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When Shamim wanted to make her first film, the film producers wanted obscene scenes and Hanan saw that this was not getting Shamim to where she wanted. So, without any background in production, she decided to take it on so that Shamim could become a director. It was difficult to raise funds and to do it at a pace they wanted but they stuck to their plans. They built their career, one movie at a time. They both learned aspects of film making that they did now know earlier, they chose a journey and became the best at it.
After four movies featuring some of the best talents and garnering many awards, they are a sought-after film-making couple today. When I met them recently in Mumbai, Hanan said that suddenly everyone is interested in funding women-led movies and their body of work makes them ideal candidates. She said that they are able to get this support today because they started this journey way before it was fashionable to do so. They did what they wanted without caring if it was popular or not. Their earlier hard times did not make them bitter nor did the popularity make them arrogant. Their focus is on their work and to create poetry on screen.
Shamim thinks of scenes in musical scores and they have the gumption to hire an unknown singer they met at a bar to create some of the most beautiful scores for their first movie. Their singular focus is on the movies that they make together and in that, they give each other the space to shine.
From the time they were struggling artists to being the successful movies makers they have become, they are the same Shamim and Hanan who make sure that we have a great meal whenever we meet and have a hearty conversation!
In this book, Laura Marks examines one of the world's most impressive, and affecting, bodies of independent and experimental cinema from the last twenty-five years: film and video works from the Arabic-speaking world. Some of these works' creative strategies are shared by filmmakers around the world; others arise from the particular economic, social, political, and historical circumstances of Arab countries, whose urgency, Marks argues, seems to demand experiment and invention.
Grounded in a study of infrastructures for independent and experimental media art in the Arab world and a broad knowledge of hundreds of films and videos, Hanan al-Cinema approaches these works thematically. Topics include the nomadism of the highway, nostalgia for '70s radicalism, a romance with the archive, algorithmic and glitch media, haptic and networked space, and cinema of the body. Marks develops an aesthetic of enfolding and unfolding to elucidate the different ways that cinema can make events perceptible, seek connections among them, and unfold in the bodies and thoughts of audiences.
The phrase Hanan al-cinema expresses the way movies sympathize with the world and the way audiences feel affection for, and are affected by, them. Marks's clear and expressive writing conveys these affections in works by such internationally recognized artists and filmmakers as Akram Zaatari, Elia Suleiman, Hassan Khan, Mounir Fatmi, and Joana Hadjithomas and Khalil Joreige, and others who should be better known.
Laura U. Marks is Dena Wosk University Professor in the School for the Contemporary Arts at Simon Fraser University. She is the author of Enfoldment and Infinity: An Islamic Genealogy of New Media Art (MIT Press).
My impression of the show, Jolson & Co., at the original run was that it was the story of Al Jolson: warts, wives, bluster and blackface. This was not the Jolson of The Jolson Story who justified himself by smiling and saying "Bring up the houselights, I wanna see their faces"; but the driven, incredibly talented son of a Rabbi who turned show business on its ear and reinvented the profession through a half-century career.The premise of the show is an interview between Barry Gray, of New York radio station WOR, and Al Jolson, which originally took place in October, 1946, just as The Jolson Story was premiering. Artistic license moves the interview about three years later, and a few blocks away, to take place on the stage of the Winter Garden Theatre, in 1949.With a masterful company of just two other performers, Stephen Mo Hanan protrayed events in Jolson's life in flashback form. The death of his mother, his early career with brother Harry Jolson, his days as a minstrel, on Broadway, the movies, radio, and entertaining the troops were all included. We saw Jolson as a real man, dealing with his Jewishness, his ego, his talent, and his failures, all the while being hailed as The Greatest.Unlike other Jolson shows, this one addressed the question of blackface head on. Jolson told us that he could hide behind the burnt cork mask and do things he could never get away with without the facade. But we saw Jolie, brokenhearted at the end of the first act, bury his emotions behind a wall of makeup and reach for the audience's heart. It was very effective, and appropriate, theatre.Stephen Mo Hanan, in his portrayal of Al Jolson, was remarkable. To see him on stage, his look, his movement, the way he was infused with the essence of Al Jolson was exemplary. The eyes roll, the mouth curves up in a grin, the hands jut out, and you blink: You are seeing Al Jolson. He sang without a microphone, danced around the stage, and came into the audience on a runway. What film could not capture of Jolson's stage presence, Mo Hanan had down pat. His voice may not be "dead on," but nothing beats a Jolson recording for that. Here's your chance to judge for yourself. Click on Mo's picture, or this text link, to see Stephen Mo Hanan's Festival Performance.If you came here from a link or search engine
Click here to return to the main page of this siteThis listing and material Copyright 2001 Marc I. Leavey, M.D. Baltimore, Maryland
Updated 29 May 01
In this exclusive interview, LN caught up with the married couple while they were in Germany for the DLD Women conference and found out why they manage their affairs of the heart, motherhood, film, and business so well.
