02-05-2023
Кинематограф Ливана, согласно кинокритику и историку кино Рою Армесу, — единственный кинематограф в арабоязычном регионе, после египетского, который может иметь своё национальное кино.[1] Кинематограф в Ливане существует с 1920-х годов,[2] и страна за это время произвела более 500 фильмов.[3]
Количество фильмов ежегодно выпускаемых невелико, а киноиндустрия в значительной степени зависит от зарубежного финансирования и международных кассовых доходов из-за ограниченного размера внутреннего рынка. [4] Несмотря на это, некоторые местные фильмы добиваются признания на международном уровне: И куда мы теперь? режиссёра Надин Лабаки выиграл Приз зрительских симпатий на кинофестивале в Торонто и был номинирован на премию «Оскар» за лучший фильм на иностранном языке.[4]
Первым ливанским фильмом был Приключения Элиаса Мабрука, снятым в 1929 году режиссёром Джордано Пидутти.[5] На руинах Баальбека (1936) стал первым звуковым фильмом Ливана,[6] он был весьма успешным среди зрителей.[7]
К середине 1920-х кинотеатры были весьма распространены в Бейруте, некоторые из которых использовались и для политических собраний. Так в 1925 году коммунистическая партия провела съезд в кинотеатре Crystal Cinema в Бейруте.[8] Кинотеатры стали настолько популярными, что в 1931 году студенты организовали акцию протеста в виде демонстрации за снижение цен на билеты в них.[8] Чтобы конкурировать с Голливудом, французы постановили, что все американские фильмы, импортируемые в Ливан, должны были быть продублированными на французский язык.[9]
В этот период появилось также и документальное кино, но оно строго подвергалось цензуре со стороны французов.[9]
После обретения Ливаном независимости от Франции производители фильмов стали использовать в своей продукции местные темы, такие как сельская жизнь и фольклор.[10] В начальный период своей независимости Ливан переживал экономический бум, в следствие чего его столица Бейрут стал финансовым центром восточной части Ближневосточного региона.[11] Экономический успех Ливана, вместе с открытием 38 банков, мультикультурным и либеральным обществом, послужил тому, что местная киноиндустрия стала альтернативой египетской, занимавшей в то время центральное место в арабоязычном мире.[12] Кроме того, "Ливан имел лучшую в регионе техническую базу" для производства фильмов.[13] В первой половине XX века ливанский кинематограф был тесно связан с египетским.[14] Кроме того, что он привлекал к себе многочисленных ливанских актёров и актрис, таких как Нур Аль Хода и Сабах, исполнительниц танца живота (Бадия Массабни) и продюсеров (Ассия Дахер), ливанские дистрибьюторы монополизировали экспорт египетских фильмов в 1930 – 1970-е годы.[15] Одним из самых успешных режиссеров этого периода был Мохамед Сельмане, который прошёл подготовку в Египте и вернулся в Ливан, чтобы создать 30 фильмов за 25 лет.[10]
Совместное производство фильмов с Египтом и Сирией было весьма распространено в этот период, который принято называть "золотым веком" ливанской киноиндустрии.[10] Кроме того, ливанские продюсеры с 1945 по 1951 год играли важнейшую роль в становлении иракского кинематографа.[16]
Первым ливанским фильмом, представлявшим страну на Каннском кинофестивале был Ila Ayn? Жоржа Нассера в 1958 году.[17]
The film industry continued to prosper in the 1960s with Beirut rivaling Cairo’s dominance of Arab filmmaking; however, films produced in the sixties, for the most part, lacked a sense of national identity and were merely commercial films, targeting a pan-Arab audience.[10] The musicals of the Rahbani Brothers that starred Fairuz were an exception. The Rahbani films were centered around nostalgic themes of life in Mount Lebanon villages.[18] While many films in the sixties were filmed in the Egyptian vernacular to cater to the large Egyptian market, the Rahbani films were filmed in the Lebanese dialect.[19] One of the Rahbani films,Safar Barlik, which was set in 1912, depicted Lebanon's struggle against the Ottoman occupation. The film became a staple rerun on Lebanese television, especially on Independence Day.[20]
Lebanon was also a filming location for international productions. For example, in 1965, Val Guest's Where the Spies Are, starring David Niven and Françoise Dorléac, was filmed in Beirut.[21] Twenty-Four Hours to Kill,[22] starring Mickey Rooney, and Secret Agent Fire Ball,[23] starring Richard Harrison, were also filmed in Beirut the same year.[22] The following year in 1966, the German director, Manfred R. Köhler, filmed his film, Agent 505 - Todesfalle Beirut.[24] George Lautner's La grande sauterelle was also filmed in Beirut in 1967.[25] Rebus, starring Ann-Margret was filmed on location at the Casino du Liban in 1969.[26] While Honeybaby, Honeybaby[27] was shot in 1974 in Beirut, the producers of The Man with the Golden Gun, which was partially set in Beirut, decided not to film in the Lebanese capital due to the burgeoning political problems.[21]
