Latest news with #TheShadow
Observer
9 hours ago
- Health
- Observer
An Omani Novel That Delves Into the Depths of Human Anxiety
By Arwa al Hashimi In the quiet, sun-drenched villages of Oman, a pioneering voice emerges from the desert sands—Zahran Alqasmi, whose novel Al-Ru' (meaning 'The Shadow') is redefining contemporary Middle Eastern literature. Unlike conventional narratives rooted in political upheaval or cultural revival, Alqasmi's work plunges deep into the labyrinthine corridors of the human psyche, inviting readers into a landscape haunted less by external conflicts and more by the intangible fears that reside within us all. Al-Ru' is not a story told with shock or spectacle but a delicate exploration of fear as an enduring presence. At its heart is Mahjan, a modest school bus driver living in a remote Omani village, who, seeking solace and purpose, tends to his late mother's neglected farm. His act of reclamation begins innocuously—a simple scarecrow built to keep away pests. Yet, this unassuming figure, which Mahjan christens Al-Ru', morphs into something far more complex: a symbol of dread that slowly infiltrates his consciousness and, through his eyes, the entire community. The novel's brilliance lies in its poetic restraint. Alqasmi does not elevate fear into grotesque horror but gently reveals its subtle power—how it seeps into solitude, distorts perception, and ultimately isolates the individual. The scarecrow, crafted with care, becomes more than mere straw and cloth; it embodies Mahjan's suppressed anxieties, ancestral guilt, and universal vulnerability. As the story unfolds, Alqasmi deftly explores how societal reactions—whispered accusations of sorcery, suspicion, and madness—serve as reflections of collective fear and intolerance. In contrast to Middle Eastern writers like Syrian novelist Nihad Sirees, whose works tend to address societal upheaval and political dissent directly, Alqasmi's Al-Ru' offers an inward journey. Sirees' narratives are often woven with sharp critique of authority, presenting societal struggles in loud, confrontational tones. Conversely, Alqasmi employs a quiet, lyrical voice—one that whispers rather than shouts, inviting introspection rather than activism. His novel shares thematic kinship with Hanan al-Shaykh's explorations of internal conflict and mental disquiet, yet it remains rooted distinctively in Omani rural life, a setting that embodies tradition, isolation, and resilience. But how does this compare with international literature on internal fear and shadowy spectres of the mind? Consider Shirley Jackson's The Haunting of Hill House, a quintessential modern Gothic that examines haunted spaces and psychological fragility. While Jackson's haunted house is an externalised projection of inner turmoil, Alqasmi's Al-Ru' transforms the internal fears into an externalised entity—an embodied shadow that haunts not just Mahjan but, more broadly, societal perceptions of normalcy and madness. The comparison highlights how different literary traditions grapple with fear—some viscerally external, others subtly internalised—and yet both remain compelling in their exploration of human fragility. Alqasmi's distinctive achievement is weaving local Omani customs and landscapes into a narrative that resonates on a universal level. The palm groves, dusty paths, and village rituals anchor the story in a tangible reality, yet the psychological undercurrents elevate it into a reflection on the fragility of the human mind and the universality of fear. Through minimal but deliberate language, Alqasmi crafts a lyrical, contemplative style that allows readers to step into Mahjan's world—seeing, feeling, and questioning alongside him. His prose, measured and evocative, echoes the slow unfolding of internal chaos. Silence becomes a powerful motif—what is left unsaid, what is implied beneath the surface, and how the absence of words can be more telling than their presence. The novel's pacing mirrors Mahjan's internal unraveling; it invites readers to dwell in uncertain spaces and contemplate the shadows they themselves carry. What elevates Al-Ru' beyond a mere psychological novel is its subtle critique of societal response to deviation and difference. The community's suspicion and fear of Mahjan's creation reflect broader themes of alienation and otherness—a mirror to how societies often reject what they do not understand. This dynamic is echoed in Flannery O'Connor's Southern Gothic tales, where outsider figures and internal fears are central. Yet, where O'Connor's stories grit and shock with their intense symbolism, Alqasmi's prose exudes quiet power, whispering truths in a tone more contemplative than confrontational. Thus, Zahran Alqasmi's Al-Ru' stands as a landmark example of Middle Eastern literature's evolution—an intricate dialogue between tradition and modernity, locality and universality. It elevates the genre of psychological fiction with its poetic subtlety and cultural depth, positioning Alqasmi among contemporary writers who dare to explore the unspoken fears lurking beneath the surface of everyday life.
