Knights of Cinema: The Story of the Palestine Film Unit (Palgrave Studies in Arab Cinema)

This book consists of an account of the creation of the Palestine Film Unit (PFU) and its founding members, from the photography department in the early years of the Palestinian revolution (1967-1968), to its evolution in the mid-1970’s into the Palestinian Cinema Institution. Khadijeh Habashneh weaves her own memories into excerpts from letters and other communications of survivors, friends and PFU family members, with writings by scholars who analyzed the work and the contributions of this remarkable film movement (from the late 1960’s to early 1980’s). As such it offers a unique perspective on this aspect of Palestine film history that ended in the loss of its archive in the mid 1980’s, providing details that have not been previously published in English. Foreword 8 Why This Book? 8 Acknowledgments 12 Contents 14 About the Author 16 List of Figures 18 Introduction 22 Chapter 1: Origins in Amman: Scenes and Narratives 24 The First Knight, Sulafa Jadallah 26 Abdelraheem Jadallah Recalls Sister Sulafa’s Youth 26 Memory of Samir Faraj, Sulafa’s colleague from the Higher Institute of Cinema 28 Abdelraheem Jadallah Continues Narrating Sulafa’s Story 28 Hani Jawharieh 29 Recollections from Hani’s Brother, Riyad Jawharieh 29 Hani and Mustafa Abu Ali Meet at the Cinema Department of the Ministry of Information 31 Mustafa Abu Ali 32 Mustafa Describes Al-Malha 32 More Memories of Cinema 33 Memories from Mustafa’s Siblings 33 Hind Jawharieh, Hani’s Wife, Recalls Their Early Days 36 Establishing the Photography Department of the Fatah Information Office 37 Hani’s Account from “The First Beginnings” 38 Hani’s Brother, Riyad Jawharieh’s Memory 38 Bibliography 40 Chapter 2: Development of the Photography Department 41 Nabil Mahdi Tells the Story of Mutee’s Involvement with the Photography Department 42 Amneh Naser Summarizes Husband Mutee’s Background 44 Nabil Continues (from Previously Referenced Testimony) 44 Sulafa and Hani Resign from the Jordanian Ministry of Information to Dedicate Themselves Full-Time to the Photography Department 44 Al-Karameh Exhibition: The First Work of the Photography Department 45 Abdelraheem Jadallah, Sulafa’s Youngest Brother, Narrates the Story of Her Injury 46 Eram Jadallah, Sulafa’s Brother, Recalls Sulafa 48 Naseef Joins the Photography Department 49 Nabil Remembers Some Fighters Who Joined the Photography Department 50 Abu Thareef 50 Enayah Abu Awn, Widow of Omar Al-Mukhtar (Real Name Abdelhafeth Al-Asmar) Recalls 51 Bibliography 52 Chapter 3: Creation of the Palestine Film Unit 53 Mustafa’s Recollections About the Origins of the PFU 53 Beginning with No to a Peaceful Solution 54 Director Salah Abu Hannoud Joins the Palestine Film Unit 54 Salah Speaks About His Relationship with the Palestine Film Unit 55 Salah Describes His Experience with the film No to a Peaceful Solution 55 Hani Discusses the First Film in His Article “The First Beginnings” 56 International Film Groups and the Palestinian Revolution 58 Jean-Luc Godard Visits the Palestinian Revolution 60 Godard Discusses “The Political Front and the Artistic Front” 60 An Excerpt from “Relations Between Images” 60 Godard Continues with “Thoughts and Contradictions” 61 Mustafa Abu Ali’s Perception of Godard’s Visit 61 Salah Abu Hanoud Recalls Godard’s Visit 63 My Memories of Godard 63 Persisting Through the Events of Black September 65 Militant Naseef’s Recollection 65 Abu Thareef Describes Black September 65 Hind Jawharieh, Hani’s Wife Recalls 66 Amneh Naser, Mutee’s Wife, Recalls Being Trapped at the Photography Department During the Events of Black September 66 Salah Abu-Hannoud Recounts 67 Hind Jawharieh Adds 67 Salah Continues 68 Departure from Jordan 68 Bibliography 68 Chapter 4: The Palestine Film Unit in Lebanon 70 With Soul, With Blood 73 Hassan Abu Ghanimeh 75 Building Audience Engagement 76 Recollections of PFU Training 77 Naseef, the Photographer, Recalls His Time with the Photography Department in Damascus 77 Abu Thareef recalls 77 Amneh Naser recalls husband Mutee 77 Nabil’s Participation in Military Operations 79 Differences Between Cinema and Journalism 80 The Palestine Film Unit’s Cinematic Experience 81 The Experience of the Film Zionist Aggression 82 Militant Cinema Relations: The Palestine Film Unit and Third World Cinema 83 Expansion of Film Production in the PLO 86 The Department of Culture and Information (Palestine Liberation Organization) 87 Committee of Central Information/Arts Section/the Popular Front for the Liberation of Palestine 87 Artistic Committee/the Democratic Front for the Liberation of Palestine 88 The Palestine Film Unit’s Expanded Relations 88 Hassan Abu Ghanimeh 89 Film Screenings and Distribution 91 Attempts at Unifying Filmmaking Efforts 93 A Filmmaker Emerges from the Ranks of the Militants 96 The