "Negation of the Diaspora." The State of Israel, heir to the Yishuv, has inherited these guilt feelings. Israel has unwittingly engulfed itself in guilt for the destruction of the Jews by the Nazis. This tragic sense of Zionism has been in keeping long enough to have sunk in and made Israeli Jews carry indelible guilt vis-à-vis the victims of the Holocaust. Israel lives in a tangled "dead-end future," obsessed with endless bleeding and bloodletting to expiate the six million dead for whose death it innocently and unconsciously puts the blame on itself."

Pappe, Ilan
"Post-Zionist Critique on Israel and the Palestinians Part III: Popular Culture." Journal of Palestine Studies, Vol. 26, No. 4. (Summer, 1997), pp. 60-69.
UC users only
This third and final part of a summary of post-Zionist critique follows the manifestations of new ways of looking at Israeli history and the "other" in film, theater, novels, music, and poetry. Cinema has the greatest potential for influencing the public and has gone further than the other media in challenging traditional views. The author concludes that the cultural products that have seriously transcended the Zionist narrative and its negative portrayal of the Arabs remain outside the Israeli canon and have limited impact, though the groundwork has been laid for what is clearly a growing trend.

Schweitzer, Ariel.
Le cinema israelien de la modernite Paris : Harmattan, c1997.
MAIN: PN1993.5.I86 S38 1997
PFA : PN1993.5.I86 S38 1997 os

Shohat, Ella
"Anomalies of the National: Representing Israel/Palestine." Wide Angle: A Film Quarterly of Theory, Criticism, and Practice, vol. 11, no. 3, pp. 33-41, Summer 1989.

Shohat, Ella
"From Didactic Texts to Allegorical Readings: Israeli Culture and Film Narrative." Jewish Folklore and Ethnology Review, vol. 11, no. 1-2, pp. 38-41, 1989.

Shohat, Ella
Israeli cinema : East/West and the politics of representation Austin : University of Texas Press, 1989.
Full-text available online (UC Berkeley users only)
MAIN: PN1993.5.I86 S561 1989
MOFF: PN1993.5.I86 S56 1989

Shohat, Ella
"Master Narrative/Counter Readings: The Politics of Israeli Cinema." In: Resisting images : essays on cinema and history / edited by Robert Sklar and Charles Musser. Philadelphia : Temple University Press, 1990.
Main Stack PN1995.2.R47 1990

Shohat, Ella
"The Return of the Repressed: The Palestinian Wave in Recent Israeli Cinema." Cineaste: America's Leading Magazine on the Art and Politics of the Cinema, vol. 15, no. 3, pp. 10-17, 1987.
Discusses the current sympathetic treatment of Palestinian issues in recent Israeli films

Stein, Rebecca Luna
" Losing Ground? The Politics of Environment and Space: Spatial Fantasies Israeli Popular Culture after Oslo." Middle East Report, No. 216. (Autumn, 2000), pp. 36-38.
UC users only

Tryster, Hillel.
Israel before Israel : silent cinema in the Holy Land Jerusalem : Steven Spielberg Jewish Film Archive of the Avraham Harman Institute of Contemporary Jewry, the Hebrew University of Jerusalem and the Central Zionist Archives, 1995.
MAIN: PN1993.5.I75 T79 1995

Weitzner, Jacob
"Yiddish in Israeli Cinema." Prooftexts: A Journal of Jewish Literary History, vol. 22, no. 1-2, pp. 186-99, Winter 2002.Weitzner, Jacob, Prooftexts: A Journal of Jewish Literary History, vol. 22, no. 1-2, pp. 186-99, Winter 2002.

Yakir, D.
"Eye on Zion." Film Comment Vol XIX nr 3 (May-June 1983); p 60-63 Film Comment Vol XIX nr 3 (May-June 1983); p 60-63Discusses recent works criticial of Israel by Israeli filmmakers Daniel Wachsmann, Yehuda Neeman and Dan Wolman.

