< Previous50 Vol. 25/10, September 2024 n a sun-drenched afternoon in Amman, the 1919 home currently housing Jordan’s Royal Film Commission is evidence of the transformative power of narrative. Originally a private house, this architectural artefact has been resurrected as Jordan’s first audio-visual arts centre. Having seen more than a century of history, its walls today reverberate with the creative vitality of conferences, workshops, and movie theatres. Inside one of the house’s exclusive areas, Prin- cess Rym Ali sits upon a backless chair. Wearing a sophisticated, two-piece pink suit that accentuates her flawless sense of taste, her formal elegance is instantly relaxed by her kind manner. Her personal adviser sits close by – a discreet presence in a discussion that soon feels more like a fascinating tête-à-tête than a formal interview. The princess begins to talk with obvious confi- dence. Every question is answered with a quick, intelligent response; her words flow with the trained simplicity of someone well acquainted with their topic. From issue to issue, the discussion flows naturally, a linguistic dance that belies the serious concerns of today: The direction of Arab media, the influence of movies, and the vital role women play in shaping stories. 50 Vol. 25/10, September 2024 ABE_2510_48-55_Cover story_13352295.indd 5028/08/2024 18:13arabianbusiness.com51 “I thought I wanted to be a journalist since I was about maybe 16 years old,” she says, her eyes flickering with memories. A young Princess Rym, the daughter of a diplomat, was enthralled by the stories of seasoned reporters who visited her parents’ social events. These were not just any tales; they were narratives of turning points in history – the Vietnam War, the Algerian War of Independ- ence, the Portuguese Revolution. “For me, it kind of activated my imagination,” she recalls. “I always thought it would be nice to do that, to tell these stories and to watch history and tell those stories as they happen.” Surrounded by the tools and trappings of visual storytelling, Princess Rym epitomises the very core of the story she aims to rewrite in this envi- ronment. She has devoted her life to changing the media scene in the Arab world, having founded the Jordan Media Institute (JMI) and once worked as a CNN journalist. Her path from the front lines of w ar-tor n Baghdad to the halls of academia in Amman is evidence of her unfail- ing confidence in the power of narrative and the vital role media plays in shaping society. Princess Rym’s early obsession with journalism set her on a road leading from the stately halls of Columbia University’s School of Journalism into the chaos of global reporting. Her work at CNN, particularly during her time as a Baghdad reporter from 2001 to 2004, proved to be a crucible that shaped her perspective on the journalist’s sacred obligation: to tell the truth and do no harm. These were the years when Pr incess Rym honed her ability to navi- gate the fine line between factual repor ting and honouring her subjects’ human dignity. She describes a poignant inci- dent that occurred when an aircraft crashed in Bahrain, where she refrained from interview- ing bereaved families immediately after they had identified their departed loved ones. “As a journalist, you strive to be objective – it’s not necessarily your role to be empathetic.” She then notes: “You know what they say, the role of a journalist is to tell the story and do no harm. At that time, I thought it was pointless and honestly a bit intrusive and disrespectful to do that.” Making journalism ethical again Later on, this dedication to ethical journalism would become the cornerstone of her vision for the Jordan Media Institute, which she founded in 2007. Born out of a discussion with her husband, Prince Ali Bin Al Hussein, Princess Rym responded to the rising demand for professional journalism training in the region. “There were some journalism programmes that had started very strongly actually, but over the years, they kind of went downhill – maybe due to a lack of funding and perhaps a lack of space for expression in some areas,” she says. arabianbusiness.com51 ABE_2510_48-55_Cover story_13352295.indd 5128/08/2024 18:1352 Vol. 25/10, September 202452 Vol. 25/10, September 2024 ABE_2510_48-55_Cover story_13352295.indd 5228/08/2024 18:13arabianbusiness.com 53 The princess’s explicit goal was to establish an insti- tution that would be acknowl- edged globally while being fir mly anchored in local needs and cultural context, thereby setting a new bench- mark for journalism educa- tion in the Arab world. Princess Rym’s vision for JMI was not just about creat- ing journalists but about fostering a new generation of media professionals who could hold power to account and serve the public interest. “I thought it would be a good ser vice to our countr y because I