Hasta La Gadget!

In his book titled Reel Bad Arabs: How Hollywood Vilifies a People, author, film historian and critic Jack G. Shaheen analyzes the negative impact of Hollywood’s cinematic stereotypes. He bases his writing on a study of more than 900 films through which, he writes, “… moviegoers are led to believe that all Arabs are Muslims and all Muslims are Arabs.” He continues that, “the moviemakers’ distorted lenses have shown Arabs as heartless, brutal, uncivilized, religious fanatics through common depictions of Arabs kidnapping or raping a fair maiden; expressing hatred against the Jews and Christians; and demonstrating a love for wealth and power.” Thus concluding that, “only five percent of Arab film roles depict normal, human characters.”

Unfortunately, it’s not only Western audiences that have grown to believe these absurd stereotypes, but the Arab world has started down a path that now seems hell bent on destruction. If we follow ISIS, they’ll gladly lead us to a showdown at the Apocalypse.

But all is not lost… Yet.

There are still plenty of positive role models and beautiful films being made in and about the Arab world. We just have to know where to look for them. And one way is to follow the great cinematic educational organizations that are fighting hard to keep us from slipping down a slope of cliche films and ugly, over-the-top characters. By helping young, up-and-coming filmmakers make the right films, creating the most well rounded characters, within the Arab world.

One of those great organizations is the Med Film Factory, initiated by the Royal Film Commission of Jordan, with Sud Ecriture, Tunisia and the Huston School of Film & Digital Media, Ireland. Until last year it was co-financed by the Euromed Audiovisual Programme of the European Union but these days it’s struggling for money. At such a crucial time, when filmmakers from MENA need their balanced voices to be heard, the Med Film Factory is crowdfunding to survive.

A bit of background on this concept, which has already seen three successful educational cycles since its inception in 2010. Med Film Factory is headed by Deema Azar whose passion for the movie industry led her to become part of the Capacity Building Department at the Royal Film Commission — Jordan (RFC), which she joined in April 2011.

In its first cycle in 2012, projects included ones by producer Rula Nasser, filmmaker Firas Khoury (whose pitch for The Flag, produced by Hany Abu-Assad, I helped rewrite last summer) and writer/director Niam Itani. In 2013, the names included Vida Rizq of my all-time favorite crowdfunding platform Aflamnah, and writer/director Toufic Khreich, In 2014, there was a film by Tarzan and Arab Abo Nasser, one directed by Sherif Elbendary and one produced by Ossama Bawardi, of Philistine Films. All names that I love to see in the credits of the films I watch. Beloved stars of Arab cinema, for the present and to the future.

I caught up with Deema Azar, as well as Rula Nasser and Niam Itani, to find out more about this fantastic training program, and to spread the word about their current crowdfunding campaign on Indiegogo which continues to raise funds until mid-March.

So let’s say I’m a filmmaker with a feature film project, how would a program like Med Film Factory help?

Deema Azar: Med Film Factory is an advanced film training program aimed at Arab producers and directors working on their first or second feature length projects. It is composed of three interrelated sessions: a Producers’ Workshop, a Directors’ Workshop and a networking event with film professionals known as the Independent Film Assembly. Participants attending the Producers’ Workshop are coached by experts in all issues related to producing a feature film project, covering various areas including financing, legalities and distribution in addition to training them on how to pitch their projects to potential funders, co-producers etc. The Directors’ Workshop is hands-on training where participants are able to shoot a scene/short film inspired by their feature film project under the guidance of established directors. As for the Assembly, participants network directly with co-producers, financiers, distributors etc. with the aim of taking their projects to the next level. A program like Med Film Factory therefore presents a crucial step in the development phase of feature film projects yet also provides the participants with a set of tools and know-how which they can apply to their future projects as well.

How many filmmakers have already gone through the program? Any specific success stories you would like to share?

