Logo Lebanese Film Festival / Photo Credit: Lebanese Film Festival
LEBANON CINEMA… (In the Entertainment
industry. History of Lebanon Cinema)
Bruce
Bisbey…please follow me at: https://dumbdogproductionsllc.blogspot.com or https://www.facebook.com/DumbDogProductionsLLC/ thank you.
Lebanon Cinema
Lebanese Film Festival
Emerge Films Solutions
The cinema of Lebanon, according to film critic and
historian Roy Armes, was the only other cinema in the Arabic-speaking region,
beside Egypt's, that could amount to a national cinema. Cinema in Lebanon has
been in existence since the 1920s, and the country has produced over 500 films.
The number of films produced each year is small, and the
industry is heavily dependent on foreign funding and international box office revenues
due the limited size of the domestic market. Despite that, local films have
recently enjoyed a degree of success: Where Do We Go Now? By director Nadine
Labaki won the People’s Choice Award at the Toronto International Film
Festival, and Ziad Doueiry's The Insult was nominated for an Academy Award for
Best Foreign Language Film.
History
French Mandate
The first feature, The Adventures of Elias Mabruk, was
filmed in Lebanon in 1929 and directed by Jordano Pidutti. In the Ruins of
Baalbeck (1936) was the first sound film. It was a hit with audiences and
profitable.
By the mid-1920s cinemas were common in Beirut, and some
were used as a place for political gatherings. For example, in 1925, the
Communist Party met at the Crystal Cinema in Beirut. Cinemas had become so
popular that in 1931, students marched in a protest, demanding that prices of
movie tickets be lowered. To compete against Hollywood, France decreed that all
American films that were being imported to Lebanon be dubbed into French.
Documentaries were also being made during this period, but
they were heavily censored by the French.
Post-Independence
After Lebanon gained its independence from France,
filmmakers began to examine local themes, especially rural life and folklore.
During the post-independence period, Lebanon witnessed an economic boom that
made its capital, Beirut, the financial center of the eastern Mediterranean.
Lebanon's economic success, along with the presence of 38 banks and its open,
multi-cultural and liberal society, made the country an alternative production
choice to Egypt, which was at the time the center of filmmaking in the Arabic-speaking
world. Additionally, "Lebanon had the region's best technical
facilities" for film production. For the first half of the twentieth
century, Lebanese cinema was very closely associated with Egyptian cinema. In
addition to exporting numerous Lebanese actors and actresses, such as Nour Al
Hoda and Sabah, belly dancers like Badia Massabni and producers like Assia
Dagher, Lebanese distributors monopolized export of Egyptian film from 1930s –
1970s. One of the most successful directors of this period was Mohamed Selmane
who was trained in Egypt and returned to Lebanon to make 30 films in 25 years.
Co-productions with Egypt and Syria were common in this
period, which was considered the "Golden Age" of the Lebanese film
industry. Additionally, Lebanese producers from 1945 up to 1951 played an
influential role in the first stages of production of Iraqi cinema.
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. The musicals of the
Rahbani Brothers that starred Fairuz were an exception. The Rahbani films were
centered on nostalgic themes of life in Mount Lebanon villages. 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.
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.
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. Twenty-Four Hours to
Kill, starring Mickey Rooney, and Secret Agent Fireball, starring Richard Harrison,
were also filmed in Beirut the same year. The following year in 1966, the
German director, Manfred R. Köhler, filmed his film, Agent 505: Death Trap in
Beirut. George Lautner's La grande sauterelle was also filmed in Beirut in
1967. Rebus, starring Ann-Margret was filmed on location at the Casino du Liban
in 1969. While Honeybaby, Honeybaby 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.
Beirut hosted the first international film festival in the
Arab world in 1971. Until the mid-1970s, the film industry in Lebanon was
flourishing with market appeal that extended to neighboring Arabic-speaking
countries. Lebanon was producing "a string of sexually indulgent
films" such as Cats of Hamra Street and The Guitar of Love in 1973,
starring Georgina Rizk, the Lebanese beauty queen who won Miss Universe in
1971. In the 1970s, cinema attendance in Lebanon was the highest among
Arabic-speaking countries.
Civil war
Despite the war, there was an "emergence of a new
wave of Lebanese filmmakers – fostering, unusually, equal numbers of women and
men". Some of the filmmakers who emerged during this period were
"Maroun Baghdadi, Jocelyn Saab, Borhane Alaouié, Heiny Srour, Randa Shahal
Sabbag" and Jean Chamoun. In the 1970s, film themes in Lebanon were
concentrated around the political conflicts that the country was undergoing.