think a healthy society needs good, solid, and professional journalists,” she states emphatically. The JMI, which started about 15 year s ago, has grown to be a shining exam- ple of journalistic excellence in the region. Its graduates now hold major roles in media outlets throughout Jordan, Palestine, the United Arab Emirates, Saudi Arabia, and beyond. For Princess Rym, though, the task is far from complete. She acknowl- edges, her tone a mix of pride and resolve, “I think there’s always going to be a need for improvement and things we can do better.” AI, bias, and the future of journalism The princess’s vision for JMI extends beyond traditional reporting. The institute has embraced the opportunities and challenges posed by the digital world in recent years, adding courses on artificial intelligence and data journal- ism to its curriculum. “We have introduced data journalism; we have intro- duced artificial intelligence. This was just the first year last year that we introduced AI courses, but now we’re going to develop the AI curriculum even more.” Princess Rym is acutely aware of the challenges AI presents in the media world, particularly regarding its Western bias. “It has a West- ern inclination whether we like it or not,” she says. “There may be a shift in the future [when] the more non-Wester n mater ial becomes available. Still, for the time being, it is mostly reliant on Western data.” This recognition reveals her intention to create a distinct Arab perspective in journalism training. But Princess Rym’s aspi- rations extend far beyond Jordan’s borders. She sees JMI as the standard-bearer for Arab journalism every- where. “The idea when we created JMI was to ensure that our region had a jour- nalism standard that would be recognised everywhere, that would meet interna- tional standards, and that would be systematically implemented across the board,” she explains. Given current develop- ments, this regional focus is particularly significant. Espe- cially in light of the ongoing crisis in Gaza, the princess does not shy away from addressing the challenges facing Arab world journalists. “We’ve seen with what’s happening in Gaza that there’s a huge gap in cover- age,” she says, her voice becoming sombre. “Many Western reporters themselves have criticised the way their own news sources have presented the news.” Princess Rym believes there is an urgent need for strong, independent Arab voices in the global media landscape. She is quick to note, however, that independ- ence does not mean disen- gagement from the govern- ment. Rather, she advocates for robust public media to serve as a bridge between the people and the government. “The government must pay attention to the media to better understand the public’s concerns,” she says, quoting Abraham Lincoln: “Tell your people the truth and your country will be safe.” The importance of film in storytelling Beyond traditional media, the princess also highlights the importance of film in storytelling. Having presided over the Amman Interna- tional Film Festival and served on the Royal Film Commission, she sees films as another powerful tool for social change and narrative. “In film, especially, you see a lot of stories about women and the concerns and challenges women face in our society,” she says, emphasis- ing the unique perspective female filmmakers bring to the industry. Princess Rym is particu- larly proud of the growth of Jordan’s film industry over the last two decades. The government must pay attention to the media to better understand the public's concerns arabianbusiness.com 53 ABE_2510_48-55_Cover story_13352295.indd 5328/08/2024 18:1354 Vol. 25/10, September 202454 Vol. 25/10, September 2024 “The idea was to build the industry when the film commis- sion was created 21 years ago,” she says. “There were films in the past, but the industry was small.” With a focus on first-time filmmakers and providing a platform for new voices in Arab cinema, the establishment of the Amman International Film Festival five years ago was a logical next step in this growth. She does admit, however, that challenges remain, particularly in distribution. “Distribution is a big problem,” she says frankly. “There is a lot of demand and appetite for films, but getting films distributed is tricky.” The film industry’s distribution challenge Envisioning a future where films from Morocco, Algeria, and Tunisia can be easily viewed in Jordan and vice versa, she advocates for more independent distribution networks within the Arab world and fewer monopolies. “We need more independent distribution networks within the Arab world and more companies like Watermelon Produc- tions that distribute films internationally. It’s about having more access and ensuring our films are seen beyond our region. Independent distribution houses and less monopoly in distribution would help. We need