Yosef, Raz
Beyond flesh : queer masculinities and nationalism in Israeli cinema New Brunswick, N.J. : Rutgers University Press, 2004.
Full text available online [UCB users only]
MAIN: PN1993.5.I86 Y67 2004

Yosef, Raz
"Homoland: Interracial Sex and the Israeli-Palestinian Conflict in Israeli Cinema." GLQ: A Journal of Lesbian and Gay Studies, vol. 8, no. 4, pp. 553-79, 2002.
UC users only

Zanger, Anat
"Filming national identity: war and woman in Israeli cinema." In: The military and militarism in Israeli society / edited by Edna Lomsky-Feder and Eyal Ben-Ari. Albany : State University of New York Press, c1999.
Main Stack U21.5.M445 1999

Zanger, Anat
"Blind Space: Roadblock Movies in the Contemporary Israeli Film." Shofar: An Interdisciplinary Journal of Jewish Studies Volume 24, Number 1, Fall 2005
UC users only
"The border is a special space that is neither "ours" nor "theirs" but, rather, a third, "in-between" space. In this paper I examine the ways in which the checkpoints are situated along the Israeli borders and scrutinize the function of the movie camera vis-à-vis these checkpoints. A reading of four contemporary Israeli recent films, Ben-Gurion (Gr'aad & Levenberg, 1997), Borders (Riklis & Kaydar, 2001) Close, Closed, Closure (Levi, 2002) and Checkpoints (Shamir, 2003), allows me to expose the transition sites at different places along the border during the last few years. Tracing the border spatiality, I will examine the performative dimension (Butler) that replaced the dialogic one (Martin Buber) between the authorities in the position of control and the subordinated transients that pass under the watchful eye of that control. Through the camera, these sites of transition in films are exposed as heterogeneous meeting points, located in the indeterminate space between surveillance, prejudices, and fears."

Zanger, Anat
"Hole in the Moon or Zionism and the Binding (Ha-Ak'eda) Myth in Israeli Cinema." Shofar: An Interdisciplinary Journal of Jewish Studies, vol. 22, no. 1, pp. 95-109, Fall 2003.
UC users only

Zanger, Anat
"Israeli feminine framing of war." Feminist Media Studies; Nov2005, Vol. 5 Issue 3, p341-357, 17p
UC users only

Ziv, I.
"The Israeli cinema and the national question: the primal sin." Cineaste Vol IX nr 3 (Spring 1979); p 36-37,40
The development of Israeli cinema within the context of the Middle East conflict. ('Mar'a' I/1, Spring 1979)

Amos Gitai

Doraiswamy, Rashmi
"Amos Gitai: Fragmented Biographies." Cinemaya: The Asian Film Quarterly, vol. 43, pp. 11-17, Spring 1999.

The Films of Amos Gitai : a montage
Edited by Paul Willemen. London : British Film Institute, 1993.
Main Stack PN1998.3.G58.F55 1993

The Films of Amos Gitai : a montage
[London?] : BFI, [1985]
PFA PN1998.3.G548.F44 1985

James, Nick.
"In a harsh light.(interview with director Amos Gitai)." Sight and Sound 10.8 (August 2000): 28(3).
Film director Amos Gitai is interviewed. His film Kadosh and its exploration of Jewish rites, traditions and attitudes to sexuality are discussed.

Klawans, Stuart
"Nine views in a looking glass: Film trilogies by Chahine, Gitai, and Kiarostami." Parnassus: Poetry in Review Spring 2000 v25 i1-2 p231(2) Similarities in the works of film makers Abbas Kiarostami of Iran, Amos Gitai of Israel, and Yuossef Chahine of Egypt are examined. The film makers are recognised as industry leaders in their respective countries.

Proctor, Minna
"Amos Gitai." BOMB, vol. 75, pp. 64-69, Spring 2001.

Rosen, Miriam
"The architecture of documentary filmmaking." Cineaste Vol XVII nr 3 (1990); p 48-50
Israeli director Amos Gitai discusses his filmmaking career, which spans architectural films, documentaries about Israel, and features. Addresses Israeli reactions to his films, some of which have been banned by Israeli tv.

