#Rania Stephan

[garadinervi]

Gaza غزة‎, Institute for Palestine Studies, Beirut, Starting July 11, 2024, in partnership with Dar El-Nimer for Arts and Culture

Participating artists : Abdel Rahman Muzayen, Aissa Deebi, Areej Kaoud, Amal Al Nakhala, Amjad Ghannam, Boutros Al Maari, Dena Mattar, Dia Mrad, Fathi Ghabin, Fayez Al Hasani, Fawzi Omrani, Hani Alqam, Hani Zurob, Hazem Harb, Hussein Madi, Hussein Nassereddine, Ibrahim Mozain, Ingrid Rollema, Jehad Jarboa, Kamel Al Mughany, Khaled Jarada, Laila Al Shawa, Laila Hamzeh, Maher Naji, Maryam Salah, Mohamed Al Mufti, Mohamed Joha, Mohammed Al Hawajri, Mohamad Abusal, Muayyad Abu Amuna, Muhammad Al Rakouie, Neil Wood, Omran Al Kaissi, Oussama Baalbaki, Raed Issa, Rania Stephan, Saher Nassar, Salman Al Nawati, Shadi Alzaqzouq, Sharif Sarhan, Sherine Abdel Karim, Shayma Hasnen, Sumaya Sabih, Tammam Al Akhal, Tayseer Barakat, Taysir Batniji, Wael Al Sousi, Wasim Al Saadi

Artwork: Mohamed Joha, Solid City 03, (acrylic on canvas), 2021

«This is not an ordinary art exhibition, nor is it a solidarity event for Gaza, nor a protest outside embassies, foreign ministries, presidential offices, or city squares. It is a very humble attempt to preserve our humanity and affirm our resilience. It is a testament that we are alive, capable of reclaiming our role in preserving the remnants of life. Truly alive through action, striving to stop the genocide; this is a testament of action rather than mere prayer. This exhibition features over forty artists from Gaza, as well as artists who have depicted Gaza in their works. Through their art, we remember together that in Palestine, and particularly in Gaza, we have friends who were artists, martyred alongside doctors, teachers, students, firefighters, journalists… We have friends who were wounded, displaced, and forcibly removed from their homes, villages, and cities. We also have friends whose studios, workshops, offices and artistic creations, the culmination of their creativity, were all destroyed. We have friends whose aspirations for a somewhat normal life, and a future free from siege, characterized primarily by freedom, were shattered by airstrikes, tanks, and warships.» ― (excerpt from the announcement)

[okaylaptop-movies]

In Fields of Words: conversations with Samar Yazbek - Rania Stephan

"but who witnesses the witness" so many thoughts to go back to in this gem

[egyptiancinema]

A terrific experimental and archival film made by Rania Stephan

[thisobscuredesireforbeauty]

Les trois disparitions de Soad Hosni (Dir. Rania Stephan, 2011). Source

[vincekris]

Les Trois disparitions de Soad Hosni de Rania Stephan - (2011)

Les Trois disparitions de Soad Hosni de Rania Stephan - (2011)                  اختفاءات سعاد حسني الثلاثة ، رانيا ستيفان                                                                       Immense star du cinéma égyptien, Soad Hosni a tourné dans plus de quatre-vingts films, depuis sa rencontre avec Henri Barakat à la fin des années 1950. Son suicide en 2001 à Londres demeure inexpliqué : “Te souviens-tu ?”, lui demande la réalisatrice Rania Stephan, par le biais de Nahed, l’un de ses personnages, comme pour recueillir d’outre-tombe la parole de la “Cendrillon” du cinéma arabe – ou son Aphrodite.Qu’est-ce qu’une filmographie dit de son actrice ? Quelles correspondances tisser entre une vie et une œuvre, sans verser dans la critique historique ou le sainte-beuvisme ? Le pari de Rania Stephan est osé : divisé en trois actes et un épilogue, Les Trois Disparitions de Soad Hosni est un formidable patchwork d’extraits de films, à l’exclusion, semble-t-il, de toute autre source (archives ou images d’actualités), dont la trame entend se superposer à la vie de l’actrice. Quoique : enfance et relation à ses parents, découverte de l’amour, tristesse et déceptions, les grandes catégories retenues par Stephan sont trop générales pour rien dire. Elle investit ainsi un terrain d’ambiguïté, structuré par la répétition et la variation, sans guider le spectateur ainsi laissé à son vertige : aussi, à défaut d’éléments biographiques précis, peut-on goûter à nouveau l’extraordinaire fascination suscitée par Soad Hosni – dans l’Egypte de Nasser, son érotisme ravageur et éminemment moderne