Deema Azar: In the past four years, we have held three complete training cycles of Med Film Factory from which over 50 Arab producers and directors have benefitted. Two participant feature film projects have been made and are now in post-production and eight more are currently in pre-production. This presents a success rate that exceeds 40% of the overall participating projects. On the other hand, two short films shot during the last Directors’ Workshop in April 2014 in Amman were selected to several film festivals, including the official short film competition of the 25th edition of Carthage Cinematic Days in Tunisia which took place in December 2014. These projects are Shake by Deema Dabis from Jordan and With Predetermination by Tarzan and Arab Abo Nasser from Palestine.

Niam, as a filmmaker, how did this program help you?

Niam Itani: Med Film Factory was the first professional program I attended to workshop my feature film project. I had only attended a film market before. Film markets have their own crazy fast pace and most industry folks are there for business and not to hold the hands of first time filmmakers and tell them what needs to be done. This is where MFF stepped in. It was the first place a professional actually sat us down, had previously looked at all our film related material — from budget to screenplay to written documents — and took us through all the painful steps that we needed to go through.

At the same time, the program brought other filmmakers from various countries that were at the same stage, facing similar challenges to the ones we were facing. It was a very sobering and a very encouraging experience to make connections with all these friends, and to exchange professional and cultural experiences with them. Towards the end of the program, MFF invited industry professionals again for a project market simulation experience. This time, we had their attention and patience and the feedback was very valuable.

Rula, as a producer, what was made easier for you by this program, and what did you find the hardest challenge of coming through a program like this?

Rula Nasser: I participated in Med Film Factory’s first cycle, when the program was new and I was as well at that time, trying to take my first steps in producing after finishing one small feature film. I would say the program taught me the professional way of approaching a film project, why I want to make the film, what is unique in my story and how should I pitch it. And even how to place it in the market for financiers and executives. I still have great memories of those nights we spent together as a team.

The program opened to me a wider vision of our strength as storytellers and challenged me enough to protect my project’s survival, and I think this was the greatest challenge. The tutors were not our friends, they were professionals coming from around the world, sales agents, lawyers, producers, and none of them had mercy for my project — if I could not defend it. What I learnt was about finding answers to simple questions. Is my finance plan right? Or am I planning the right contract? I learnt how to be a fish in a big ocean and leave my small fish tank. I gained the confidence, the wisdom, and I was taught how to survive.

Right now, Deema, you are crowdfunding for this program to continue. What are the hardships of helping filmmakers in the MENA region at this crucial time?

Deema Azar: Med Film Factory is currently suspended due to lack of funds and the non-renewal of the Euromed Audiovisual Program which funded it up until 2014. As a first step, we have resorted to crowd funding to try and keep the flame burning. Being the only training program in the MENA region specifically aimed at developing the skills of Arab producers and directors, it is now more important than ever to sustain it and keep it going especially since trainings of this kind are non-existent in the Arab World. Arab filmmakers from the MENA region already face many obstacles when it comes to materializing their film projects: specialized training, funding, distribution etc. and I hope that we succeed in bringing this training program back to help them on their journey.

Why do you think cinema from the Arab world is necessary now?

Deema Azar: The language of cinema transcends borders, bridges cultures and touches the human soul. Telling our stories through film to the rest of the world shines a spotlight on the region, its rich culture and diverse society as well as the difficulties it is facing. Moreover, it is a powerful instrument to examine our personal roles and views when it comes to the issues that are being exposed through cinema and whether we are working against a problem, are part of a problem or simply sitting safely on the sidelines.

Niam Itani: Cinema connects us as human beings at a really deep and emotional level. Today, with the challenges that the Arab world faces, it is of utmost importance that institutions like MFF provide a meaningful platform to support the diverse voices of filmmakers from the Arab world, and allow them to share their cinema of revolution, their cinema of loss and identity crises, and their cinema of love, peace and compassion. Through my cinema I reach out to “the other”, whoever the other is, and share intimate feelings and thoughts freely.  I do not seek approval for the art but I seek recognition for the simple messages behind it; mainly that we all as humans have way more in common than we imagine we do.

