Abstract
In Lebanon, there has never existed a true film industry. Lebanese filmmakers and producers have always struggled unsuccessfully against foreign films to attract a share of the small number of moviegoers. Today, despite the recent growth in film production, Lebanese cinema remains highly dependent upon international funding as well as upon Western film festivals. In this context, a number of questions arise: What proportion of contemporary Lebanese films is financed by international institutions? Are “transnationally” and nationally funded Lebanese films similarly valued by international film festivals? Do “transnationally” funded Lebanese films really express and reflect local concerns, or do they comply with expectations predefined by European funders? And to what extent do transnational production and distribution conditions lead to a codified representation based on stereotypical views of the country, views that may be described by the term “cinematic postcard”?
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Mouawad, W. (2020). Lebanese Cinema and the French Co-production System: The Postcard Strategy. In: Ginsberg, T., Lippard, C. (eds) Cinema of the Arab World. Global Cinema. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-30081-4_3
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