[thecatalogueofroyalfashion]

Queen Rania  ||  Stephane Rolland

[spaceintruderdetector]

In Archiveology Catherine Russell uses the work of Walter Benjamin to explore how the practice of archiveology—the reuse, recycling, appropriation, and borrowing of archival sounds and images by filmmakers—provides ways to imagine the past and the future. Noting how the film archive does not function simply as a place where moving images are preserved, Russell examines a range of films alongside Benjamin's conceptions of memory, document, excavation, and historiography. She shows how city films such as Nicole Védrès's Paris 1900 (1947) and Thom Andersen's Los Angeles Plays Itself (2003) reconstruct notions of urban life and uses Christian Marclay's The Clock (2010) to draw parallels between critical cinephilia and Benjamin's theory of the phantasmagoria. Russell also discusses practices of collecting in archiveological film and rereads films by Joseph Cornell and Rania Stephan to explore an archival practice that dislocates and relocates the female image in film. In so doing, she not only shows how Benjamin's work is as relevant to film theory as ever; she shows how archiveology can awaken artists and audiences to critical forms of history and memory.

https://archive.org/details/archiveology-walter-benjamin-and-archival-film-practices/mode/2up

[jordanianroyals]

Queen Rania at Paris' Grande Mosque, received by the mosque's state superintendant of education Dalil Boubakeur

© Stephane Cardinale

[bookaddict24-7]

New Young Adult Releases Coming Out Today! (September 15th, 2020)

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Note: Since so many release dates have been changed for various Young Adult novels, keep in mind that there might be some titles missing in this post.

Have I missed any new Young Adult releases? Have you added any of these books to your TBR? Let me know! ___

New Standalones/First in a Series:

Grown by Tiffany D. Jackson

Horrid by Katrina Leno

K-Pop Confidential by Stephan Lee

Legendborn by Tracy Deonn

Making Friends with Alice Dyson by Poppy Nwosu

The Ninth Life by Taylor B. Barton

Sisters of the War by Rania Abouzeid 

Watch Over Me by Nina LaCour

Who I Was With Her by Nita Tyndall

Furia by Yamile Saied Mendez

Never Look Back by Lilliam Rivera

Surrender Your Sons by Adam Sass

Each of Us a Desert by Mark Oshiro

The Scapegracers by Hannah Abigail Clarke

The Art of Saving the World by Corinne Duyvis

Even if We Break by Marieke Nijkamp

New Sequels: 

For Better Or Cursed (The Babysitters Coven #2) by Kate Williams

#Noescape (MurderTrending #3) by Gretchen McNeil 

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Happy reading!

[saloniharshwal]

In making a biographical movie about iconic Egyptian actress Soad Hosni, filmmaker Rania Stephan claimed two principal motivations: her ardent admiration for the actress and her desire to revive interest in Egyptian cinema. Hosni starred in 82 films. She worked with every top director during the height of Egyptian filmmaking, from the 1950s to the 1980s, continuing to act until 1991. “I felt that these films belonged to us, we had to reuse them, they are common treasures,” said Stephan.Stephan went to Cairo street stalls to find pirated VHS tapes of Hosni’s films and then edited together scenes from the secondhand footage and remixed the soundtracks into an elegiac feature-length film. Its three acts, bookended by a prologue and epilogue, trace Hosni’s emergence, maturity, and untimely death, possibly by suicide. Throughout, Stephan blurs the line between Hosni’s complex private life and her public personification of an idealized modern Arab woman.