Sklar, Robert
"In the line of fire." Film Comment Vol XXXVII nr 1 (Jan-Feb 2001); p 50-53
UC users only
Traces the career of Israeli filmmaker Amos Gitai, focusing on the film "Kippur".

Sklar, Robert.
"Israel Without Mythology: An Interview with Amos Gitai." Cineaste; Fall2010, Vol. 35 Issue 4, p24-25, 2p
UC users only

Sklar, Robert.
"To Honor Your Country, Criticize It: Amos Gitai's Israeli Fiction Films." Cineaste, Fall2010, Vol. 35 Issue 4, p19-23, 5p
UC users only

Willemen, Paul
"Bangkok-Bahrain to Berlin-Jerusalem: Amos Gitai's Editing." Screen, vol. 33, no. 1, pp. 14-26, Spring 1992.

Kadosh

Cardullo, Robert James.
"Kadosh.(Review)." The Hudson Review 53.4 (Wntr 2001): 640(5).

James, Nick.
"In a harsh light.(interview with director Amos Gitai)." Sight and Sound 10.8 (August 2000): 28(3).
Film director Amos Gitai is interviewed. His film Kadosh and its exploration of Jewish rites, traditions and attitudes to sexuality are discussed.

Louvish, Simon.
"Kadosh.(Review)." Sight and Sound 10.8 (August 2000): 51(1).

Kippur

Ben-Shaul, Nitzan
"Kippur." In: The cinema of North Africa and the Middle East / Edited by Gonul Donmez-Colin ; [preface by Abbas Kiarostami]. London ; New York : Wallflower Press, 2007.
MAIN: PN1993.5.M638 C56 2007

Jacobowitz, Florence.
"Amos Gital's Kippur.(Review)." CineAction (Wntr 2001): 60.

Sklar, Robert
"In the line of fire." Film Comment Vol XXXVII nr 1 (Jan-Feb 2001); p 50-53
UC users only

Yosef, Raz
"Spectacles of Pain: War, Masculinity and the Masochistic Fantasy in Amos Gitai's Kippur."
"Blind Space: Roadblock Movies in the Contemporary Israeli Film." Shofar: An Interdisciplinary Journal of Jewish Studies Volume 24, Number 1, Fall 2005
UC users only
Israeli war films of the 1950s and 60s focused on the typically male fantasy in which a soldier is prepared to sacrifice his body to torture and harm--and sometimes even to death--in order to serve national ideals. Masochistic enjoyment is a substantial component in the construction of the fighting male body as a war machine, but in the 50s war films this component was absent. The materiality of bodily pain appeared as a representation of an abstract national idea. What was omitted in these films becomes a spectacle of pain in Amos Gitai's film, Kippur (2000). The film constructs a masochistic fantasy whereby the fighting male body is stripped of its metaphoric national meaning, turning now to its bodily corporality, to flesh, blood, and bone. Gitai's film exposes the violence and suffering that are denied by Israel's culture of war, and which are required for the very construction of nationalism.

Waltz with Bashir (dir. Ari Forman, 2008)

Abowd, Paul.
"Dancing with Death: "Waltz with Bashir"." Against the Current, Jul/Aug2009, Vol. 24 Issue 3, p13-12, 2p
UC users only

Aoun, Steven.
"Waltz with Bashir." Metro, Dec2009, Issue 163, p148-152, 5p
UC users only

Esther, John.
"Waltz with Bashir: An Interview with Ari Folman." Cineaste: America's Leading Magazine on the Art and Politics of the Cinema, vol. 34, no. 2, pp. 67, Spring 2009
UC users only

Halkin, Hillel.
"The "Waltz with Bashir" Two-Step." Commentary, Mar2009, Vol. 127 Issue 3, p46-51, 6p
UC users only

Harsin, Jayson.
"The Responsible Dream: On Ari Folman's Waltz with Bashir." Bright Lights Film Journal, Feb2009, Issue 63, p28-28, 1p

Jaafar, Ali.
"A Soldier's Tale." Sight and Sound, vol. 18, no. 12, pp. 28-31, Dec 2008
UC users only

Klawans, Stuart.
"A History of Violence." Film Comment v. 44 no. 6 (November/December 2008) p. 34-6
UC users only

