Research Paper on "Middle East in Today's Cinema"

Research Paper 8 pages (2706 words) Sources: 8

[EXCERPT] . . . .

However, some developments are less believable. The two girls involve themselves with an American-Iranian DVD bootlegger aspiring to refine the country through a film with a gay character, via a Persian dubbing of Milk. Mehran turns into a master Machiavelli, controlling his family, and threatening Shireen and Atafeh's relationships. In many aspects, the movie is an outstanding achievement. However, by mixing melodramatic plotting and documentary detail, the overall movie shifts more towards melodrama. The film's chief audience is, ironically, to more likely to comprise of viewers interested more in serious reality than a garish tale (Rigney 1).

A Separation

This movie revolves around universal themes, which include social divides, relationship problems, and the destructive influence of such issues on regular families. Set in a period of grinding, inflexible Iranian Islamic rule, the movie also utilizes the metaphor of a deteriorating marriage for Iran's countrymen who wish to leave the nation for a more preferable life elsewhere (Peterson 1). While earlier, cultural diplomacy was usually neglected as one of political diplomacy's salient forms, a shift in this cultural diplomacy is now seen, as it extends to encompass private-owned media and creative works released independently of governments. One such example is award-winning movie, A Separation, by Iranian filmmaker AsgharFarhadi; this film has perfectly and convincingly showed foreign audiences an inside view of Iranian identity and culture. Described by Farhadi as a detective movie rendered in documentary style, A Separation reveals film diplomacy's influence, as a source of messages to international audiences, which so often fails to communicate a clear message. This powerful movie portrays how difficult it is to live simultaneously in two spheres of life- old Arab cultural traditions and standards, and modern life's demands and struggles. The movie follows a close exploration into the domestic lives of Iranians- a world divided on the basis of gender, religion, class and age. What makes the movie interesting is the fact that only references to the country's politics are made; the movie itself does not focus on politics. Rather, it gives audiences a view of life in Iran, enabling views to grasp the faint distinctions and similarities between America's and Iran's domestic life. Mideast movies are usually based on social problems regarded in political contexts, as everyday life in Arab countries is wholly dominated by politics. This movie definitely raises questions pertaining to ethics and morality, but effectively keeps politics away from the scene. The central theme of A Separation is family life, though the movie also delves into class conflicts, social/religious systems and gender dynamics; i.e. family politics replaces national politics (Rubin 1).

The three films- Omar, Circumstance, and A Separation- effectively integrate three cultural areas (film, music and literature), which intersect with the Orient's colonial history and the aftermath of colonialism, to establish abstract keystones of what may be deemed as an 'unexpected' massive uprising in a region sharing significant historical commonalities. Films argue that the Middle East's cultural products and practices have, since decades, been transforming public life, and readying the ground for today's extensively-seen desire for equality, justice, change, and democracy. These films make use of the art of cinema as a tool of patriotic fervor in the Arab world, as do Hollywood films do for the Americans. The political and historical issues are expressed through the nuances of the 'freeze' and close-up shots aptly. The departure from the "oriental" tag is sought through the depiction of normal human trials and tribulations, if only accentuated by the political, religious and social setting of the locales. Thus the 'world-view' of the occident and the 'orientals' is normalized by these films- successfully (Schwartz). Though Lina Khatib draws inspiration from Orientalism Edward said, her work actually goes further, objectively and lays bare the object of prejudice to dispel the image created about the 'orientals' effectually (Schwartz). These movies give viewers interested in the 'cultural, power and resistance interplay', and those working on aesthetic, textuality, cultural resistance, cultural, political, economic and social concepts and matters, a fascinating opportunity for reflection. The movies incorporate several key themes drawing on the region's cultural products: role of literature in cementing unity in the pursuit for regional peace and justice, challenging the domineering political and post-colonial societal discourses, and publicizing resistance and disagreement to prevalent politic, gender, sexuality and religious discourses. Indeed, as Viola Shafik notes, the Arab cinema drew upon the artistry of the western advancements in artistry to modify it to suit the tenor and stylistic requirements of native culture and settings (Shafik).The above movies also prove cinema's role in depicting numerous modern-day kinds of resistance. They directly communicate with audiences by depicting mankind's natural reaction to oppression, which serves as a source for indicating the cruelty and subjugation prevalent in those regions. Similarly, Omar endeavors to depict Palestine's resistance to Israeli occupation. Providing information to viewers hasn't restored justice in these countries for over four decades, thus, filmmakers had to recognize Palestinian resistance discourses' limitations, and come up with novel ways of 'representation' by expressing Palestinians' subjectivity, which supports their activities and emphasizes on their victimized state. Nonetheless, these films tend to shed light on the region's present struggle's realities and their driving forces (Abu-Shomar 2-5).

Conclusion

Unlike Hollywood movies of old, which stereotyped Arab characters, these movies portray a more real image, showing Arabs as capable of changing their views, and experiencing several feelings that impact their actions and decisions. Close-ups are employed frequently to underscore these feelings, and facilitate in bridging the reaction of Arab characters to viewers. It cannot be denied that Arabs depicted in post-9/11 movies of Hollywood are, to a significant degree, not stereotyped, and indicates a fresh approach to how Arabs should be portrayed on screen. The U.S. public has, however, shown a decline in its tolerance of Arabs, Muslims, or any Middle Easterner, for that matter. Even these films, sometimes, resort to reinforcing some of the misconceptions regarding Arabs and Muslims; for instance, Circumstance begins with portraying a harassment of women, which naturally garners hatred.

Works cited

Abu-Shomar, Ayman. Resistance in Contemporary Middle Eastern Cultures: Literature, Cinema and Music (Book review). Vol. 4, 2013.Web. 26 June 2015.

Elouardaoui, Ouidyane. "Arabs in Post-9/11 Hollywood Films: A Move towards a More Realistic Depiction?" (2011).

Howell, Peter. "Omar Examines Splintered Loyalties in a Divided Middle East: Review | Toronto Star." Thestar.com. 27 Feb. 2014. Web. 26 June 2015.

Macnab, Geoffrey. "Omar, Film Review: Hany Abu-Assad's Oscar-nominated Thriller Is Shot from the Heart." The Independent. Independent Digital News and Media, 29 May 2014. Web. 26 June 2015.

Peterson, Scott. "Oscar Winner 'A Separation': Iranians Celebrate Historic Award." The Christian Science Monitor. The Christian Science Monitor, 27 Feb. 2012. Web. 26 June 2015.

Rigney, Brian. "Iranian Lesbians Fall Victim To 'Circumstance'" NPR. NPR, 25 Aug. 2011. Web. 26 June 2015.

Rubin, Molly. "A Separation."Culturing Media. 28 Apr. 2012. Web. 26 June 2015.

Said, Edward W. Covering Islam: How the Media and the Experts Determine How We See the Rest of the World. New York: Vintage, 1997. Print.

Said. Orientalism Summary. N.p. www.bookrags.com. Web. 30 June 2015.

Schwartz, Stephanie Tara. "Review." Review of Middle East Studies 43.1 (2009): 102 -- 104. Print.

Shafik, Viola.… READ MORE

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