[ifreakingloveroyals]

Through the Years → Maria Teresa, Grand Duchess of Luxembourg (120/∞)

11 March 2003 | At the UNESO headquarters, Queen Rania of Jordan has opened an exhibition of works by female Muslim artists entitled "Tearing Up the Veil" and promoting dialog between the western world and Islam. Pictured here is Great Duchess Maria Teresa of Luxemburg. (Photo by Stephane Cardinale/Corbis via Getty Images)

[6pillars]

This Week's Six Pillars - 'Points of Contact', Lebanon

This Week’s Six Pillars – ‘Points of Contact’, Lebanon

This week on Resonance104.4FM, a visit from Helene Kazan, artist, curator and PhD candidate at the Centre for Research Architecture at Goldsmiths University, London. Kazan discusses her recently curation of the exhibition and public program, of multi-media responses and investigations into the evolving architecture of the lived/ built environment of Lebanon, at Goethe-Institut, Lebanon. Helen…

[okaylaptop-movies]

In Fields of Words: Conversations with Samar Yazbek - Rania Stephan

Beautiful, beautiful film <3

[atomheartmagazine]

New Post has been published on Atom Heart Magazine

New Post has been published on https://www.atomheartmagazine.com/al-via-il-festival-di-film-di-villa-medici-ecco-i-dettagli/26813

Al via il Festival di Film di Villa Medici: ecco i dettagli

Festival Di Film Di Villa Medici (II edizione), dal 14 al 18 settembre 2022 presso l’Accademia di Francia a Roma.

Dal 14 al 18 settembre presso l’Accademia di Francia a Roma – Villa Medici avrà luogo la seconda edizione del Festival di Film di Villa Medici, con quattordici film in concorso, proiezioni all’aperto, una programmazione di pellicole fuori concorso, incontri, carte bianche, masterclass e installazioni.

Fiction e documentari, racconti intimi ed epopee collettive, ricerche plastiche e nuove forme narrative: le opere in programma seguono una pluralità di percorsi che esplorano la diversità dell’uso dell’immagine.

Tra i vari appuntamenti cinematografici che si svolgeranno ogni giorno tra la Sala Michel Piccoli, le Grand Salon e il Piazzale, alcune rilevanti prime mondiali (LE CHAMP DES MOTS di Rania Stephan e INTO THE VIOLET BELLY di di Thùy-Hân Nguyến-Chí), e numerose prime nazionali (DE HUMANI CORPORIS FABRICA di Véréna Paravel e Lucien Castaing-Taylor, GIGI LA LEGGE di Alessandro Comodin, HAPPER’S COMET di Tyler Taormina, KICKING THE CLOUDS di Sky Hopinka, LE BARRAGE di Ali Cherri MANGROVE SCHOOL di Filipa César e Sónia Vaz Borges; MOUNE Ô di Maxime Jean-Baptiste, THE DEMANDS OF ORDINARY DEVOTION di Eva Giolo WHEN THERE IS NO MORE MUSIC TO WRITE, AND OTHER ROMAN STORIES di Éric Baudelaire XAR – SUEÑO DE OBSIDIANA di Edgar Calel e Fernando Pereira dos Santos).

Presente in concorso anche il film recente vincitore del “Leone del futuro” a Venezia79, SAINT OMER di Alice Diop.

La giuria, composta da Marie Losier, Pietro Marcello e Sylvain Prudhomme, svelerà il suo palmarès sabato 17 settembre e assegnerà due premi: il Premio Villa Medici per il miglior film e il Premio della Giuria per un film originale particolarmente apprezzato dai giurati. Entrambi i premi prevedono compensi in denaro e offriranno l’opportunità ai due autori o alle autrici di essere ospiti in residenza presso Villa Medici.

Oltre ai film in concorso, Villa Medici offre una programmazione parallela denominata Focus che invita a scoprire film di artisti fuori concorso e propone proiezioni, incontri di approfondimento ed occasioni privilegiate di interazione con i membri della giuria e degli artisti cineasti. In questo ambito saranno dedicate alcune “carte blanche” rispettivamente a Marie Losier (THE BALLAD OF GENESIS AND LADY JAYE  e THE ONTOLOGIC COWBOY), Pietro Marcello (LA BOCCA DEL LUPO), Sylvaine Prudhomme (TOUT-PUISSANT MAMA DJOMBO) e alla Fondazione In Beetween Art Film che presenterà il film WELCOME PALERMO del duo MASBEDO (Nicolò Massazza & Iacopo Bedogni).