more companies that enable these stories to reach global platforms.” Indeed, her passion is closely intertwined with women’s participation in media and film. She is proud that the Arab world boasts more female filmmakers than the West, but she ABE_2510_48-55_Cover story_13352295.indd 5428/08/2024 18:13arabianbusiness.com 55 also notes that more work needs to be done to achieve gender balance in all aspects of life. “Working mothers absolutely need support,” she says. The princess believes that greater opportunities for women to contribute to the economy and better childcare facilities in businesses could significantly alleviate the issue. The importance of media literacy in today’s digital land- scape particularly excites the princess. Jordan’s National Agenda for Media Literacy, which the government has embraced and integrated into the national curriculum, has been developed largely under her leadership. She responds with evident satisfaction, “Right now, we are, I believe, the first country in the region to have included media liter- acy in our curriculum, which is very important.” Looking to the future, Princess Rym envisions JMI expanding its reach and impact. “I’d like to see more specialisations,” she explains. “We saw the need for health, cultural, business, and sports journalists.” She also dreams of establishing a JMI award to recognise excellence in journalism across the region. Princess Rym’s love of narrative is still evident when our conve r sation ends. Through journalism, film, or education, she continues to champion the power of story- telling to transform society and bridge cultural divides. Professional, ethical, and deeply rooted in the region’s reality, her vision for the future of Arab media is clear. Referring to the signifi- cance of women’s voices in media, she remarks, “We need these voices because they represent 50 percent of our society… We are not accurately representing our society without these voices.” As the sun sets over Amman, casting a warm glow through the windows of the Royal Film Commission’s theatre, Princess Rym stands as a beacon of hope for a new generation of Arab storytell- ers. Her journey from war journalist to media educator and cultural ambassador is a testament to the enduring power of storytelling and the crucial role ethical journal- ism will play in shaping the future of the region. In a world increasingly divided by misinformation and cultural misunderstandings, Princess Rym’s mission to culti- vate a new generation of ethical, professional journalists and filmmakers takes on a new urgency. As she puts it with characteristic resolve: “There are always going to be challenges – it’s the nature of the job. You know, I used to be a producer and then I became a reporter. The job of a news producer is to face challenges and try to overcome them. When one challenge is met, another will arise.” For Princess Rym, each challenge is an opportunity to rewrite the narrative, one story at a time. In a region often misunderstood and misrepresented, Princess Rym’s efforts to nurture a new generation of Arab voices may well be the key to bridging cultural divides and fostering greater understanding on a global scale. arabianbusiness.com 55 As a journalist, you strive to be objective — it's not necessarily your role to be empathetic ABE_2510_48-55_Cover story_13352295.indd 5528/08/2024 18:1356 Vol. 25/10, September 2024 Film From early works to contemporary masterpieces, we explore the region’s diverse and award-winning films WORDS BY KATE-LYNNE WOLMARANS 56 Vol. 25/10, September 2024 Film ABE_2510_56-61_Mid-East Films_13352304.indd 5628/08/2024 18:41arabianbusiness.com 57 Film SPANNING ACROSS DECADES and diverse film styles, the films we present demonstrate the power of Middle Eastern cinema to unite audiences around the world. Each film serves as a testament to the region's rich artistic heritage and narrative depth, using unique storytelling and captivating cinematography to convey universal themes. From the struggles of everyday life to epic tales of love and resilience, these films capture the essence of human experience in the Middle East. Explore their impactful stories and the memorable quotes that continue to resonate with audiences worldwide, celebrating the enduring influence and beauty of Middle Eastern cinema. arabianbusiness.com 57 Film ABE_2510_56-61_Mid-East Films_13352304.indd 5728/08/2024 18:4158 Vol. 25/10, September 2024 Film 58 Film HIMMET AĞA'NIN İZDIVACI Director: Fuat Uzkinay, Sigmund Weinberg Cast: Ismail Galip Arcan, Lusi Avusyak, Baltazar Writers: Molière, Sigmund Weinberg Release year: 1916 Set location: Turkey Genre: Comedy AS THE FIRST NARRATIVE film in Turkish cinema, Himmet Ağa'nın İzdivacı holds a place of historical significance rather than cinematic brilliance. Directed by Fuat Uzkinay, the film tells the story of Himmet Ağa, a