Iraqi Filmmaker/Cinematographer, Samir Nimr (Real Name: Farid Ahmad Al-Sheikh) 96 A New Photography Department for the Palestine Film Unit in Beirut 97 Memories of Photographer Mahmoud Nofal 98 Bibliography 100 Chapter 5: From Palestine Film Unit to Palestinian Cinema Institution 102 Attempts at Producing a Narrative Film 102 Establishing the Palestinian Cinema Group (PCG) 105 Hassan Abu Ghanimeh Described the Establishment of the PCG in Palestine and the Cinematic Eye 106 Scenes from the Occupation of Gaza 108 The Film’s Style and its Critical Recognition 108 They Do Not Exist: A Different Cinematic Language 110 Director and Researcher Qais Al-Zubaidi Writes About Mustafa’s Cinematic Experience 111 Hani Jawharieh’s Return 111 Hani’s Martyrdom and Commemorations 113 Commemorating Hani Jawharieh (1939–1976) 116 Scenes from Challenging Working Conditions 117 The Biggest Burden on the Cinematographers 119 Cinematographer Samir Nimr Adds His Perspective 121 Bibliography 121 Chapter 6: Accelerated Development at the Institute 123 Establishing the Archive of Palestinian Cinema 125 Palestine Film Unit/Palestinian Cinema Institution Collaborations 127 The Palestinian Cinema Institution Attracts Palestinian and Arab Filmmakers 128 Working on Tal Al-Za‘atar During the War 130 Letter from Mustafa as He Worked on Tal Al-Za‘atar 132 Screenings Organized by the Film Library (Cinematheque) 133 Training Sessions to Develop Skills of New Personnel 134 More Palestinian and Arab filmmakers Join the PCI 134 The Palestinian Image Magazine 138 The Martyrdom of Mutee’ and Omar 139 Ramzi Al-Rassi’s Story of Mutee’ and Omar’s Last Days 140 Friends of the Palestinian Cinema Institution 144 Additional Palestinian, Lebanese, and Arab Photographers and Filmmakers who Collaborated with the PCI 146 Bibliography 146 Chapter 7: The Israeli Invasion of Southern Lebanon and the Siege of Beirut 147 Abu Thareef Recalls 149 Attempts to Rescue Material, Equipment, and Archive of the Palestinian Cinema Institution 149 Dispersion Once More 152 Bibliography 154 Chapter 8: Search for the Lost Films of the Palestinian Cinema Institution 155 Correcting Misconceptions About the Palestinian Cinema Archive 162 Where to Find Important Material and Footage of the PCI Archive 164 Firstly 164 Secondly 164 Thirdly 165 Fourthly 165 Concluding Remarks 165 Bibliography 167 Appendix A: Manifestos from the Palestine Film Unit and Palestinian Cinema Group 168 Palestine Film Unit Manifesto 168 Palestinian Cinema Group Manifesto 169 Appendix B: Letters from Mustafa Sent During the Editing of Tal Al-Za‘atar 171 Appendix C: Filmography of Palestinian Organizations and Institutions from 1968 to 1982, and Shortly Thereafter 181 List of Films 181 Films Produced by the Palestine Film Unit (PFU)/Palestinian Cinema Institution (PCI) 181 Palestinian Cinema Institution/PLO Office—Paris 183 Palestinian Cinema Group/Palestine Research Center 183 Films Produced with Cooperation of the Palestine Film Unit (PFU)/Palestinian Cinema Institution (PCI) 183 Department of Culture and Information (Culture and Arts Division)/PLO 184 Central Information/Artistic Section/Popular Front for the Liberation of Palestine 186 Artistic Committee/Democratic Front for the Liberation of Palestine 186 SAMED Institute 187 Palestinian Popular Struggle Front (Beirut) 187 General Command, Popular Front for the Liberation of Palestine 187 Arabic Liberation Front 188 Appendix D: Palestinian Films and Film Footage in the Tunisian Film Archive 189 List of Palestinian Films and Film Footage Available at the Tunisian Film Archive 189 Appendix E: Biographies of the Founders of the Palestine Film Unit/Palestinian Cinema Institution 191 Sulafa Jadallah 191 The Martyr Hani Jawharieh (1939–1976) 192 Mustafa Abu Ali 194 Appendix F: Covers and Table of Contents of the Palestinian Image magazine 196 Appendix G: Photographs Documenting the Palestine Film Unit and Palestinian Cinema Institution 206 Bibliography 226 Chapter 1 226 Chapter 2 226 Chapter 3 227 Chapter 4 227 Chapter 5 228 Chapter 6 228 Chapter 7 229 Chapter 8 229 Index 230 This book is an account of the creation of the Palestine Film Unit (PFU) and the stories of its founding members, from the initial development of a photography department in the early years of the Palestinian revolution (1967-1968) to its evolution in the mid-1970s into the Palestinian Cinema Institution. Author Khadijeh Habashneh weaves her own memories into excerpts from letters and other communications of survivors, friends and PFU members, accompanied by scholarly analysis of the work and contributions of this remarkable film movement from the late 1960s to the early 1980s. As such, this book offers a unique perspective on this aspect of Palestine film history - which ended in mid-1980s with the loss of its archive - providing details that have not been previously published in English.