La sezione “Contrechamps” rivolgerà invece il proprio sguardo a Hans Richter (INFLATION), Liv Schulman (THE NEW INFLATION), Yasmina Benabderrahmane (LA VILLA JUMELLE), Uriel Orlow (REMNANTS OF THE FUTURE) e Théodora Barat (OFF POWER).

Le proiezioni serali del Piazzale offriranno al pubblico romano il meglio del cinema, da scoprire sotto le stelle nei giardini di Villa Medici. Il festival si aprirà con LA MONTAGNE di Thomas Salvador, ex borsista di Villa Medici, che narra la fantastica ascesa di un uomo verso la libertà del corpo e della mente. Con LES ENFANTS DES AUTRES , presentato quest’anno in concorso alla Mostra del Cinema di Venezia, Rebecca Zlotowski racconta il singolare e raramente esplorato legame tra una donna e il figlio di un’altra; la serata sarà aperta e rappresentata dalla Maison CHANEL, partner della seconda edizione del festival.

Con PADRE PIO, Abel Ferrara continua la sua esplorazione cinematografica delle grandi figure controverse del suo paese d’adozione. La serata di sabato sarà dedicata al mondo della notte e della danza con STELLA EST AMOUREUSE di Sylvie Verheyde, una magnifica storia di emancipazione di una giovane disertrice di classe. Infine, la seconda edizione del festival si chiuderà con la presentazione, per la prima volta a Roma, della versione restaurata di SCIUSCIÀ di Vittorio De Sica, opera fondante del neorealismo e primo Oscar per il miglior film straniero nella storia dell’Academy Award (1947).

Con l’apertura della rassegna, il 14 settembre, verrà inaugurato anche il nuovo Art Club, a cura di Pier Paolo Pancotto che vedrà esporre fino al 10 ottobre a Villa Medici le opere di Rosa Barba, artista che lavora tra cinema e arte contemporanea. Si tratta di lavori che offrono una panoramica di oltre 10 anni di pratica artistica: il film Disseminate and Hold (2016), presentato nell’atelier Balthus e l’installazione Weavers (2021) nella piccola galleria Balthus. L’artista  sarà presente a Roma dal 22 al 24 settembre (per richieste di interviste contattare l’ufficio stampa).

Tutte le info su VILLAMEDICI.IT

[thisobscuredesireforbeauty]

Les trois disparitions de Soad Hosni (Dir. Rania Stephan, 2011). Source

[vincekris]

Les Trois disparitions de Soad Hosni de Rania Stephan - (2011)

اختفاءات سعاد حسني الثلاثة ، رانيا ستيفان

Immense star du cinéma égyptien, Soad Hosni a tourné dans plus de quatre-vingts films, depuis sa rencontre avec Henri Barakat à la fin des années 1950. Son suicide en 2001 à Londres demeure inexpliqué : "Te souviens-tu ?", lui demande la réalisatrice Rania Stephan, par le biais de Nahed, l’un de ses personnages, comme pour recueillir d’outre-tombe la parole de la "Cendrillon" du cinéma arabe – ou son Aphrodite. Qu’est-ce qu’une filmographie dit de son actrice ? Quelles correspondances tisser entre une vie et une œuvre, sans verser dans la critique historique ou le sainte-beuvisme ? Le pari de Rania Stephan est osé : divisé en trois actes et un épilogue, Les Trois Disparitions de Soad Hosni est un formidable patchwork d’extraits de films, à l’exclusion, semble-t-il, de toute autre source (archives ou images d’actualités), dont la trame entend se superposer à la vie de l’actrice. Quoique : enfance et relation à ses parents, découverte de l’amour, tristesse et déceptions, les grandes catégories retenues par Stephan sont trop générales pour rien dire. Elle investit ainsi un terrain d’ambiguïté, structuré par la répétition et la variation, sans guider le spectateur ainsi laissé à son vertige : aussi, à défaut d’éléments biographiques précis, peut-on goûter à nouveau l’extraordinaire fascination suscitée par Soad Hosni – dans l’Egypte de Nasser, son érotisme ravageur et éminemment moderne.