Calgary Herald
16-05-2025
- Entertainment
- Calgary Herald
Talk radio: Rose Scollard revisits radio plays with new book, Love and War Western Style
Article content When Calgary playwright Rose Scollard and her family moved from Ireland to rural Ontario in 1948, their first family home was less than luxurious. Article content It was the upper floor of a house outside of River Canard, a small hamlet south of Windsor, Ont. There was no running water. A pot-bellied coal stove was used to cook all the meals and was the only source of heat. Scollard's father thought he had landed an office job in Ontario working as a clerk for the Ford plant. But upon the family's arrival, he discovered it had fallen through. It was October, and it was already cold and snowy that year. So Scollard's parents dipped into what was left of their savings to buy warm clothing for the kids and a few pots and pans. Article content Article content Article content Scollard, who was born in a small town in Northern Ireland in 1939, had spent her early childhood listening to British radio programs during the war years. The family would gather around the 'wireless', as it was then known, in her grandparents' house. Being without a radio seemed unimaginable. Article content '(My father) couldn't get a job and there wasn't much housing available, either, so we had to go live out in the country,' says Scollard, in an interview from her home in Calgary. 'We lived on this lonely road at the top of this old house with no plumbing. But there was electricity. They bought a few bits of furniture and a radio. That's what got us through the winter.' Article content Scollard's father eventually found a job on the railroad, and the family built a new home. It was still in the country, and the family suffered through a few weeks with no electricity and no radio. One day, when trudging home from school, Scollard and her sister saw the porch light alit at their home. Radio was back in their lives, as was the melodramatic radio programs from Detroit such as Lux Radio Theatre, The Philip Morris Playhouse, The Shadow, The Lone Ranger and Boston Blackie. Article content Article content In 1953, Scollard's family followed some of their neighbours' lead and purchased a television. Radio offered access to a new world for Scollard, a lifeline and way to connect to a new country. For her, television was less miraculous. Article content 'I found it very flat and uninteresting because you weren't doing that imaginative work,' she says. Article content It's hardly surprising that radio drama became a part of Scollard's creative DNA, even if opportunities to write them weren't abundant. For a brief period in the 1990s, Scollard wrote radio plays for CBC. Her first was an adaptation of a sci-fi/horror play, The Chosen, that CBC producer and writer Mark Schoenberg had seen at the Edmonton Fringe Festival and commissioned for Vanishing Point, a drama series. Article content Scollard says writing radio plays was the most fun she has ever had in her professional career, which has included a long run in the theatre, founding the women-centred theatre company Maenad Productions, and co-founding literary press Frontenac House with her husband, David. Unlike with live theatre, most of the production headaches were taken care of by CBC's technicians and director Martie Fishman at the studios on Westmount Boulevard. There were no opening-night jitters because, for the most part, it was all pre-recorded.
