Once Upon A Time In Beirut

Once Upon a Time is creative non-fiction written in the form of a memoir which focuses on the fact that another Baghdad existed not too long ago when people of different nationalities and religions lived and worked together peacefully. The central point of the book is life in Baghdad during the 1940s and 1950s, a period remembered as the golden age of Iraq. The stories told are as seen through the eyes of a young girl and woman, the author, who was born and raised in a Christian multicultural middle class family in Baghdad of the time. The book spans the first twenty years of her life spent in the Middle East. Intertwined with her personal story, the author tells of the lives of others, family, relatives and friends, as she knew them in the Baghdad of her youth. Iraq was a nation of multicultural and diverse people of all backgrounds and beliefs, with a heritage that goes back thousand of years. Iraqis and non-Iraqis, Moslems and non-Moslems, Christians and Jews lived, worked and mingled together in harmony, each aware of their particular cultural boundaries and respectful of others. As the author narrates her personal story she reveals many insights into her life, customs and cultures of Christian and Moslem families, both Iraqis and non-Iraqis who lived and thrived in Baghdad. Interwoven with the personal stories are historical chapters and facts that enable the reader to gain in-depth knowledge of the complexities of the religions, cultural and socio-economic background of Iraq and its people. References to present day conditions in Iraq act like a magnifying glass, making the potential for the country¡¦s possibly hopeful future, if it can find a connection to its more happy past, all the more vivid. The story is not told chronologically. The author weaves back and forth making time and space, condense and merge. There is a co-presence of different eras and events giving the book an unusual richness. Flashbacks and leaps into the present co-exist simultaneously creating a weave not unlike the arabesque intertwining of Arabic ornaments.

Once Upon a Time in Jerusalem tells the saga of a Palestinian family living in Jerusalem during the British mandate, and its fate in the diaspora following the establishment of the state of Israel in 1948. The story is told by two voices: a mother, who was a child in Jerusalem in the 1930s, and her daughter, who comments on her mother's narrative. The real hero of the narrative, however, is the family home in Old Jerusalem, which was built in the 15th century and which still stands today. Within its walls lived the various members of the extended family whose stories the narrative reveals: parents, children, stepmothers, stepsisters, aunts and uncles, nieces and cousins. This is no idealized, nostalgic narrative of perfect characters or an idyllic past, but a truthful rendition of family life under occupation, in a holy city that was conservative to the extreme. Against a backdrop of violence, much social history is revealed as an authoritarian father, a submissive mother, brothers who were resistance fighters, and an imaginative child struggled to lead a normal life among enemies. That became impossible in 1948, when the narrator, by then a young girl studying in Beirut, realized she could not go home. She traveled to Cairo, where she had to start a new life under difficult conditions, and reconcile herself to the idea of exile. Narrated in a terse, matter-of-fact tone, "Once Upon a Time in Jerusalem" is a bildungsroman in which the child is initiated into loss and despair, and a life about which little is known. The book shows a city of the 1930s from a new perspective: a cosmopolitan Jerusalem where people from all nations and faiths worshiped, married and lived together, until such co-existence came to an end and a new order was enforced.

Beirut isn't an obvious home for a young Australian couple, but when the opportunity arose for journalist Catherine Taylor and her husband to move to Lebanon, they didn't think twice about leaving their comfortable life in Sydney. Catherine soon fell in love with the Paris of the Middle East and became fascinated by the complexity of its people: their exuberant and loving nature seemed to belie the many dark years of bloodshed and conflict they'd endured. She set about trying to understand the region, interviewing the wives of suicide bombers, Lebanese hashish farmers, stricken Palestinians on the West Bank, female boxing contestants in Cairo, Hezbollah fighters, and even Osama bin Laden's best friend. She also witnessed firsthand the impact of 9/11 on the region. Gradually she learnt to negotiate these very different cultures with humour and more than the occasional faux pas. When she reluctantly left after several years she vowed to return. In 2006, after the violence flared up again between Israel and Lebanon, she went back to see how her adopted country and friends had coped, and how, with their remarkable resilience, they saw the way forward.

Provides analysis of production trends and complex, quantified distribution patterns of the principal traded sigillatas and slipped table wares in the Roman East, from the early Empire to Late Antiquity.

Ten Arab Filmmakers provides an up-to-date overview of the best of Arab cinema, offering studies of leading directors and in-depth analyses of their most important films. The filmmakers profiled here represent principal national cinemas of the Arab world—Algeria, Egypt, Lebanon, Morocco, Palestine, and Syria. Although they have produced many of the region’s most-renowned films and gained recognition at major international festivals, with few exceptions these filmmakers have received little critical attention. All ten share a concern with giving image and voice to people struggling against authoritarian regimes, patriarchal traditions, or religious fundamentalism—theirs is a cinéma engagé. The featured directors are Daoud Abd El-Sayed, Merzak Allouache, Nabil Ayouch, Youssef Chahine, Mohamed Chouikh, Michel Khleifi, Nabil Maleh, Yousry Nasrallah, Jocelyne Saab, and Elia Suleiman.

Modern Lebanese cinema can best be explored in the context of the Civil War, in part because almost all the Lebanese films made since its outset in 1975 have been about this war. Lina Khatib takes 1975 Beirut as her starting point, and takes us right through to today for this, the first major book on Lebanese cinema and its links with politics and national identity.She examines how Lebanon is imagined in such films as Jocelyn Saab's "Once Upon a Time, Beirut", Ghassan Salhab's "Terra Incognita", and Ziad Doueiri's "West Beirut". In so doing, she re-examines the importance of cinema to the national imagination. Also, and using interviews with the current generation of Lebanese filmmakers, she uncovers how in the Lebanese context cinema can both construct and communicate a national identity and thereby opens up new perspectives on the socio-political role of cinema in the Arab world.

Belfast, Beirut and Berlin are notorious for their internal boundaries and borders. As symbols for political disunion, the three cities have inspired scriptwriters and directors from diverse cultural backgrounds. Despite their different histories, they share a wide range of features central to divided cities. In each city, particular territories take on specific symbolic and psychological meanings. Following a comparative approach, this book concentrates on the cinematographic representations of Belfast, Beirut and Berlin. Filmmakers are in constant search for new ways in order to engage with urban division. Making use of a variety of genres reaching from thriller to comedy, they explore the three cities' internal and external borders, as well as the psychological boundaries existing between citizens belonging to different communities. Among the characters featuring in films set in Belfast, Berlin and Beirut we may count dangerous gunmen, prisoners' wives, soldiers and snipers, but also comic Stasi-members, punk aficionados and fake nuns. The various characters contribute to the creation of a multifaceted image of city limits in troubled times.