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"Mokdad, Linda Y"
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The international film musical
This is a comparative consideration of the musical's role within national cinema traditions. While the musical is one of cinema's few genuinely international genres, it has often functioned as an explicitly local or national form, drawing upon distinct traditions understood as native rather than international.
eBook
Imaginary geography: Mapping the history of the Middle East in post-9/11 American cinema
This dissertation examines a cycle of Hollywood films that spans over a decade, and which engages with and privileges a historical and geopolitical framework to address America's encounters and confrontations with the Middle East. At one level, these films map the 9/11 terrorist attacks onto various sites and histories that signify a contentious relationship between the Middle East and the United States (including Islamic fundamentalism, the invasions of Afghanistan and Iraq, the Arab-Israeli conflict, or the struggle over oil). In doing so they incorporate and absorb elements from other media (the Internet, television, journalism) to augment and authorize film's signifying capacities. At another level, and in tension with this dispersal, these post-9/11 films regulate and manage these histories through the generic and narrative mechanisms of the action, conspiracy or combat film. If these films privilege a discourse of investigation and expertise that postulates scientific neutrality, and even a technologized view of the Middle East, they alternately mobilize trauma and victimization discourse to delineate, prioritize and redeem the American male body. In addition, the construction of the Middle East in post-9/11 Hollywood cinema in terms of space (vis-à-vis the emphasis on cartography, geography, and surveillance technologies) and time (real time, instantaneity, pastness), plays a central role in the strategies and practices that have contributed to the production of knowledge about the region since 9/11. Focusing primarily on post-9/11 American intelligence and military narratives, this study explores what is at stake in the cinematic struggle to accommodate, but ultimately, recast history in light of U.S.-Middle East relations.
Dissertation
EGYPT
Despite the fact that close to a thousand Egyptian films were produced from 1927 to the early 1960s, popular Egyptian cinema has received considerably little scholarly attention. In an essay entitled ‘The Golden Age Before the Golden Age’, Walter Armbrust claims that commercial Egyptian cinema has been disparaged by Egyptian and foreign critics alike for its purported imitation of Hollywood cinema, and consequently its lack of engagement with the social realities of Egyptian life (2000). Indeed, its branding as the ‘Hollywood on the Nile’ could be explained by its profit-driven goals and formulaic fare; however, this condescending title also points
Book Chapter
INTRODUCTION
Although the Hollywood musical is known and enjoyed worldwide, the popular tradition of the film musical in many other major world cinemas remains largely unknown by critics as well as fans outside of the specific local, national or regional contexts in which it has none the less often thrived.¹ Despite this all-too-familiar imbalance, the musical appears to be one of the most popular genres across world cinema and, as in the United States, much of the world’s popular music since the arrival of film sound has been disseminated through film performances. Indeed, in a country like India (at times home
Book Chapter
CINEMA-Arab Americans in Film: From Hollywood and Egyptian Stereotypes to Self-Representation
Mokdad reviews Arab Americans in Film: From Hollywood and Egyptian Stereotypes to Self-Representation by Waleed F. Mahdi.
Book Review