Endless place of thought … a shape and an idea of shape … I am the beginning and the end.
—Mahmoud Darwish, “Sand”
The relationship between landscape and the medium of film is an intricate interplay of visual aesthetics, narrative construction, and symbolic representation. Filmmakers have long recognized the potential of landscape to evoke emotion, establish atmosphere, and enhance storytelling. Through the careful selection and composition of natural or constructed environments, filmmakers harness the power of landscape to contribute to the narrative and thematic potential of film. The landscape serves as both a backdrop and an active participant in the visual language of cinema, shaping the mood, tone, and meaning of the narrative. By utilizing various cinematic techniques such as framing, lighting, and camera movement, filmmakers manipulate landscape to convey a range of emotions. Moreover, landscape often carries symbolic significance, representing larger social, cultural, or historical contexts in film—and, like film, landscape has the ability to record the passage of time.
Landscape surrounds us; we are never outside of it. Asir Province is home to particularly cinematic terrain: majestic mountains, vast valleys, and lush forests, as well as sea and desert panoramas—the fundamental elements of land, sea, and sky. While we might take in the visual pleasure of landscape—it can be awe-inducing, wondrous, fantastical, overpowering—we are also constantly negotiating our relationship with the natural world. For this reason we must ask: How are we implicated in the landscape in which we reside and immerse ourselves, even when we don’t always notice it? The film screenings and presentations in this session of the Film Criticism Forum bring the background to the fore, exploring landscape as metaphor, as material, and as network of relations.
Emile Aouad, Sound Designer and Score Composer
‘Places are not silent. Places are alive, and thus, they resonate with sound.’ This notion was the heart of the workshop while introducing various methods for harnessing the power of soundscape in filmmaking and its profound importance. Sound possesses the ability to evoke distinct thoughts and emotions within the viewer's psyche, capable of profoundly altering the perception of an entire scene. Our comprehension of sound transcends language barriers. When you listen to a song in an unfamiliar language yet immerse yourself in the music and its sentiments, you can still grasp its essence to some extent. Attentive listening to all sounds, including echoes, provides insights and information about the environment, from its location to its surroundings, further enriching the intellectual and emotional facets of the viewing experience. The realm of cinematic soundscape design delves into a deeper world. Throughout the filmmaking process, a complex array of equations within the language of sound is at our disposal, shaping soundscapes we can weave.
Samirah Alkassim, Assistant Professor of Film Theory, George Mason University History and Memory in Filmic Landscapes (in English with live Arabic translation)
Landscapes transcend mere aesthetic frames in films; they encompass various elements to convey a spectrum of philosophical, spiritual, and physical concepts. In the movie ‘Infiltrators,’ where landscapes are captured in a way that reflects a particular sense of anticipation and suspense.
The portrayal of the Palestinian people depicts their resilience amidst challenges and demanding circumstances, prompting them to use a range of strategies to ensure their survival. From performing religious rituals to daily routines and meals, they navigate these careful measures to stay alive. Through this impactful lens, the photographer captures their ongoing journey to overcome the effects of a painful past and the new challenges they encounter in their daily lives. This portrayal underscores their determination and the renewed human spirit in the face of adversity.
In this manner, the presentation manages to highlight the impact of cinematic art in conveying profound messages, using landscapes creatively to embody human experiences and strengths in confronting trials and tribulations.
Hammadi Gueroum, Professor of Cinematography, Hassan II University, Casablanca Elucidating the Desert as Cinematic Field (in Arabic with live English translation)
A natural landscape carries a myriad of meanings within it. The film "The Dupes" (1972) portrays this by directing the passage of its three main characters (young Palestinians) from the desert to water on their way to Kuwait, portraying their self-rescue. The vast desert holds various meanings and concepts within the film – its haunting darkness, rugged terrains, the interplay of light, and the gloominess of sandstorms evoke different emotions within the viewer, depicting a painting of a spiritual reverie in some scenes and a maze in others.
Dr. Hammadi Gueroum spoke about " Elucidating the Desert as Cinematic Field," where he posed a thought-provoking query, inviting participants to delve into their own cinematic critique: "What truly defines cinematic criticism? Is it a reflection of ethical and behavioral insights? Or does it delve into the realm of analytical exploration?"
Ahmed Gasmi, Senior Lecturer, Faculty of Literature, Arts, and Human Sciences, University of Manouba, Tunisia
From Perceived Cinematic Space to the Space of Hallucinations and Fantasies (in Arabic with live English translation)
‘How can we make a flat-screen television encompass the vast universe with its multiple dimensions?’ Dr. Ahmed Algasmi used this question as the foundation for his talk, delving into how elements possess various meanings and how they can impact human emotions, the context, and the environment of a film.
Scenes featuring icebergs, for example, may symbolize the periods of stagnation humans experience at certain stages of life. In contrast, scenes featuring a snow-covered landscape could depict a promising beginning.
The presence of natural landscape elements in films, including hills, rivers, and mountains, goes beyond mere aesthetics. These elements hold power to deeply impact the interpretation and scrutiny of a film while also assuming a crucial role in molding the trajectory of the narrative, either propelling or hindering its cinematic intent.
The presentation delved into a subject that bridges art, philosophy, and psychology, shedding light utilizing of natural landscape elements to convey profound meanings and human contemplations pertaining to life and the human experience.
Moderated by
Mr. Ali AlMajnouni
with Dr. Samirah Alkassim, Dr. Hammadi Gueroum, Dr. Ahmed Algasmi
Moderator: Mr. Ali AlMajnouni
This panel discussion raised a question that revolves around the usage of landscape in film, the distinction between its inherent presence in nature and its cinematic use to convey certain thoughts, situations and emotions.
‘In what way does the natural landscape wield its influence on a film that seamlessly weaves cinematic narratives drawn from literary sources, such as novels?’ Dr. Hammadi Gueroum inspired an enchanting cinematic marvel in this discussion —a creation intertwined with the literary essence of Naguib Mahfouz's Adrift on the Nile.
When making such films, directors must rely on their imagination to develop scenes that evoke similar emotions. "Film is not life,” he said, “but a suggestion of another yet to come." Prompting another question: "How can a director make use of the environment in a specific way to evoke certain ideas and emotions in the audience?"
Dr. Ahmed Algasmi gracefully shared his perspective; many films, even when shot in old or less aesthetically pleasing locations, can profoundly impact the audience, revealing the enchantment that cinema weaves.
This mesmerizing narrative draws its essence from the filmmaker's vision, the chosen camera angles, and how a scene intricately weaves into the film's storyline. When individuals articulate their preferences or critiques in particular films, one must consider the criteria they base these judgments on, as this enhances the way we understand the landscape in cinema.
dir Naji Abu Nowar, Jordan/UAE/Qatar/UK, 100 minutes (in Arabic with English subtitles)
with Thabit Khamis and Rashid Alhumaidi, Co-hosts of Light and Motion
In the Arabian Peninsula, 1916, under British occupation, in a Bedouin camp in the heart of the desert, the young Theeb, ten years old, lives with his older brother Hussein, who transmits ancestral traditions to him. One night, a British officer arrives seeking assistance in crossing the desert. Hussein agrees to guide him in this perilous journey in search of a well. Theeb, who refuses to leave his brother, decides to follow them from a distance.
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