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Uploaded also on 13 Sep 2011
[Comparative Study] An interpretation/perspective/presentation/
Physicist Jim Al-Khalili (Atheist) travels through Syria, Iran, Tunisia and Spain to tell the story of the great leap in scientific knowledge that took place in the Islamic world between the 8th and 14th centuries.
Its legacy is tangible, with terms like algebra, algorithm and alkali all being Arabic in origin and at the very heart of modern science -- there would be no modern mathematics or physics without algebra, no computers without algorithms and no chemistry without alkalis.
For Baghdad-born Al-Khalili this is also a personal journey and on his travels he uncovers a diverse and outward-looking culture, fascinated by learning and obsessed with science.
From the great mathematician Al-Khwarizmi, who did much to establish the mathematical tradition we now know as algebra, to Ibn Sina, a pioneer of early medicine whose Canon of Medicine was still in use as recently as the 19th century, he pieces together a remarkable story of the often-overlooked achievements of the early medieval Islamic scientists."
Physicist Jim Al-Khalili (Atheist) travels through Syria, Iran, Tunisia and Spain to tell the story of the great leap in scientific knowledge that took place in the Islamic world between the 8th and 14th centuries.
Its legacy is tangible, with terms like algebra, algorithm and alkali all being Arabic in origin and at the very heart of modern science -- there would be no modern mathematics or physics without algebra, no computers without algorithms and no chemistry without alkalis.
For Baghdad-born Al-Khalili this is also a personal journey and on his travels he uncovers a diverse and outward-looking culture, fascinated by learning and obsessed with science.
From the great mathematician Al-Khwarizmi, who did much to establish the mathematical tradition we now know as algebra, to Ibn Sina, a pioneer of early medicine whose Canon of Medicine was still in use as recently as the 19th century, he pieces together a remarkable story of the often-overlooked achievements of the early medieval Islamic scientists."
PR BRUNO GUIDERDONI
ISLAM AND SCIENCE
Published on 3 Jul 2012
www.testthemessage.com
Includes: (1) Prophet Muhammad (sallallāhu 'alayhi wa sallam) and rise of Islam (2) The Awakening & (3) The Ottomans
The production of Islam: Empire of Faith was a big challenge from the beginning, simply because it covered more than a thousand years of history and culture, and a very large part of the world.
But we really wanted to push beyond the conventional form of historical documentaries, which have depended on pans and tilts of still pictures, supplemented with landscapes and interviews. We wanted to find a way to use the visual techniques usually reserved for fiction motion pictures to tell a story of great scope that took place in pre-photographic history. This meant the project would require very large scale costumed re-enactments and equipment far beyond the ordinary documentary production package of camera, zoom lens, tripod and small light-kit.
We knew that we had to find a way to present images of cultural history — both re-enacted scenes and contemporary scenes of Islamic architecture and city life — in a way that would evoke the past, but maintain a sense of authenticity. The scenes would be dream-like and impressionistic but would still give viewers a sense that what they were seeing was accurate in historical terms.
We designed a production package that included a robotic crane with an 18-foot reach (Jimmi-jib), allowing us to fly the camera through architectural spaces, and a Steadicam that would allow for smooth camera moves through buildings at ground level — even mounting it on a truck to shoot running horses at full speed. We took a wide selection of lenses from extremely wide to telephoto and we also brought a high-speed camera for true slow-motion (500 frames per second) allowing us to slow an action down that actually took one second to fully twenty seconds on-screen. All of these taken together would provide an extraordinarily production palette. But it also meant that we had to travel with more than 40 cases of equipment — and do so in seven different countries. The logistics were severe.
The actual American camera crew was very small — Director of Photography Rege Becker (who also operated the Steadicam) and First Assistant Cameraman and Jib Operator Nick Gardner, who also shot second camera when required. The rest of the crew was hired and trained in each country — Syria, Egypt, Tunisia, Israel, Spain, Turkey and Iran.
It was in Iran that we used a motion picture company — with a crew of 50 — to produce the costumed re-enactments. Iran's foremost Art Director Majid Mirfakhraei, had to create locations, costumes and props for more than a thousand years of history — from the deserts 7th century Arabia, to the palaces of the Ottoman empire. The same team of stunt riders had to be made-up and redressed to play Arabian mounted soldiers, Crusader knights, Mongol raiders, Ghazi horsemen and Ottoman cavalry. A full sized, four-story replica of the holiest shrine in the Muslim world (the Kaaba in Saudi Arabia), had to be built in the deserts of Southern Iran and the vanished world of 8th century Baghdad had to be created in the ruins of a 19th century Persian palace. More than 300 costumes were required, as well as a dozen camels and riders, dozens of sheep and goats, an entire Bedouin encampment and the streets of Jerusalem in the 11th century — complete with market stalls and citizens.