Displacement was also a recurrent theme as evident in Borhane Alaouie's Beirut,
the Encounter (1981). Films of this period were characterized by a lack of
closure, reflective of the seemingly endless war at the time.
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". Maroun Baghdadi made
Little Wars (1982) with aid provided by the American filmmaker, Francis
Coppola. The film was screened in the Un Certain Regard section at the 1982
Cannes Film Festival. The film also screened at New York Film Festival on 2
October 1982.
Documentaries by filmmakers like Jocelyn Saab who
"adopted a mainly journalistic style" also developed rapidly and successfully
during this period. Lebanese and Palestinian documentaries produced in Lebanon
during the 1970s caused a surge of documentary production across the Arab
world. These documentaries contributed to the development of feature film production
in the early eighties.
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.
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.
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.
Post-War Revival
After the war, Beirut reemerged as one of the centers of
mass media production in the Arab world. 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.
Financing of film production in Lebanon in this period was
mainly dependent on foreign support, both European and from the Lebanese
diaspora.
Many films, such as Jocelyne Saab's experimental film,
Once Upon a Time in Beirut, examined the destruction that was left after the
war. Maroun Baghdadi's Beyrouth Hors la Vie won the Special Jury Prize at
Canned in 1991. 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. In 1994,
Codsi's film won the jury award at the Festival international du film
Francophone de Namur in Belgium. 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.
In 1997, Youssef Chahine's French-produced film, Destiny,
was shot on location in Lebanon, including the historic mountain town of in
Beiteddine.
Emerge Films Solutions
Lebanon Film & Photography Production Services
Are you a media company, brand, ad agency or production
company looking for film / photography production support or shooting crew in
Lebanon? We have fully vetted, locally based fixers, service producers,
directors, DP’s, videographers, cameramen, photographers, sound operators,
production drivers, and a range of other film crew. Contact us for referrals,
questions, cost estimates and references.
Want to know more about shooting in Lebanon? See below for
an introduction to Lebanon locations, permits, when to shoot, costs, talent,
crews, equipment, art department, studios, post facilities, visas and work
permits, film friendly hotels, transport, communications and safety advice.
Lebanon Film Locations
Lebanon offers a variety of locations within one hour
drive of Beirut including a blend of Middle Eastern, European and ancient
architecture, white sand beaches and coastal looks, snowy mountains, luscious
fields and farms, wild greenery, olive groves, cedar forests, vineyards, and
waterfalls such as the Baatara Gorge Waterfall.
The capital Beirut is the main production centre and all
needs to travel from there. Beirut is a beautiful and vibrant city known for its
fun nightlife, beaches, restored Art Deco architecture, ‘Hope for Peace’
Monument, souks and Pigeon Rocks. As well as old-world architecture, Beirut
also has modern buildings such as the impressive Beirut Terraces.
Roman ruins can be found in Baalbeck, Byblos and Tyre.
Lebanon’s second city, Tripoli is known for its medieval Crusader castle and
mosques.
Lebanon Film Location Permits
Lebanon is one of the most liberal countries in the Middle
East. Whether you are looking to film bikinis or burkhas just about everything
is possible in Lebanon.
Permits are generally a quick and easy process. B-roll
shoots around Beirut require permits from the army and government. These
permits generally take about a week to get. More complicated shoots involving
traffic control or large setups require more time and consultation with the
police. Shoots involving drones require at least two weeks to permit.
Journalists heading to film in Beirut’s southern suburbs will need permission
from Hezbollah’s media office and an accompanying escort. Please contact us for
location specific information.
When to Shoot?
Lebanon’s summers (June to September) are hot and dry.
Winters (December to March) are cold and wet with snowfall common in mountain
areas. Spring (April / May) through to fall (October / November) are the best
months to film for weather.
Lebanon hosts many cultural and music events throughout
the summer months. Ramadan is observed although unlike much of the Middle East
during this time, Lebanon remains open for business.
Costs & Tax Incentives
Costs. Lebanon has one of the least expensive shoot day
costs in the Middle East. Our Lebanese fixer will negotiate local deals and
provide the appropriate level of production support to match every budget.
Tax Incentives. At present there are no tax incentives for
foreign commercials or films shooting in Lebanon.
Film Crew & Talent
Crews. The pool of local directors, directors of
photography and stills photographers is small. Lebanon has some good local
performance directors and a good depth of experienced key crew. Departments
often cross over. All key and supporting crews speak good English, French and
Arabic. Crews are non-union. Lebanon’s close proximity to Dubai and major
European production centers allows easy access to those crews should you need
to look further.