Yahoo
07-05-2025
- Entertainment
- Yahoo
Xia Zhiyuan welcomes his first baby
7 May - Xia Zhiyuan recently announced that he has actually welcomed his first child. Sharing the news on Weibo with a compilation of photos and videos of his baby, he wrote, "You are the future of our little family, and also the future of our great nation." "I truly feel like an old man now," he added. The actor, known for dramas like "Life After Life", "Addicted to Love" and "The Shadow", tied the knot in October 2024 to his non-showbiz wife. He wrote, "We saw the future - it came to us. We offered him a piece of time, a small, solid fragment of time. Time that bore beautiful patterns, soft to the touch like shallow sea mud. He covered himself with this time, and then took our hands - lifting us into the bliss of the universe." (Photo Source: SINA)
Zawya
20-03-2025
- Business
- Zawya
Canon strengthens partnership with award-winning Emirati filmmaker Nayla Al Khaja
Canon and Al Khaja will collaborate on initiatives designed to inspire the next generation of filmmakers. Al Khaja will work with the Canon EOS R5 Mark II, a camera that offers significant advantages for independent filmmaking through its combination of compact size and performance. Dubai, UAE – Canon Middle East, a leader in imaging solutions, has strengthened its partnership with award-winning filmmaker Nayla Al Khaja, the UAE's first woman film producer and director. This announcement coincides with International Women's Day 2025, whose theme, 'Accelerate Action,' aligns with Canon's commitment to advancing gender equality in visual storytelling. The partnership builds on a successful collaboration that began in 2011, supporting female creative voices in the Middle East. Canon continues to support Al Khaja's groundbreaking work while championing greater representation in creative spaces where women are increasingly making their mark. Venkatasubramanian (Subbu) Hariharan, Managing Director, Canon Middle East and Türkiye said, "Our partnership with Nayla Al Khaja represents the shared values that drive both her work and Canon's vision. Together, we've witnessed how powerful technology in the right creative hands can transform storytelling and inspire communities. Coinciding with International Women's Day 2025, we are reinforcing our commitment to accelerate positive change and create more pathways for women in film and content creation." As part of this renewed partnership, Canon and Al Khaja will collaborate on a series of initiatives designed to inspire the next generation of filmmakers. Audiences will have opportunities to connect with Al Khaja at Canon events throughout the year, where she'll share insights from her experiences in the industry. These engagements will highlight how storytellers can leverage Canon's cinema technology to bring their creative visions to life. The celebrated filmmaker will also create an educational series for Canon's "See No Limits" campaign, drawing on her extensive experience with Canon's cinema cameras to provide unique insights into professional filmmaking techniques. "Working with Canon has been a cornerstone of my creative journey," said Al Khaja. "This partnership has provided me not just with exceptional tools but with a platform to amplify voices and stories that might otherwise go unheard. In an industry where women remain underrepresented, especially in technical and directorial roles, having the backing of a global leader like Canon sends a powerful message about the value of diverse perspectives in visual storytelling." Nayla Al Khaja's relationship with Canon technology has been integral to her filmmaking journey, spanning multiple projects. She has directed 16 short films, with Animal and The Shadow currently streaming on Netflix. The Shadow served as a precursor to her debut feature film, THREE, further exploring her signature psychological horror themes. Her first feature, THREE, premiered in UAE cinemas last year. The film stars Jefferson Hall (Halloween, Game of Thrones, Vikings) as Dr. Mark Holly, bringing international recognition to Emirati cinema. Most recently, Nayla Al Khaja wrapped production on her latest feature, BAAB, in February 2025. The film boasts a world-class team, including Academy Award-winning composer A.R. Rahman and Rogier Stoffers (ASC) (The Kissing Booth, Quills), who served as Director of Photography, elevating BAAB's visual storytelling. Behind-the-scenes content was captured using a variety of cameras, including Canon gear paired with high-quality lenses, ensuring a cinematic and immersive visual experience. Throughout her career, Al Khaja has shared her technical expertise with emerging filmmakers in the region, often discussing how accessible technology can support creative vision. Her own productions have frequently utilized Canon equipment, which she has incorporated into her regular workflow for both commercial and personal projects. In this next phase of collaboration, Al Khaja will work with the Canon EOS R5 Mark II, a camera that offers significant advantages for independent filmmaking through its combination of size and performance. The system pairs a 45-megapixel stacked sensor with 8K 60p RAW video recording capabilities in a compact body. This is complemented by Canon's RF series lenses, designed specifically for the EOS R System with its reliable optics, efficient autofocus, and practical stabilization features—plus the useful Control Ring that allows for quick adjustments during production. In the coming months, the