Rula Nasser: I know nowadays that we are in place were fingers are pointing at us, the whole world is seeing us like TV news, a bunch of images with only one dimension. We have a special stereotype, we are “THE ARABS” — a word that has started to create fear within the silence where it is pronounced. That is sad, and we have to be blamed. Nations created their heroes through cinema, advocated for their rights, explained to the whole world who they are and that has proven over the years that cinema has its impact. It is the wind of change. In our world it was a taboo, a fear of change without anticipation that created a big hole of darkness about us!
 
Cinema is one of the most important tools that we have to use, to change the misinterpretation, and we have a lot of stories to tell and share. The good and the bad, the sweet and the bitter, like all other nations and humans. I have to say that we have to fight more in making our stories alive, the digital revolution gave us the means to make those stories come to life, and defeat all systems that are fighting us. Budget is not an issue these days and I think many nations proved this, like Iranian cinema, Romanian cinema and much more… People are looking for human, good stories that can be shot on a low budget, and I believe we have those stories. But we have to know how to tell them and get out of all those taboos and personal censorships.

We are in a time where storytellers are fighters.

All images courtesy of Med Film Factory, used with permission.

PHOENIX (AP) — The Jodi Arias legal saga has dragged on for nearly seven years and had no shortage of eye-catching moments. It started with a gruesome killing, continued with a series of bizarre post-arrest interviews by Arias, and became a full-blown sensation during a more than four-month trial.

The most recent phase of the case — a trial to determine whether Arias gets life in prison or death — has played out more quietly. The judge barred live coverage of the proceedings, and the case shifted to primarily expert-driven testimony about Arias’ mental state and upbringing.

As the jury decides Arias’ fate, here are some key facts in the case:

WHO IS JODI ARIAS?

Arias bounced around a series of waitress jobs on the West Coast and dabbled in photography through her teenage years and early 20s before she met Travis Alexander at a conference in Las Vegas in 2006. They quickly developed a connection and began dating. Arias later moved to Arizona to be closer to Alexander.

THE RELATIONSHIP

Arias and Alexander had a stormy relationship in the nearly two years they knew each other. Arias moved to Arizona to be closer to Alexander and even became a member of the Mormon church. Alexander was Mormon.

She also became increasingly jealous as Alexander wanted to see other people. The testimony at Arias’ murder trial included examples of how she snooped on Alexander’s email and even sneaked through the doggie door of his home to spy on him.

THE CRIME

Arias stabbed and slashed Alexander nearly 30 times, slit his throat so deeply that she nearly decapitated him, and shot him in the forehead. She left his body in his shower at his suburban Phoenix home where friends found him about five days later.

She initially denied having anything to do with the killing. She later admitted that she killed Alexander but claimed it was self-defense after he attacked her. Prosecutors said it was premeditated murder carried out in a jealous rage after he wanted to end their affair and planned a trip to Mexico with another woman.

THE TRIAL

Her murder trial began in January 2013 and lasted about five months, featuring 18 days of testimony in which Arias described for jurors an abusive childhood, cheating boyfriends, dead-end jobs, a twisted sexual relationship with Alexander, and her contention that he was physically abusive. Her first trial drew a global following and inspired spectators to wait in line in the middle of the night to get a coveted seat in the courtroom. This time around, the judge has ruled that cameras can record the proceedings, but nothing can be broadcast until after the verdict.

The day she was convicted of murder, Arias gave a jailhouse interview with a local Fox reporter in which she said she’d rather have the death penalty. “I believe death is the ultimate freedom,” she said. The same jury that convicted her then had to decide whether Arias should get life in prison or death. They deadlocked, creating the need for a second penalty trial.

NEW CASE

Four-hundred people were called as prospective jurors last year to decide punishment for Arias. Many were cut after they said they either made up their minds about the case or knew too much to be impartial. Some jurors cited their objection to the death penalty.

A jury was seated in October, but the retrial received less attention after Judge Sherry Stephens banned news organizations from carrying live broadcasts of the case. The judge in October also took the rare step of booting the public and media from the courtroom so a secret witness could testify in private. Media organizations went to court and halted the testimony as it was underway. The witness was later revealed to be Arias, who suddenly felt uncomfortable in the spotlight.

