Advertisement

Lebanese Cinema and the French Co-production System: The Postcard Strategy

  • Wissam Mouawad
Chapter
  • 18 Downloads
Part of the Global Cinema book series (GLOBALCINE)

Abstract

In Lebanon, there has never existed a true film industry. Lebanese filmmakers and producers have always struggled unsuccessfully against foreign films to attract a share of the small number of moviegoers. Today, despite the recent growth in film production, Lebanese cinema remains highly dependent upon international funding as well as upon Western film festivals. In this context, a number of questions arise: What proportion of contemporary Lebanese films is financed by international institutions? Are “transnationally” and nationally funded Lebanese films similarly valued by international film festivals? Do “transnationally” funded Lebanese films really express and reflect local concerns, or do they comply with expectations predefined by European funders? And to what extent do transnational production and distribution conditions lead to a codified representation based on stereotypical views of the country, views that may be described by the term “cinematic postcard”?

Keywords

Postcard cinema Postcolonial CNC Co-productions National cinema 

Works Cited

  1. Altman, Rick. “A Semantic/Syntactic Approach to Film Genre.” Film/Genre, edited by Altman. London: BFI, 1999, pp. 216–226.Google Scholar
  2. Boortsin, Daniel. The Image: A Guide to Pseudo-Events in America. New York: Atheneum, 1967.Google Scholar
  3. Croft, Stephen. “Concepts of National Cinema.” World Cinema: Critical Approaches, edited by John Hill et al. Oxford: Oxford UP, 2000, pp. 1–11.Google Scholar
  4. Darras, Bernard. “Identité, authenticité et altérité.” Études culturelles, edited by Darras. Paris: Publications de la Sorbonne, 2008, pp. 7–24.Google Scholar
  5. Dwyer, Kevin. “Family Resemblance: An Anthropologist Looks at Moroccan Documentary.” Cinema of the Arab World: Contemporary Directions in Theory and Practice, edited by Terri Ginsberg and Chris Lippard. London: Palgrave Macmillan, 2020, pp. 231–278.Google Scholar
  6. Ezra, Elizabeth, and Terry Rowden. “General Introduction: What Is Transnational Cinema?” Transnational Cinema: The Film Reader, edited by Ezra and Rowden. London and New York: Routledge, 2006, pp. 1–12.Google Scholar
  7. “Femmes cinéastes au Liban: partages d’expériences.” Conference at the Musée des civilisations de l’Europe et de la Méditerranée (MUCEM), Marseille, 22 May 2016, www.youtube.com/watch?v=HWO_IJu_biE. Accessed 30 Aug. 2018.
  8. Filhol, Emmanuel. “L’image stéréotypée des Arabes, du Moyen-Âge à la guerre du Golfe.” Hommes et migrations, vol. 1183, 1995, pp. 15–20.CrossRefGoogle Scholar
  9. Haddad, Céline. “Financement du cinéma: vers un modèle libanais?” L’Orient-Le Jour, 26 Jan. 2016, www.lorientlejour.com/article/966410/financement-du-cinema-vers-un-modele-libanais-.html. Accessed 20 Mar. 2019.
  10. Huggan, Graham. “The Postcolonial Exotic: Salman Rushdie and the Booker of Bookers.” Transition, vol. 64, 1994, pp. 22–29.Google Scholar
  11. Kassim, Elias. “Le Liban fait son cinema.” Le commerce du Levant, vol. 5693, Oct. 2017, pp. 60–62.Google Scholar
  12. Khatib, Lina. Lebanese Cinema: Imagining the Civil War and Beyond. London and New York: I.B. Tauris, 2008.Google Scholar
  13. Lippard, Chris. “Mobilities of Cinematic Identity in the Western Sahara.” Cinema of the Arab World: Contemporary Directions in Theory and Practice, edited by Terri Ginsberg and Chris Lippard. London: Palgrave Macmillan, 2020, pp. 147–200.Google Scholar
  14. Liz, Mariana. “From Europe with Love: Urban Space and Cinematic Postcards.” Studies in European Cinema, vol. 11, no. 1, 2014, pp. 3–13.CrossRefGoogle Scholar
  15. Millet, Raphaël. Cinema in Lebanon. Beirut: Rawiya éditions, 2017.Google Scholar
  16. Mouawad, Wissam. Hypothèse d’un cinéma néocolonial. 2018. Université Paul-Valéry, MA thesis.Google Scholar
  17. Neidhardt, Irit. “Untold Stories.” Westminster Papers in Communication and Culture, vol. 7, no. 2, Oct. 2010, pp. 31–50.Google Scholar
  18. Newman-Baudais, Susan. Les aides publiques aux œuvres cinématographiques et audiovisuelles en Europe. Strasbourg: Observatoire Européen de l’audiovisuel (Conseil de l’Europe), 2011.Google Scholar
  19. “Producing Films in France.” Prospective Study, CNC, 12 May 2015, www.cnc.fr/documents/71205/151678/Producing+Films+in+France.pdf/8fbcd21c-d2e2-787a-2687-24f2160f04ee. Accessed 21 Apr. 2019.
  20. Semmerling, Tim Jon. Israeli and Palestinian Postcards: Presentations of National Self. Austin: U of Texas P, 2004.Google Scholar
  21. Staszak, Jean-François. “Qu’est-ce que l’exotisme?” Le Globe, vol. 148, 2008, pp. 7–30.CrossRefGoogle Scholar
  22. Thompson, Elizabeth. Colonial Citizens: Republican Rights, Paternal Privilege, and Gender in French Syria and Lebanon. New York: Columbia UP, 2000.Google Scholar
  23. Vollaire, Louis. “La carte postale n’est pas un gadget.” Communication et langage, vol. 31, 1976, pp. 87–103.CrossRefGoogle Scholar
  24. Willemen, Paul. Looks and Frictions: Essays in Cultural Studies and Film Theory. Bloomington: Indiana UP, 1994.Google Scholar
  25. “World Cinema Support.” CNC, www.cnc.fr/web/en/news/world-cinema-support_113775. Accessed 21 Apr. 2019.
  26. Zitun, Yoav. “IDF General: Likelihood of Regional War Growing.” Ynetnews, 9 May 2011, www.ynetnews.com/articles/0,7340,L-4118220,00.html. Accessed 21 Apr. 2019.

Copyright information

© The Author(s) 2020

Authors and Affiliations

  • Wissam Mouawad
    • 1
  1. 1.Institut ACTEUniversité Paris 1 Panthéon-SorbonneParisFrance

Personalised recommendations