Contact us at Emerge Films Solutions http://emergefilmsolutions.com/country/lebanon/
if you are looking for a Beirut based director, DP, photographer, videographer
(cameraman / camera operator), camera assistant (focus puller), sound operator,
grip, gaffer, stylist, hair and makeup, PA / runner, production driver, or any
other film crew for your shoot in Lebanon.
Talent is non-union and buyouts are negotiable. Lebanon
offers a diverse cross section of Middle Eastern looking talent with some
blonde, Asian, East Indian and African minorities also available, although
mainly for background roles. All other talent looks are best cast abroad.
Lebanon’s relatively close proximity to major European production centers and
Dubai allows easy access to those pools of talent should you ever need to look
further.
Lebanon Film Equipment
Most camera, grip and lighting equipment is available
including Technocrane and speed cameras. Check out Gamma Engineering and
Phoenix Eye for rentals. Some mounts and other specialized equipment need to be
brought in from Dubai or Europe. For productions looking to bring in film
equipment Lebanon is an ATA carnet country.
Art Department, Studios, Backlots, & Post Production
Art department and set construction is some of the best in
the Middle East.
Studios. The best facilities are Studio Vision and
Platform Studios. Facilities are often booked up by regional TV programs.
Backlots. None exist at present.
Post Production. Some good colorists and sound designers
available locally but visiting productions generally post abroad.
Visas & Work Permits
Most nationalities can obtain visas on arrival allowing
stays for a period of up to 1 month. Note, crew members holding passports that
contain visas or entry/exit stamps for Israel will likely be refused entry into
Lebanon. Visiting crews are not required to have work permits.
Transport & Accommodation
Transportation Infrastructure. Lebanon’s extensive road
network is mostly in a good condition. Lebanon is a small country so most
locations are a short drive away. Beirut is well serviced by several international
airlines.
Accommodation. Contact us for recommended film friendly
hotels in Beirut and other parts of Lebanon. For longer stays we can also
organize serviced apartments.
Final Notes
Safety. See here for up to date travel advice.
Projects. For an example of TV commercials, stills
campaigns, online content, corporate videos, virtual reality 360 content,
feature films, TV series and documentaries shot in Lebanon.
Sources,
References & Credits: Google, Wikipedia, Wikihow, Pinterest, IMDB, Linked
In, Indie Wire, Film Making Stuff, Hiive, Film Daily, New York Film Academy, The
Balance, The Numbers, Film Maker, TV Guide Magazine, Media Match, Quora, Creative
Skill Set, Investopedia, Variety, No Film School, Daily Variety, The Film
Agency, Best Sample Resume, How Stuff Works, Career Trend, Producer's Code of
Credits, Producers Guild of America, Film Connection, Variety, Emerge Film
Solutions, UNESCO Institute for Statistics, Armes, Roy. Arab Filmmakers of the
Middle East: a Dictionary, Harabi, Najib. Knowledge Intensive Industries: Four
Case Studies of Creative Industries in Arab Countries, Stone, Christopher Reed.
Popular culture and nationalism in Lebanon: the Fairouz and Rahbani Nation,
THIS ARTICLE
IS FOR INFORMATIONAL PURPOSES ONLY. THE INFORMATION IS PROVIDED "AS
IS" AND BRUCE BISBEY MAKES NO EXPRESS OR IMPLIED REPRESENTATIONS OR
WARRANTIES, INCLUDING WARRANTIES OF PERFORMANCE, MERCHANTABILITY, AND FITNESS
FOR A PARTICULAR PURPOSE, REGARDING THIS INFORMATION. BRUCE BISBEY DOES NOT
GUARANTEE THE COMPLETENESS, ACCURACY OR TIMELINESS OF THIS INFORMATION. YOUR
USE OF THIS INFORMATION IS AT YOUR OWN RISK. YOU ASSUME FULL RESPONSIBILITY AND
RISK OF LOSS RESULTING FROM THE USE OF THIS INFORMATION. BRUCE BISBEY WILL NOT
BE LIABLE FOR ANY DIRECT, SPECIAL, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR
PUNITIVE DAMAGES OR ANY OTHER DAMAGES WHATSOEVER, WHETHER IN AN ACTION BASED
UPON A STATUTE, CONTRACT, TORT (INCLUDING, WITHOUT LIMITATION NEGLIGENCE) OR
OTHERWISE, RELATING TO THE USE OF THIS INFORMATION.
No comments:
Post a Comment