Much of the case focused on an effort by the defense to portray Arias as a victim of abuse by her family as a child and Alexander as an adult. Their goal was to win sympathy from the jury and get a life sentence instead of death. Prosecutors cast her as manipulative, deceitful and lacking remorse for the crime.

NEXT STEPS

The jury of four men and eight women has two choices: life or death. If they decide life, the judge will decide whether Arias is eligible for release after 25 years. If another deadlock occurs, the death penalty would automatically be removed as an option. Arias would be one of only three women on death row in Arizona if the jury decides on death. Jury deliberated for about three hours Wednesday and was scheduled to resume work Thursday.

WASHINGTON — Conservative lawmakers in at least 11 states are pushing legislation that would prevent state law enforcement from enforcing some or all federal gun restrictions. Proponents of these bills are emboldened by the success of marijuana legalization at the state level and claim that federal law enforcement is stretched too thin to stop them.

Right now, there are a number of federal laws restricting various kinds of gun use. For example, felons, fugitives, people convicted of domestic abuse misdemeanors and people subject to certain domestic restraining orders are restricted from buying guns under federal law. And no civilians are allowed to buy newly manufactured machine guns.

In Montana, the state House passed legislation earlier this month that would prohibit the enforcement of any potential federal ban or restriction on firearms and magazines. If a Montana cop did enforce such a federal law, it would be considered theft of public money. The Montana bill says that state employees are still allowed to enforce some federal laws — for example, the ban on machine guns. But most states that have introduced this type of legislation have used broader language.

An Arizona bill that passed two state Senate committees this month says that state employees can’t enforce “all federal [laws]… that are in violation of the Second Amendment” if they “violate the Second Amendment’s true meaning.” That bill does not address federal restrictions on domestic abusers or felons. And Arizona state law is weaker than the federal law in some respects. The state does prohibit people convicted of domestic violence misdemeanors from owning firearms — but only while they are serving their probation.

The so-called “nullification” movement isn’t entirely new, but it has taken off since President Barack Obama was elected, and it appears to have been further spurred on by the anti-gun sentiments many people expressed after the shooting at Sandy Hook Elementary School in 2012.

“I am concerned with Obama, his admin[istration] has been hostile to gun rights,” state Rep. Art Wittich (R), the sponsor of the Montana legislation, told The Huffington Post in an email.

Gary Marbut, president of the Montana Shooting Sports Association, was involved in writing the first draft of that bill. He said he discussed the concept in 2009 while waiting to appear on Glenn Beck’s Fox News show with Andrew Napolitano, the senior judicial analyst for Fox News, in New York City. As Marbut remembers it, Napolitano told him: “All you need to do is don’t help [the federal government] enforce these federal laws, because they don’t have the manpower to do it.”

Napolitano did not respond to a request for comment, although The Huffington Post verified that he did appear on Beck’s show with Marbut in 2009 to discuss gun legislation.

Eugene Volokh, a law professor at the University of California, Los Angeles, said that bills like the one in Montana could have effects beyond a simple symbolic statement. In 1997, the U.S. Supreme Court affirmed in Printz v. United States that the federal government cannot force local chief law enforcement officers to fulfill federal tasks. And the resources of the federal government are stretched thin. In that sense, backers of these bills say they are relying on the same reasoning that allows states to flout the federal ban on marijuana possession.

“I’ve seen how quickly the federal government had to back off in response to marijuana legalization measures in Colorado and Washington state, and found this to be a good strategy in support of our right to keep and bear arms as well,” said state Sen. Kelli Ward (R), who introduced the legislation in Arizona.

Ward said she consulted with representatives from the Arizona Citizens Defense League, the Tenth Amendment Center and the National Rifle Association. Michael Boldin, founder and executive director of the Tenth Amendment Center, also pointed to the Obama administration’s failure to enforce marijuana laws as evidence that these bills could succeed.