hapless yet endearing character who embarks on a humorous and often absurd journey to seek a wife. Though the film lacks the sophistica- tion of later works, its charm lies in its simplicity and the cultural tapestry it weaves. Uzkinay’s pioneering effort is a testament to the burgeoning film industry in Turkey and its potential to tell uniquely Turkish stories. ABI AND RABI Director: Ovanes Ohanian Cast: Ali Arjmand, Abolghasem Ashti, Ahmad Dehghan Writer: Ovanes Ohanian Release year: 1930 Set location: Iran Genre: Comedy IN THE FLOURISHING film land- scape of Iran, Abi and Rabi stands out as an early comedic gem. Directed by Ovanes Ohanian, the film follows the misadventures of two bumbling friends, Abi and Rabi, whose antics lead them into a series of humorous and often surreal situations. Ohanian, with his keen eye for physical comedy, creates a delightful cinematic experience that, despite its simplicity, resonates with universal themes of friendship and folly. The film’s slapstick humour and endearing characters make it a pioneering work in Iranian cinema. LAILA Director: Vedat Örfi Bengü, Estafan Rosti Cast: Aziza Amir, Asya Dagher, Vedat Örfi Bengü Writers: Aziza Amir, Ahmed Galal, Vedat Örfi Bengü Release year: 1927 Set location: Egypt Genre: Drama AT A TIME when Egyptian cinema was still in its infancy, Laila emerges as a groundbreaking melodrama. Directed by Vedat Örfi Bengü and Estafan Rosti and starring the luminous Aziza Amir, the film weaves a tale of love, betrayal, and redemp- tion. Laila, a young and spirited woman, navigates the complexities of love in a society bound by tradition. Her journey, fraught with heartache and societal obstacles, is a moving reflection of the struggles faced by women in the early 20th century. VoVoVoVoVoVooooVol. l. l. l 25/25/25/5///25/25/25/25/255555 101010,10,10,10100,1010101010100100 SeSeSeSeSeSeSeeptepteptepteptepteptembembembembembembembeer 2r 2222r r r r 0240240240242424242422444424242424242440244444444444402444444444444444444444440 aa essss vesves pp- ese of n. he eeee g g byyy ABE_2510_56-61_Mid-East Films_13352304.indd 5828/08/2024 18:41arabianbusiness.com59 Film arabianbusiness.com59 Film SEA SHADOW Director: Nawaf Al Janahi Cast: Omar Al Mulla, Neven Madi, Abrar Al Hamad Writer: Mohamed Hasan Ahmed Release year: 2011 Set location: UAE Genre: Drama NAWAF AL JANAHI’S Sea Shadow is a tender coming-of-age story set in the coastal landscape of the UAE. The film follows Mansour and Kaltham, two teenagers grappling with the expectations of their conservative society while exploring their feelings for each other. Al Janahi’s subtle direction and the restrained performances of Omar Al Mulla and Neven Madi lend the film an understated poignancy. Sea Shadow is a quiet, contemplative exploration of tradition and modernity and the delicate balance between the two. WADJDA Director: Haifaa Al Mansour Cast: Waad Mohammed, Reem Abdullah, Abdullrahman Al Gohani Writer: Haifaa Al Mansour Release year: 2012 Set location: Saudi Arabia Genre: Drama Awards: Best Interfilm Award at the Venice Film Festival 2012, Best International Feature at the Los Angeles Film Festi- val 2013, and Muhr Arab Award for Best Film at the Dubai International Film Festival 2012 WADJDA, directed by Haifaa Al Mansour, is a ground- breaking film not only for its narrative but also for its place in history as the first feature film shot entirely in Saudi Arabia by a female director. The story centres on Wadjda, a spirited 10-year-old girl who dreams of owning a bicycle in a society that frowns upon such freedoms for girls. Waad Mohammed’s vibrant perfor- mance as Wadjda is both inspiring and heart-breaking. Al Mansour deftly portrays the subtle defiance and quiet resilience of women and girls in a patriarchal society, making Wadjda a powerful and uplifting film. "Ride? I race the wind” – Wadjda “Love is the only freedom in the world because it so elevates the spirit that the laws of humanity and the phenomena of nature do not alter its course” – Kahlil Gibran THE BROKEN WINGS, directed by Yusuf Maloof, is a moving adaptation of Kahlil Gibran’s autobiographical novel. Set in turn-of-the-century Beirut, the film explores the forbidden love between Gibran and Salma, the daughter of a prominent family. Maloof’s direction captures the ethereal beauty of Gibran’s prose, with Pierre Borday and Nidal Al Askhar delivering deeply moving performances. The film’s lush cinematography and evocative score enhance the tragic romance, making it a deeply affecting piece that delves into themes of love, societal constraints, and the longing for freedom. THE BROKEN WINGS Director: Yusuf Maloof Cast: Pierre Borday, Nidal Al Askhar, Saladin Nader Writers: Saeed Akal, Kahlil Gibran Release year: 1964 Set location: Lebanon Genre: Romantic comedy ABE_2510_56-61_Mid-East Films_13352304.indd 5928/08/2024 18:41Next >