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No region has faced more adversity over the past half century or so than the Middle East: foreign colonization, the struggle for liberation, often followed by coups d’état, revolutions, international and civil wars, repressive government, economic problems (though not for the oil producers), generational and gender conflicts, and more. To this must be added the “isms”: nationalism, socialism, neoliberal capitalism, orientalism, Islamism, and Zionism, as well as the more general bane of censorship. This is certainly not a conducive atmosphere for cinema to flourish . . . or is it? These challenges have compelled Middle Eastern directors, producers, actors, and others to try harder. In many cases, they have succeeded in overcoming all adversity and producing excellent films, and when that was not possible impressive documentaries in their respective countries and abroad. Knowing their own people better, they have produced works that overcome the encroachment of Hollywood and Bollywood and encourage nationals to think more seriously about their own societies. This could be the main strength of Middle Eastern cinema; it deals seriously with serious issues, although as elsewhere—and given the need for escapism—it also produces comedies, farces, adventure films, and even some relatively “naughty” films.

The authors of this now second edition of the Historical Dictionary of Middle Eastern Cinema have certainly done an exceptional job of exploring and explaining one of the least-known areas of cinema, but one that deserves to be known better. As in other books in this series, this book sets the scene with a chronology, one longer and more extensive than one might expect, and then an introduction, which is certainly more complex than most. But the bulk of the material is contained in a dictionary section full of informative entries on the various countries concerned and the composite regions; their directors, producers, and actors; dozens of the better films; most of the genres; and many of the themes, from exile to gender and sexuality. Other entries deal with significant political leaders and events, including the Arab–Israeli conflict, the Defeat, and the Iraq War, which have generated films. And mention is also made of film schools, festivals, and currents, such as New Realism and Third Cinema. In short, the field of cinema is studied from many different angles, and it would not be easy to find more in a smaller space. Finally, for those who want to learn more, there is a bibliography with further reading on cinema in the region and in each part as well. Nor should one forget the amazingly long filmography.

Considering that this volume covers 18 different national cinemas, it could not have been written as competently as has been done without the participation of a team of contributors, each specialized in certain aspects and countries, and two editors who coordinated the work and produced parts of the manuscript themselves. The contributors are Hend Alawadhi, Samirah Alkassim, Farshad Aminian, Savaş Arslan, Sandra G. Carter, Patricia Caillé, Anne Ciecko, Gayatri Devi, Iman Hamam, Dale Hudson, Wissam Mouawad, Helga Tawil-Souri, Negar Taymoorzadeh, Mark R. Westmoreland, and Alia Yunis. The two editors, who both selected the various contributors and made contributions of their own, are Terri Ginsberg and Chris Lippard. This able and diligent team certainly deserves a vote of thanks for creating an essential reference tool for anyone interested in Middle Eastern cinema or the Middle East in general.

Jon Woronoff

Series Editor