The way this could play out, said David Kopel, an adjunct constitutional law professor at the University of Denver, is that if the federal government were to ban assault weapons, and then a local cop pulled someone over for a traffic violation and saw an assault weapon in the car, the cop could simply give the guy a ticket for the traffic violation and send him on his way.

A handful of states have passed nullification laws in the last few years. The Brady Campaign to Prevent Gun Violence is challenging a Kansas law that goes so far as to declare that Kansas firearms and accessories are “not subject to any federal law, treaty, federal regulation, or federal executive action.” (A similar Montana law was struck down in 2013 by the 9th U.S. Circuit Court of Appeals.)

The Brady Campaign argues that the Kansas law is reminiscent of certain states’ efforts in the 1950s to fight federal law requiring the integration of African-American students into all-white schools. Jonathan Lowy, director of the Legal Action Project at the Brady Campaign, told HuffPost that these kinds of gun laws are “blatantly unconstitutional” and “extraordinarily dangerous” if permitted by the courts.

The Obama administration has agreed that the Kansas law is unconstitutional. “I am writing to inform you that federal law enforcement agencies… will continue to execute their duties to enforce all federal firearm laws,” Attorney General Eric Holder told Kansas Gov. Sam Brownback (R) in an April 2013 letter.

Ferrero Rocher has long been a favorite chocolate candy among Nutella fans. Its round chocolate-covered wafer shell is the best wrapping for the present that is the chocolate-hazelnut filling found inside. Created in Italy, and enjoyed all over the globe, the contents underneath Ferrero Rocher’s shiny, gold packaging only has one major flaw: it’s too dang small. Two bites is simply not enough. We want more.

Sugar Hero — a food blogger with the most fitting name we’ve ever encountered — has faced the Ferrero Rocher problem head on. She came up with a way to make it five times bigger. Like, big enough to need two hands to hold onto this wonderful beast of a chocolate.

Now, this isn’t an exact replica of a Ferrero Rocher. We might think the contents of an entire jar of Nutella being housed in a chocolate shell is a great idea — but Sugar Hero had the discipline and foresight to know that this would actually be more of a disaster than a blessing. Instead, she came up with an even more glorious filling: chocolate cake layered with a chocolate-hazelnut mousse.

That’s right. Sugar Hero made one giant chocolate cake and wrapped it up in a round chocolate shell. It’s just beautiful. It’s love. And if someone makes you this cake for your birthday, it’s because they think you’re a beautiful person and they love you.

It takes some work to make this glorious creation, no doubt. It’s a job for heroes only. But if you’re up for the challenge, head on over to Sugar Hero’s blog to get the recipe.

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H/T That’s Nerdalicious

Donuts are certainly having a moment. Dunkin’ and Entenmann’s are like the Sega games you retired to the attic when your parents finally bought you a PlayStation. You keep them in your heart and they offer fond feelings of tingling nostalgia, but that’s it. You no longer consider them a quality game.

Yes, donuts have grown up. From the acclaimed Cronut™, a hybrid pastry, to an innovative creation that brings the classic partners of peanut butter and jelly back together again, donuts have expanded beyond princess-colored sprinkles and frosting. Bakers are thinking outside of the fryer, and now, one donut shop is leaving the masterminding in the hands of its customers.

At Fractured Prune, patrons don’t pick a donut by pointing to one that sits behind a glass window. Instead, they’re given the option to customize their own donut — which is made from scratch. Fractured Prune offers 19 different glazes (from banana to marshmallow) and 13 different toppings (like sea salt and bacon!). Once they select their toppings and glaze, hungry donut seekers will only have to wait three to five minutes for their pastry to come to life.

This is a grand opportunity for anyone who’s ever chomped into a donut and thought, “Hmm, this is missing something,” or “Man, I wish this didn’t have sprinkles because I’m driving and now they’re stuck between my clutch.” The design-your-own donut concept recognizes and celebrates that each consumer is an individual with a specialized palate. It is donut democracy! Check out some of the brilliant concoctions thought up in the past below. Then, think about what your perfect donut would consist of, pause and smile.

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