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Surviving Images explores the prominent role of cinema in the development of cultural memory around war and conflict in colonial and postcolonial contexts. It does so through a study of three historical eras: the colonial period, the national-independence struggle, and the postcolonial. Beginning with a study of British colonial cinema on the Sudan, then exploring anti-colonial cinema in Algeria, Egypt and Tunisia, followed by case studies of films emerging from postcolonial contexts in Palestine, Iran, Lebanon, and Israel, this work aims to fill a gap in the critical literature on both Middle Eastern cinemas, and to contribute more broadly to scholarship on social trauma and cultural memory in colonial and postcolonial contexts. This work treats the concept of trauma critically, however, and posits that social trauma must be understood as a framework for producing social and political meaning out of these historical events. Social trauma thus sets out a productive process of historical interpretation, and cultural texts such as cinematic works both illuminate and contribute to this process. Through these discussions, Surviving Images illustrates cinema's productive role in contributing to the changing dynamics of cultural memory of war and social conflict in the modern world.

Memory in motion pictures. --- Psychic trauma in motion pictures. --- War films --- Motion pictures --- Anti-war films --- History and criticism. --- Middle East --- Asia, South West --- Asia, Southwest --- Asia, West --- Asia, Western --- East (Middle East) --- Eastern Mediterranean --- Fertile Crescent --- Levant --- Mediterranean Region, Eastern --- Mideast --- Near East --- Northern Tier (Middle East) --- South West Asia --- Southwest Asia --- West Asia --- Western Asia --- Orient --- In motion pictures. --- Memory in motion pictures --- Psychic trauma in motion pictures --- History and criticism --- Mémoire au cinéma --- Traumatisme psychique au cinéma --- Films de guerre --- Histoire et critique

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Explores translation in the context of the late Ottoman Mediterranean worldFénelon, Offenbach and the Iliad in Arabic, Robinson Crusoe in Turkish, the Bible in Greek-alphabet Turkish, excoriated French novels circulating through the Ottoman Empire in Greek, Arabic and Turkish – literary translation at the eastern end of the Mediterranean offered worldly vistas and new, hybrid genres to emerging literate audiences in the nineteenth and early twentieth centuries. Whether to propagate ‘national’ language reform, circulate the Bible, help audiences understand European opera, argue for girls’ education, institute pan-Islamic conversations, introduce political concepts, share the Persian Gulistan with Anglophone readers in Bengal, or provide racy fiction to schooled adolescents in Cairo and Istanbul, translation was an essential tool. But as these essays show, translators were inventors. And their efforts might yield surprising results. Key featuresA substantial introduction provides in-depth context to the essays that followNine detailed case studies of translation between and among European and Middle-Eastern languages and between genresExamines translation movement from Europe to the Ottoman region, and within the latterLooks at how concepts of ‘translation’, ‘adaptation’, ‘arabisation’, ‘authorship’ and ‘untranslatability’ were understood by writers (including translators) and audiencesChallenges views of translation and text dissemination that centre ‘the West’ as privileged source of knowledgeContributorsOrit Bashkin, University of ChicagoMarilyn Booth, Oxford University Raphael Cormack, independent scholarTitika Dimitroulia, University of Thessaloniki Peter Hill, independent scholarAlexander Kazamias, Coventry UniversityYaseen Noorani, University of ArizonaKamran Rastegar, Tufts University A. Holly Shissler, University of Chicago Johann Strauss, University of Munich

Middle East --- Mediterranean Region. --- Circum-Mediterranean countries --- Mediterranean Area --- Mediterranean countries --- Mediterranean Sea Region