Amman Filmmakers Cooperative

GOOD ENOUGH FOR THE OSCARS BUT
NOT GOOD ENOUGH FOR OUR FILM CRITICS

By Hazim Bitar

Many film critics in the Arab world, especially in regions where an
art-based cinema culture has not taken hold (beyond the
consumption of Hollywood movies) still judge the
"professionalism" of the director by the duration of the movie and
the money spent on production.

A few days ago, on an Arab satellite channel, an Arab "celebrity,"
along with the show host, took turns at undercutting Arab short
films and their filmmakers.

Sure there are numerous unexciting short films floating around, but
the same is true for lackluster feature-length films. Yet to broad-
brush a whole category of films, namely short films, is not
necessary.

While one can hardly be offended by the unflattering remarks of a
show host and her guest, considering their cinematic contributions
are hardly worth writing home about, yet the conversation was
worth a reflection.

Jordanian directors of short films, including those with film
festival credentials, have grown accustomed to reading the usual
statements in the local press following the screenings of their
films.

The well-intentioned quotes include the constant references to
"young" filmmakers and "potential talent." Even though the age of
some of those filmmakers hardly qualifies them for the title
"young," except in cases where vanity is an issue; and their film
festival line ups are unmatched by the majority of "professional"
directors in Jordan.

It's not the benign choice of terms that is bothersome; it's the
attitudes of many reporters toward short films that keep those
reductive terms constantly being recycled and borrowed.

How odd for some film critics to assume that there is a relationship
between the number of years in the filmmaker's age and the
average length of his/her film or the size of the budget.

Egyptian comedian Adel Emam is known for his timeless quip:
"you can't measure knowledge with eggplant." Should the caliber
of a filmmaker be measured by the total number of frames he/she
can flash on the silver screen?

For many years now, Oscars have been handed out for categories
such as: Best live action short film, Best animated short film, and
Best documentary short subject. Note the word "short."

For this year's Oscars nominations, the short films that have been
nominated range in length from 4:27 minutes to 23 minutes.

Yes, the winner will be awarded a real Oscar, not a complementary
gift and supermarket coupons, and no patronizing statements by
critics about the "young potential talent" behind this short
production or that.

The same is true for prominent film festivals such as the Cannes,
Berlin, Ismaliyah, Dubai, and others. Shorts are as essential to the
festival's program and audiences, along with feature-length
movies.

As a matter of fact, there are seasoned filmmakers who made
nothing but short films, such as filmmakers Mikhail Kobakhidze
and Artavazd Pelechian. Not because they are allergic to feature-
length films, but just as the short novel and the short play are
legitimate forms of literary output, the short film is a category all
by itself.

This longer-is-better cinema culture, in Jordan for example, is a
product of years of commercial cinema exposure, where
moviegoers expect a good return for their money when standing in
line at the box office. If you can finish the movie before you finish
your popcorn, it's not a real movie, or so it goes.

The pressure to produce long-form movies and documentaries has
hatched a number of not-so-exciting Arab films, over the years.
Had those films been on a frame-loss diet, they may have won the
desired reactions from critics and audiences.

Let's face it; by pressing the record button on the camera for a
longer period of time, one is not transformed into a Wong Car Wai.
Having actors engage in long, unexciting dialog with gratuitous
sex and violence also does not make for a good film.

Some Arab movies have been produced with sizeable budgets yet
offered the audiences nothing special. Those films have faded into
oblivion after the first screening.

The Arab short film, while still an acquired taste in the Arab world,
has roamed the globe. Last year alone, Arab short films have
claimed more awards and packed more theaters (in numbers and in
percentages) than most big budget films brought to us by the old
guard and their entourage of critics, who presided over the slow
decline of Arab cinema.

Well, we can't expect an overnight revolution in attitudes in our
region towards short films and their importance as a credible
literary work, but it will happen overtime.

ABOUT THE AUTHOR: Hazim Bitar is founder and coordinator of the
Amman Filmmakers Cooperative. For more information about the
Cooperative visit http://JordanianFilms.com

Author can be contacted at: AmmanFilmmakers@alif.com

Related info:

Oscars' Best Live-Action Short Film & Best Animated Short Film
http://www.oscars.org/events/shorts/index.html

BBC: Indian hope for short film Oscar
http://news.bbc.co.uk/2/hi/entertainment/4274911.stm