Murray, Jonathan.
"Waltz with Bashir." Cineaste, Spring2009, Vol. 34 Issue 2, p65-68, 3p
UC users only

Stewart, Garrett.
"Screen Memory in Waltz With Bashir." Film Quarterly Mar 2010, Vol. 63, No. 3: 58-62.
UC users only

Vallorani, Nicoletta.
"Voids of Meaning: Images and War Memories." Textus; 2009, Vol. 22 Issue 2, p443-456, 14p
UC users only

Yosef, Raz.
"War Fantasies: Memory, Trauma And Ethics In Ari Folman's Waltz With Bashir." Journal of Modern Jewish Studies, Nov2010, Vol. 9 Issue 3, p311-326, 16p
UC users only

Zohar, Ryvka Bar.
"Waltz With Bashir: A Case Study on the Complicity of the Israeli Cultural Industry with Israeli Apartheid." al-Majdal; Mar2009, Issue 41, p41, 5p,
UC users only

Turkey

Immigrants Within Europe bibliography

Arslan, Sava.
"The new cinema of Turkey." New Cinemas: Journal of Contemporary Film, 2009, Vol. 7 Issue 1, p83-97, 15p
UC users only

Bali, Rifat N.
The Turkish cinema in the early republican years Beylerbeyi-Istanbul : Isis Press, 2007.
MAIN: PN1993.5.T84 B35 2007

Büker, Seçil, Kandiyoti, Deniz
"The Film Does Not End with an Ecstatic Kiss." In: Fragments of culture : the everyday of modern Turkey London ; New York: I.B. Tauris, 2002.
ANTH: DR432 .F73 2002b

Dönmez-Colin, Gönül
"New Turkish Cinema-Individual Tales of Common Concerns." Asian Cinema, vol. 14, no. 1, pp. 138-45, Spring 2003.

Dönmez-Colin, Gönül
Turkish cinema : identity, distance and belonging / Gönül Dönmez-Colin. London : Reaktion Books, 2008.
Main (Gardner) Stacks PN1993.5.T8 D66 2008
Pacific Film Archive PN1993.5.T8 D66 2008

Dönmez-Colin, Gönül
"Women in Turkish Cinema: Their Presence and Absence as Images and as Image-Makers." Third Text, Jan2010, Vol. 24 Issue 1, p91-105, 15p
UC users only

Dorsay, Atillâ
"Turkish Cinema: Journey to the Future." Cinemaya: The Asian Film Quarterly, vol. 47-48, pp. 92-94, Spring 2000.

Erdogan, Nezih
"Mute Bodies, Disembodied Voices: Notes on Sound in Turkish Popular Cinema." Screen, vol. 43, no. 3, pp. 233-49, Fall 2002.

Erdogan, Nezih
"Narratives of Resistance: National Identity and Ambivalence in the Turkish Melodrama between 1965 and 1975." Screen, vol. 39, no. 3, pp. 259-71, Fall 1998.

Harris, Sarah.
"Turkish Popular Cinema: National Claims, Transnational Flows." International Journal of the Humanities, Jun2008, Vol. 6 Issue 3, p77-87, 11p
UC users only

Monceau, Nicolas
"Confronting Turkey's Social Realities: An Interview with Yesim Ustaoglu." Cineaste: America's Leading Magazine on the Art and Politics of the Cinema, vol. 26, no. 3, pp. 28-30, Summer 2001.

Robins, Kevin
"Deep Nation: The National Question and Turkish Cinema Culture." In: Cinema and nation / edited by Mette Hjort and Scott MacKenzie. pp. 203-21. London ; New York : Routledge, 2000.
Main Stack PN1995.9.N33.C56 2000

Suner, Asuman
"Horror of a different kind: dissonant voices of the new Turkish cinema." Screen; Winter2004, Vol. 45 Issue 4, p305-323, 19p

Suner, Asuman
"Silenced memories: notes on remembering in new Turkish cinema." New Cinemas: Journal of Contemporary Film; 2009, Vol. 7 Issue 1, p71-81, 11p, 2 Black and White Photographs
UC users only

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