partnership will unveil several exciting projects showcasing Al Khaja's unique creative vision powered by Canon technology. These collaborations aim to inspire emerging talent across the region, with a particular focus on empowering women to pursue careers in film and visual storytelling. Media enquiries, please contact: Canon Middle East Mai Youssef e. Burson e. About Canon Middle East Canon Middle East, a subsidiary of Canon Europe, is the operational headquarters for Canon in the Middle East based in Dubai, UAE. Founded in 1937, the desire to continuously innovate has kept Canon at the forefront of imaging excellence throughout its 80-year history with its commitments to invest in the right areas and capture growth opportunities. From cameras to commercial printers, and business consultancy to healthcare technologies, Canon enriches lives and businesses through imaging innovation. Canon's corporate philosophy is Kyosei – 'living and working together for the common good'. In EMEA, Canon Europe pursues sustainable business growth, focusing on reducing its environmental impact and supporting customers to reduce theirs using Canon's products, solutions and services. Canon invests heavily in R&D, delivering the richest and most innovative products and services to satisfy customers' creative needs. From amateur photographers to professional print companies, Canon enables each customer to realise their own passion for image. Further information about Canon Middle East is available at
Broadcast Pro
19-03-2025
- Business
- Broadcast Pro
Canon Middle East expands partnership with Emirati filmmaker Nayla Al Khaja
Al Khaja will work with the Canon EOS R5 Mark II, a camera that offers significant advantages for independent filmmaking through its combination of compact size and performance. Canon Middle East has strengthened its collaboration with Emirati filmmaker Nayla Al Khaja, the UAE's first woman film producer and director. Announced in conjunction with International Women's Day 2025, this partnership aligns with the event's theme, Accelerate Action, underscoring Canon's dedication to advancing gender equality in visual storytelling. Building on a successful relationship that began in 2011, the renewed partnership continues to support Al Khaja's work while promoting greater representation of women in creative industries. Canon remains committed to fostering opportunities for female storytellers to make their mark in the region's evolving film landscape. Speaking about the partnership, Venkatasubramanian (Subbu) Hariharan, Managing Director, Canon Middle East and Türkiye said: 'Our partnership with Nayla Al Khaja represents the shared values that drive both her work and Canon's vision. Together, we've witnessed how powerful technology in the right creative hands can transform storytelling and inspire communities. Coinciding with International Women's Day 2025, we are reinforcing our commitment to accelerate positive change and create more pathways for women in film and content creation.' As part of this initiative, Canon and Al Khaja will launch a series of programmes designed to inspire emerging filmmakers. She will participate in Canon-hosted events throughout the year, offering insights into the industry and demonstrating how filmmakers can harness Canon's cinema technology to bring their creative visions to life. The celebrated filmmaker will also create an educational series for Canon's 'See No Limits' campaign, drawing on her extensive experience with Canon's cinema cameras to provide unique insights into professional filmmaking techniques. Al Khaja added: 'Working with Canon has been a cornerstone of my creative journey. This partnership has provided me not just with exceptional tools but also with a platform to amplify voices and stories that might otherwise go unheard. In an industry where women remain underrepresented, especially in technical and directorial roles, having the backing of a global leader like Canon sends a powerful message about the value of diverse perspectives in visual storytelling.' Throughout her career, Al Khaja has been a strong advocate for emerging filmmakers in the region. She has directed 16 short films, including Animal and The Shadow, both currently streaming on Netflix. The Shadow served as a precursor to her debut feature film, THREE, which premiered in UAE cinemas last year and brought international recognition to Emirati cinema. Most recently, she completed production on her latest feature, BAAB, in February 2025. The film features an acclaimed creative team, including Academy Award-winning composer A.R. Rahman and cinematographer Rogier Stoffers (ASC), known for The Kissing Booth and Quills. Behind-the-scenes footage was captured using a variety of Canon cameras, ensuring a cinematic and immersive visual experience. In this next phase of collaboration, Al Khaja will work with the Canon EOS R5 Mark II, an advanced filmmaking tool combining compact size with high performance. Featuring a 45-megapixel stacked sensor and 8K 60p RAW video recording, the camera pairs with Canon's RF series lenses, which provide exceptional optics, fast autofocus, and advanced stabilisation features—key components for dynamic filmmaking. Over the coming months, Canon and Al Khaja will unveil a series of projects that showcase her creative vision, powered by Canon technology. These initiatives aim to inspire new talent across the region, with a strong emphasis on encouraging women to pursue careers in film and visual storytelling
