Search engine for discovering works of Art, research articles, and books related to Art and Culture
Javascript must be enabled to continue!
A Filmmaker’s Words: A Journey through the Archive of Jocelyne Saab’s Unfinished Work
View through CrossRef
Jocelyne Saab’s legacy includes more than a dozen archive boxes, sorted by project. The first collection dates from 1993: every image she shot during the war was made as a matter of urgency, because the few archives she had kept burned with the rest of her childhood during the siege of Beirut by the Israeli forces in 1982. We know Jocelyne Saab for her work on the MENA region where she saw causes to defend or people to enlighten. But her archive offers a new, fascinating, roadmap for her legacy because as a whole it questions the strict Pan-Arabism that researchers and critics assume for her. It contains, among others, six unfinished documentary and fiction projects that would have been shot in Asia if she had found the necessary funding – projects planned in Vietnam, Hanoi, India. This chapter will discuss the unfinished work and Saab’s connection with Asia. This attraction that Saab had for Asia leads us today to reconsider differently a major part of her work and engagement, from the 1980s to the end of her life.
Title: A Filmmaker’s Words: A Journey through the Archive of Jocelyne Saab’s Unfinished Work
Description:
Jocelyne Saab’s legacy includes more than a dozen archive boxes, sorted by project.
The first collection dates from 1993: every image she shot during the war was made as a matter of urgency, because the few archives she had kept burned with the rest of her childhood during the siege of Beirut by the Israeli forces in 1982.
We know Jocelyne Saab for her work on the MENA region where she saw causes to defend or people to enlighten.
But her archive offers a new, fascinating, roadmap for her legacy because as a whole it questions the strict Pan-Arabism that researchers and critics assume for her.
It contains, among others, six unfinished documentary and fiction projects that would have been shot in Asia if she had found the necessary funding – projects planned in Vietnam, Hanoi, India.
This chapter will discuss the unfinished work and Saab’s connection with Asia.
This attraction that Saab had for Asia leads us today to reconsider differently a major part of her work and engagement, from the 1980s to the end of her life.
Related Results
Telling the Tale of a World in Turmoil: Conversations with Jocelyne Saab 1
Telling the Tale of a World in Turmoil: Conversations with Jocelyne Saab 1
This first paper in the collection presents a new and updated edited summary of nine extended interviews that took place over a number of years between Jocelyne Saab and renowned f...
Guerrillas, Border Crossings and Internationalism: The Liberation of Non-Arabs in Jocelyne Saab’s Early Documentaries
Guerrillas, Border Crossings and Internationalism: The Liberation of Non-Arabs in Jocelyne Saab’s Early Documentaries
Jocelyne Saab was a pioneer in non-fiction filmmaking in the Middle East, but she was not always perceived favorably by critics or the establishment. Her documentaries were consist...
The Feminist Cinema of Jocelyne Saab: Women’s Relationships and the Philosophy of Dance in Four Fiction Feature Films
The Feminist Cinema of Jocelyne Saab: Women’s Relationships and the Philosophy of Dance in Four Fiction Feature Films
This chapter considers the narrative and aesthetic challenges and creative decisions Jocelyne Saab faced in making her first feature film, Dunia (Kiss Me Not on the Eyes) in 2005. ...
KERAJINAN WAYANG KACA DAN “SAAB MOTE”
KERAJINAN WAYANG KACA DAN “SAAB MOTE”
Desa Nagasepaha merupakan pusat berbagai kerajinan seperti kerajinan perak, kayu, seruling, tenun, “saab mote”, dan lukisan kaca. Dari sejumlah kerajinan tersebut, kerajinan “saab ...
On Representing the War as Rupture: Jocelyne Saab and New Lebanese Cinema (1975–90)
On Representing the War as Rupture: Jocelyne Saab and New Lebanese Cinema (1975–90)
This chapter examines the cinema of Jocelyne Saab during the Lebanese civil war (1975-1990), while placing it in the context of New Lebanese Cinema, as she was confronted with viol...
Jocelyne Saab and CRIFFL: Dismantling Boundaries and Making New Routes for Asian Cinema in Lebanon
Jocelyne Saab and CRIFFL: Dismantling Boundaries and Making New Routes for Asian Cinema in Lebanon
This chapter describes the adventure of making new routes for Asian cinema in Lebanon. Known for her work as a war reporter, for her documentaries and her fiction films, Jocelyne S...
Jocelyne Saab’s Hanging Gardens: A Multimedia Architecture through Stories and Time
Jocelyne Saab’s Hanging Gardens: A Multimedia Architecture through Stories and Time
This chapter focuses on Saab’s role as a visual artist and cultural agent. This enables the author to highlight her artistic approach to film, while offering new background informa...
Exile, Gender and Empowerment in Jocelyne Saab’s Films: Gender Café and One Dollar a Day
Exile, Gender and Empowerment in Jocelyne Saab’s Films: Gender Café and One Dollar a Day
Jocelyne Saab was an exceptionally courageous Lebanese filmmaker who dealt with the three main topics of war, exile and gender. She produced many documentaries but also fictions, s...