Beirut hosted the first international film festival in the Arab world in 1971.[10] Until the mid-1970s, the film industry in Lebanon was flourishing with market appeal that extended to neighboring Arabic-speaking countries.[28] Lebanon was producing "a string of sexually indulgent films" such as Cats of Hamra Street[29] and The Guitar of Love in 1973,[30] starring Georgina Rizk, the Lebanese beauty queen who won Miss Universe in 1971.[31] In the 1970s, cinema attendance in Lebanon was the highest among Arabic-speaking countries.[32]
Despite the war, there was an "emergence of a new wave of Lebanese filmmakers – fostering, unusually, equal numbers of women and men".[28] Some of the filmmakers who emerged during this period were "Maroun Baghdadi, Jocelyn Saab, Borhane Alaouié, Heiny Srour, Randa Shahal Sabbag" and Jean Chamoun.[33] In the 1970s, film themes in Lebanon were concentrated around the political conflicts that the country was undergoing.[32] Displacement was also a recurrent theme as evident in Borhane Alaouie's Beirut, the Encounter (1981).[34] Films of this period were characterized by a lack of closure, reflective of the seemingly endless war at the time.[35]
One of the most important directors to emerge during this period was Maroun Baghdadi. According to Lina Khatib, author of Lebanese Cinema: Imagining the Civil War and Beyond, Baghdadi's films were "considered the cornerstone of Lebanese cinema".[36] Maroun Baghdadi made Little Wars (film) with aid provided by the American filmmaker, Francis Coppola.[37] The film was screened in the Un Certain Regard section at the 1982 Cannes Film Festival.[38] The film also screened at New York Film Festival on October 2, 1982.[39]
Documentaries by filmmakers like Jocelyn Saab who "adopted a mainly journalistic style" also developed rapidly and successfully during this period.[28] Lebanese and Palestinian documentaries produced in Lebanon during the 1970s caused a surge of documentary production across the Arab world.[1] These documentaries contributed to the development of feature film production in the early eighties.[1]
Many filmmakers from this era, such as Jocelyn Saab, Jean Chamoun, Randa Chahal and Maroun Baghdadi, settled in France due to the prolonged conflict in Lebanon.[40]
Beirut: The Last Home Movie is a 1987 documentary film that was directed by Jennifer Fox and shot on location at the historic Bustros mansion in Beirut. The documentary, which told the story of one of Lebanon’s wealthiest families, was awarded the Excellence In Cinematography Award and won the Grand Jury Prize Documentary at the 1988 Sundance Film Festival.[41]
In addition to the wave of festival films and documentaries, a series of commercial films, mostly mimicking action B movies from Hollywood, were made in the early 1980s.[42]
After the war, Beirut reemerged as one of the centers of mass media production in the Arab world.[43] While media production was concentrated around television, there were attempts to revive the film industry in Lebanon, especially by fresh graduates of Lebanese film schools. While filmmaking schools are a rarity in the region, by the mid-1990s, six of Beirut's universities were offering degrees in cinema and television and that attracted an influx of students from Arab countries who chose to receive some or all of their media training in Lebanon.[44]
Financing of film production in Lebanon in this period was mainly dependent on foreign support, both European and from the Lebanese diaspora.[44]
Many films, such as Jocelyne Saab's experimental film, Once Upon a Time in Beirut, examined the destruction that was left after the war.[45] Maroun Baghdadi's Beyrouth Hors la Vie won the Special Jury Prize at Canned in 1991.[46] Other's like Jean-Claude Codsi's Histoire d'un retoure examined the issue of returning to the country after years of exile and war.[47] In 1994, Codsi's film won the jury award at the Festival international du film Francophone de Namur in Belgium.[48] While many films produced in the 1990s were hits at international festivals, Lebanese viewers were not drawn to the mainly-war themed films. An exception was West Beirut (film) (1998), which was a local and an international hit. It was not only the first Lebanese film, but also the first Arabic-language film to have general release in America.[49]
In 1997, Youssef Chahine's French-produced film, Destiny, was shot on location in Lebanon, including the historic mountain town of in Beiteddine.
