‘Valentino’s Ghost’ to screen at upcoming Venice International Film Festival in Italy

The ‘Valentino’s Ghost’ film (http://www.valentinosghost.com) which James Morris appears in (from http://tinyurl.com/911motivation youtube with over half a million views) will be one of two American documentaries screening at the upcoming Venice International Film Festival (world’s oldest and most prestigious film festival) in Italy:


Latest update is that ‘Valentino’s Ghost’ screened to a standing ovation at the Venice Film Festival (http://www.labiennale.org/en/cinema/festival/screenings/sept3.html &
http://www.labiennale.org/en/cinema/festival/screenings/sept4.html). The Doha Tribeca  Film Festival (DTFF) is screening ‘Valentino’s Ghost’ on November 2oth & 22nd as the following links convey:

Valentino’s Ghost (Valentino’s Ghost: The Politics Behind Images of Arabs & Muslims in the Media):






PS: Just saw ‘Valentino’s Ghost’ is listed at following URL (I guess the exchange that James Morris had with Lee Hamilton which already has over half a million views via http://tinyurl.com/911motivation will get a few more!):

Venice Film Festival Unveils Line-Up with Films from Malick, De Palma and Demme:


VENICE 2012 From Rudolph Valentino to Osama so Hollywood tells Arabs


The documentary filmmaker Michael Singh (Indian father and an American mother) has uncovered a hornet’s nest intended to stir at the Venice Film Festival, and not only.

Yes, because its Valentine’s Ghost, The Ghost of Valentino – The politics behind the images, which premiered today at the Lido, addresses the way in which Arabs and Muslims are not only portrayed by the U.S. media, but also – and especially – from Hollywood .

And it does so from two famous films, a milestone in the history of cinema: the iconic portrait of the Arab prince offered by Sheik Rudolph Valentino in the first of 1921 and then in the Son of the Sheik of 1926.

Portrait of male stereotypical Arab romantic and passionate, who lives in a land of mystery, adventure and sensuality. Already. It starts from the Arabic seducer and “good”, you switch to Arabic treacherous (Lawrence of Arabia, but also Rules of Engagement) to the Arab Intifada and evil monsters September 11: Saddam and Bin Laden .

“It is interesting to see how the image of Arabs and Islam in the American media reflect, as always, the American foreign policy in the Middle East,” says Singh, author and producer of several television series with historical background and some documentaries (The Phantom of Valentino is his directorial debut).

The film, 94 minutes the result of a six-year search, alternates clips and archival footage with interviews with luminaries of American culture, including the last public appearance by Gore Vidal. “The injury is deeper than I imagined, “said Singh.


Venezia 69. Valentino’s Ghost: la politica dietro le immagini


Michael Singh, director of Indian origin, has produced an interesting documentary on the evolution of the image of Arabic in the U.S. media called Valentino’s Ghost. Making extensive use of footage and analyzing a series of images, frames, sequences from films, clips of news and articles from newspapers, the director shows how the agenda of U.S. foreign policy in the Middle East has affected the representation of Arab Muslims the media. Starting from the 20s, a time when Arabic was represented by Hollywood as a hero. At the time of Rudolph Valentino, the star of Sheik in 1921, the Americans brought with it the image of Arabic exotic that element that fascinated the public. In the following decades the figure of the Muslim wetsuit to become, especially after the attack on the twin towers, the embodiment of evil not only in Hollywood movies, but also in Disney cartoons such as Aladdin, as well as in the media.

Step particularly interesting in Valentino’s Ghost is one in which, through a careful assembly, Singh explains how the Israeli lobby has been able to influence the design of the U.S. Muslim. From there, the discussion moves on the current role of Israel in Palestine, which sees Muslims relegated to live in scrase territorial portions. Singh, with the help of interactive maps, points out that since 1948, the year of establishment of the state of Israel, through 1967 and for 1973, it has expanded the Palestinian territory in violation of international obligations. Particular attention is devoted to the figure of the terrorist Muslim Singh proposes, by means of interviews in the documentary, the argument that not all Arabs should be considered terrorists by the mere fact of being a Muslim. Many terrorist acts implemented by Muslims, although not shared, according to Singh originate from acts of violence perpetrated by Israel against the Palestinian people. Singh also manages to put very well how tenuous the distinction between the figure of the terrorist and that of those who resist to protect the integrity of its territory and the unity of its people, and in this sense shows images of former Israeli terrorists then dievenuti ministers.

In ninety-five minutes of documentary Singh entrusted the support of his thesis to the likes of Gore Vidal, one of the greatest writers and observers of American society, recently deceased, Melani McAlister, associate professor at George Washington University, John J. Mearsheimer University of Chicago professor and author of the innovative essay Israel Lobby, Robert Fisk of The Independent correspondent in Beirut internationally renowned and Anthony Shadid considered the best journalist of his generation on the Middle East.

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