Deborah Starr
Biographic Data
| ID | 679669 |
|---|---|
| NAME | Deborah Starr |
| GIVEN NAMES | Deborah |
| FAMILY NAME | Starr |
| SIGNATURE | STARR D |
| AFFILIATIONS | Cornell University |
| ORCID | 0000-0001-5928-4624 |
| VERIFIED | Yes |
| TOTAL WORKS | 7 |
| TOTAL CITATIONS | 5 |
| WORKS AS AUTHOR | 7 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2005 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 1 |
Global Cinema and Transnational Constructions of Race
In December 1936, producer Walter Futter announced that he had discovered a Sudanese princess named Kouka to play the romantic lead opposite Paul Robeson in Jericho (Thorton Freedland, 1937). “Princess Kouka” was not Sudanese, nor was she royalty, nor was she unknown. Kouka (née Nagiya Ibrahim Bilal; 1917–79) was an Egyptian actor who had been cast in supporting roles in Egyptian films. This article examines what media coverage of Kouka’s brief m…
Togo Mizrahi and the Making of Egyptian Cinema
mistakes in these pages are my own.As I wrote this book, I found myself frequently engaging in imagined conversation with two mentors who, sadly, passed away before this book was completed.Sasson Somekh not only taught me about Arabic literature and the cultural expression of Jews from Arabic-speaking countries; he also served as a role model of
Chalom and 'Abdu Get Married
Togo Mizrahi, an Egyptian-born Jew of Italian nationality, established a movie studio and production company in Alexandria, and became one of the most prolific filmmakers in Egypt in the 1930s and 40s. Films produced in Mizrahi’s Alexandria studio between 1934 and 1939 represent a culture of coexistence among the lower classes, featuring Jewish, Greek, Nubian, and Levantine characters, alongside the majority Muslim population. I argue that these …
In Spite of Partition
Remembering Cosmopolitan Egypt
Introduction Part 1: Colonial Anxieties and Cosmopolitan Desires 1. Literary Alexandria 2. Poetics of Memory: Edwar al-Kharrat 3. Polis and Cosmos: Ibrahim Abdel Meguid Part 2: Counterpoint New York 4. Why New York?: Youssef Chahine Part 3: A Mobile Levant 5. Gazing Across Sinai 6. A Mediterranean Vigor that Never Wanes: Yitzhaq Gormezano Goren 7. Unmasking Levantine Blindness: Ronit Matalon. Conclusion
Remembering Cosmopolitan Egypt
Remembering Cosmopolitan Egypt examines the link between cosmopolitanism in Egypt, from the nineteenth century through to the mid-twentieth century, and colonialism. While it has been widely noted that such a relationship exists, the nature and impact of this dynamic is often overlooked. Taking a theoretical, literary and historical approach, the author argues that the notion of the cosmopolitan is inseparable from, and indebted to, its foundatio…
Recuperating cosmopolitan Alexandria
Recuperating cosmopolitan Alexandria
Remembering Cosmopolitan Egypt
Introduction Part 1: Colonial Anxieties and Cosmopolitan Desires 1. Literary Alexandria 2. Poetics of Memory: Edwar al-Kharrat 3. Polis and Cosmos: Ibrahim Abdel Meguid Part 2: Counterpoint New York 4. Why New York?: Youssef Chahine Part 3: A Mobile Levant 5. Gazing Across Sinai 6. A Mediterranean Vigor that Never Wanes: Yitzhaq Gormezano Goren 7. Unmasking Levantine Blindness: Ronit Matalon. Conclusion
Remembering Cosmopolitan Egypt
Remembering Cosmopolitan Egypt examines the link between cosmopolitanism in Egypt, from the nineteenth century through to the mid-twentieth century, and colonialism. While it has been widely noted that such a relationship exists, the nature and impact of this dynamic is often overlooked. Taking a theoretical, literary and historical approach, the author argues that the notion of the cosmopolitan is inseparable from, and indebted to, its foundatio…
In Spite of Partition
Chalom and 'Abdu Get Married
Togo Mizrahi, an Egyptian-born Jew of Italian nationality, established a movie studio and production company in Alexandria, and became one of the most prolific filmmakers in Egypt in the 1930s and 40s. Films produced in Mizrahi’s Alexandria studio between 1934 and 1939 represent a culture of coexistence among the lower classes, featuring Jewish, Greek, Nubian, and Levantine characters, alongside the majority Muslim population. I argue that these …
Togo Mizrahi and the Making of Egyptian Cinema
mistakes in these pages are my own.As I wrote this book, I found myself frequently engaging in imagined conversation with two mentors who, sadly, passed away before this book was completed.Sasson Somekh not only taught me about Arabic literature and the cultural expression of Jews from Arabic-speaking countries; he also served as a role model of
Global Cinema and Transnational Constructions of Race
In December 1936, producer Walter Futter announced that he had discovered a Sudanese princess named Kouka to play the romantic lead opposite Paul Robeson in Jericho (Thorton Freedland, 1937). “Princess Kouka” was not Sudanese, nor was she royalty, nor was she unknown. Kouka (née Nagiya Ibrahim Bilal; 1917–79) was an Egyptian actor who had been cast in supporting roles in Egyptian films. This article examines what media coverage of Kouka’s brief m…
Art (6 works) · History (5 works) · Literature (5 works) · Jewish and Middle Eastern Studies (4 works) · African history and culture studies (3 works) · Art history (3 works) · Egypt (3 works) · History (3 works) · Sociology (3 works) · Ancient history (2 works)