A mélange of local issues and Western aesthetics characterized this period of Lebanese filmmaking.[44] Films in this period gained domestic appeal where many films were not only commercially successful as evident in box-office sales of Bosta,[50] Caramel,[51] Stray Bullet, and Where Do We Go Now?[52] but also were able to compete with imported, American films. Funding of films remained reliant on European organizations, such as Fonds Sud Cinéma in France and Organisation Internationale de la Francophonie.[53] Philippe Aractingi's Bosta (film) is one of the few films that was completely funded locally.
In 2003, Randa Chahal's The Kite (film) examined the issue of families separated due to the occupied territories in southern Lebanon. Her film won the Silver Lion at the Venice Film Festival.[54] Joana Hadjithomas and Khalil Joreige’s The Perfect Day (2005) examined the social implications of political kidnappings that happened during the war.[47]
By 2004, film production was on the increase with four fiction and two documentaries produced.[55] New themes that did not necessary deal with the issue of war emerged, like Danielle Arbid’s In the Battlefields (2005) that critiqued patriarchal society.
Short film production, especially by the graduates of the film schools in Lebanon, was also on the increase and receiving local and international attention. Hany Tamba's After Shave (2005 film) won the César Award for best short film in 2006.[56]
2007 was an important year for Lebanese filmmaking when two female directors, Nadine Labaki and Danielle Arbid presented their films at the Cannes Film Festival. Labaki presented Caramel while Arbid presented A Lost Man.[17] A Lost Man is possibly the most sexually graphic film ever made by an Arab director.[57] Caramel enjoyed an international release, including in the United States, United Kingdom, France, and Argentina.[58]
In 2010, Muriel Abourouss won the best director of photography award for Georges Hachem's Stray Bullet (2010 film) at the Festival international du film Francophone de Namur in Belgium.[59] Vatche Boulghourjian filmed on location in Bourj Hammoud, "The Fifth Column," a short film in Western Armenian dialect that won the third-place Cinéfondation Prize at the Cannes Film Festival.[60]
Ok, Enough, Goodbye by Rania Attieh and Daniel Garcia was shot on location in Tripoli, Lebanon in 2010. The film tied with Delphine and Muriel Coulin's Ragazze for the Special Jury Award ex-aequo at the Torino Film Festival in 2011.[61]
Also in 2010, Carlos, a Canal+ production that starred Édgar Ramírez as well as a handful of Lebanese stars such as Razane Jammal, Rodney El Haddad, Antoine Balabane, Ahmad Kaabour, Talal El-Jordi and Badih Abou Chakra was shot on location in Lebanon.[62] Carlos, which screened out of competition at the 2010 Cannes Film Festival won the 2010 Golden Globe award for the Best Miniseries or Motion Picture Made for Television.[63]
Increase in film production was evident in 2011. Nadine Labaki's Where Do We Go Now? won the Prix Francois Chalais at Cannes.[64] The film also won the people's choice award at the Toronto International Film Festival as well as the audience award at the Films from the South Festival in Oslo, Norway.[65] Sony Pictures Classics acquired the American rights to the film.[66] The film was Lebanon's choice to compete in the Academy Award's "Best Foreign-Language Film" category.[66] The film also won the Byarad d'Or at the Festival international du film Francophone de Namur in Belgium[67] and the Doha Tribeca Film Festival's Best Narrative Film award.[68]
Circumstance, a film by Maryam Keshavarz that explored homosexuality in modern Iran, was filmed entirely on location in Beirut.[69]
In the summer of 2011, the city of Beirut participated in the 48 Hour Film Project for the first time where 24 teams competed.[70] Cyril Aris won the Best Film category for his short, "Anoesis," which will be Beirut's entry in Filmapalooza 2012, the final festival for the 2011 48 Hour Film Project.[70][71][72]
Danielle Arbid's filmed her third feature, Beirut Hotel,[73] which had a world premiere at the 64th Locarno Film Festival in August 2011.[74]
Mounir Maasri's Rue Huvelin, which was set in 1990, told the story of seven Saint Joseph University students from Beirut's Rue Huvelin during the Syrian occupation of Lebanon.[75] Né à Beyrouth produced the film.[76]
Jean-Claude Codsi filmed his second feature, A Man of Honor, which was produced by Michel Ghosn and premiered at the Doha Tribeca Film Festival on October 28, 2011.[77]
Beirut Kamikaze, an Experimental/Documentary by Christophe Karabache was released in cinema (Paris) on November 16, 2011.