Hanan Katan: Shamim was magnetic and nothing was happening between her and my best friend, who was at the time looking to settle down with a suitable girl. Shamim and I were more suited to each other.
SS: Quiet, relatively introverted, and passionate about many things, including books and movies. My worst silent rebellions were things like staying up all night listening to the radio commentary when England played cricket in Australia.
SS: I had a broad mix of movie favorites. I loved old movies like His Girl Friday for the snappy dialogue. I liked some of the better Hollywood films, especially comedies, and love stories but I also explored foreign films. The Three Colours series is one I associate with my teenage years and many fabulous French films. When we were really young, my sister and I would do daft things like watch every Elvis film that they put on in the summer holidays or watch The Sound of Music 60 times. Things you look back on, and wonder how you ever had time to do them.
SS: I worked for my dad in finance and life insurance for eight years. I only wanted to write but had to have a proper job. Seriously, all day looking at spreadsheets sent me running home at night to write and I wrote many short stories, a screenplay, and then my first novel, The World Unseen, during that time.
SS: It made me learn how to use my camera better! We had no crew except for Hanan and our two children, so it was lean. But seriously, it made me more aware that everyone can change their own realities just through the stories they tell themselves. In The House of Tomorrow, women, just like us, live in a conflict zone but have found ways to focus on building a future. Not easy to do.
SS: I am hopeful. I think politicians may not manage to end this conflict but my hope is that a critical mass of enough empowered and forward-thinking people in the populations of each side will. The odds against that feel huge when you think of the deep wounds and the feeling that many Palestinians have that they should not have to make any concessions to Israel, together with the fact that many Israelis are carrying on with their everyday lives able to ignore the situation altogether. But still, if you can imagine it, it can happen.
HK: I am producing to support Shamim so all creative decisions are hers and I give her my input. On other subjects, we always discuss them and we usually have the same vision and values. I drive her up the wall with my massive to-do lists!
SS: I am definitely less floaty. I used to get totally lost in writing but when you have children, there is an instinct that you need to be there for them, though I am lucky to have Hanan ever vigilant. And I am finding out I am nowhere near as wise as I thought I was before I had children.
HK: Our boys, like most children, were natural-born negotiators and often times they know how to get their way. Shamim gives in before me usually but we both try to have clear things that are acceptable or not acceptable to us as I am sure most mothers go through. But they are the loves of our life and they complete our family.
HK: The daily emails from fans who were moved and touched by our films is amazing. One fan, who wants to remain anonymous, was the key contributor to TEDxHolyLand as she wanted to support us and was so taken by the films and our courage to be out, despite our Eastern backgrounds, that she felt compelled to support our project at the time.
HK: Homophobic and personal comments were upsetting at the time but we try to look forward and not dwell on negative comments. In general, we have had a lot more positive input and comments and so far on YouTube alone, the number of hits from our videos and from fan videos is at 60 million hits, which is phenomenal.
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