Also in 2011, Celine Abiad's Beiroots Productions presented a different perspective of Mediterranean filmmaking by producing and experimental surrealist film (5.1 Dolby surround), shot in 35mm and fully produced in Lebanon: A Play Entitled Sehnsucht, written and directed by Badran Roy Badran. The film was picked up for international distribution at Cannes, by Albany Films International, a company dedicated to the promotion of art house and indie films from gifted and promising directors.[78][79]
Documentary filmmaking was also present in 2011. Rania Stephan won "Best Documentary Filmmaker" at the Doha Tribeca Film Festival for The Three Disappearances of Soad Hosny.[80] It's All in Lebanon, a documentary film directed by Wissam Charaf and produced by Né à Beyrouth Production, premiered at DIFF in 2011. Thirteen feature and short films were premiered at DIFF in 2011, including Danielle Arbid's Beirut Hotel, Youcef Joe Bou Eid's Tannoura Maxi, Daniel Joseph's Taxi Ballad, Simon El Habre's Gate #5, Hady Zaccak's Marcedes, Rami Nihawi's Yamo, Christina Foerch Saab's Che Guevara Died in Lebanon, Tamara Stepanyan's February 19, Wajdi Elian's A Place to Go, Rodrigue Sleiman and Tarek El Bacha's Nice to Meet You, Aseel Mansour's Uncle Nashaat, and Nadim Mishlawi's Sector Zero.[81]
Despite interruptions resulting from the occasional political unrest, which characterizes the Levant, the festival has nevertheless become a bright platform offers young filmmakers local and regional exposure.
On 22 August 2012, the Sydney-based Lebanese Film Festival was launched to showcase Lebanese cinema. The festival is dedicated to cinema that is broadly Lebanese – either being filmed or set in Lebanon, made by a Lebanese filmmaker, or films with a focus on Lebanon, its people, arts, or culture. Australian actor Bryan Brown opened the inaugural Beirut Hellenic Bank Lebanese Film Festival in 2012. The event showcased 26 films over 12 days including Beirut Hotel, Rue Huvelin, Out Loud, the documentary If I Should Fall, Marcedes, A History Lesson and the short film, "Bahiya and Mahmoud." The Festival has been supported by all levels of Australian government, including Bankstown Council, the NSW Premier and Cabinets Office.
| Ливан в темах | ||
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Герб • Флаг • Гимн • Государственный строй • Конституция • Парламент • Административное деление • География • Города • Столица • Население • Языки • История • Экономика • Валюта • Культура • Религия • Кинематограф • Литература • Музыка • Праздники • Спорт • Образование • Наука • Транспорт • Туризм • Почта (история и марки) • Интернет • Вооружённые силы • Внешняя политика |
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| Страны Азии: Кинематограф | |
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Азербайджан • Армения • Афганистан • Бангладеш • Бахрейн • Бруней • Бутан • Восточный Тимор • Вьетнам • Грузия • Египет¹ • Израиль • Индия • Индонезия • Иордания • Ирак • Иран • Йемен • Казахстан² • Камбоджа • Катар • Кипр • Киргизия • КНР • КНДР • Республика Корея • Кувейт • Лаос • Ливан • Малайзия • Мальдивы • Монголия • Мьянма • Непал • ОАЭ • Оман • Пакистан • Россия² • Саудовская Аравия • Сингапур • Сирия • Таджикистан • Таиланд • Туркмения • Турция² • Узбекистан • Филиппины • Шри-Ланка • Япония |
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| Зависимые территории | |
| Непризнанные и частично признанные государства | |
| ¹ В основном в Африке ² Частично в Европе |
Кинематограф Ливана.