This extraordinary production design, set in epic landscapes, gives the film a startling sense of scope and provides a remarkable window through which to examine the past. The film took 18 months to edit, and is supported by an original score by Leonard Lionnet.
Includes: (1) Prophet Muhammad (sallallāhu 'alayhi wa sallam) and rise of Islam (2) The Awakening & (3) The Ottomans
The production of Islam: Empire of Faith was a big challenge from the beginning, simply because it covered more than a thousand years of history and culture, and a very large part of the world.
But we really wanted to push beyond the conventional form of historical documentaries, which have depended on pans and tilts of still pictures, supplemented with landscapes and interviews. We wanted to find a way to use the visual techniques usually reserved for fiction motion pictures to tell a story of great scope that took place in pre-photographic history. This meant the project would require very large scale costumed re-enactments and equipment far beyond the ordinary documentary production package of camera, zoom lens, tripod and small light-kit.
We knew that we had to find a way to present images of cultural history — both re-enacted scenes and contemporary scenes of Islamic architecture and city life — in a way that would evoke the past, but maintain a sense of authenticity. The scenes would be dream-like and impressionistic but would still give viewers a sense that what they were seeing was accurate in historical terms.
We designed a production package that included a robotic crane with an 18-foot reach (Jimmi-jib), allowing us to fly the camera through architectural spaces, and a Steadicam that would allow for smooth camera moves through buildings at ground level — even mounting it on a truck to shoot running horses at full speed. We took a wide selection of lenses from extremely wide to telephoto and we also brought a high-speed camera for true slow-motion (500 frames per second) allowing us to slow an action down that actually took one second to fully twenty seconds on-screen. All of these taken together would provide an extraordinarily production palette. But it also meant that we had to travel with more than 40 cases of equipment — and do so in seven different countries. The logistics were severe.
The actual American camera crew was very small — Director of Photography Rege Becker (who also operated the Steadicam) and First Assistant Cameraman and Jib Operator Nick Gardner, who also shot second camera when required. The rest of the crew was hired and trained in each country — Syria, Egypt, Tunisia, Israel, Spain, Turkey and Iran.
It was in Iran that we used a motion picture company — with a crew of 50 — to produce the costumed re-enactments. Iran's foremost Art Director Majid Mirfakhraei, had to create locations, costumes and props for more than a thousand years of history — from the deserts 7th century Arabia, to the palaces of the Ottoman empire. The same team of stunt riders had to be made-up and redressed to play Arabian mounted soldiers, Crusader knights, Mongol raiders, Ghazi horsemen and Ottoman cavalry. A full sized, four-story replica of the holiest shrine in the Muslim world (the Kaaba in Saudi Arabia), had to be built in the deserts of Southern Iran and the vanished world of 8th century Baghdad had to be created in the ruins of a 19th century Persian palace. More than 300 costumes were required, as well as a dozen camels and riders, dozens of sheep and goats, an entire Bedouin encampment and the streets of Jerusalem in the 11th century — complete with market stalls and citizens.
This extraordinary production design, set in epic landscapes, gives the film a startling sense of scope and provides a remarkable window through which to examine the past. The film took 18 months to edit, and is supported by an original score by Leonard Lionnet.
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DR MAURICE BUCAILLE
Published on 21 Sep 2012
Dr.Maurice the French professor was searching for a holy book that in harmony with the modern science .
After he made a discovery of which pharaoh is the one which were drowned while chasing Moses and his followers he realized that there is only one holy book that mention that the body of that particular pharaoh was retrieved after he was drowned !!
and his body was preserved by the will of God till today as a sign for the people ...
this is a complete documentary of the story of Dr.Maurice with his research .
Side note : Dr. Maurice converted to Islam & he kept researching the "Qur'an" for more than 10 years in the eyes of modern science & he studied Arabic language too , and he came to the conclusion that the "Qur'an" & modern science are in total harmony .
-Visit my blog for many complete lectures & nasheeds , great conversion stories ..& other Videos @ http://hdvideosnewman2010.blogspot.com
After he made a discovery of which pharaoh is the one which were drowned while chasing Moses and his followers he realized that there is only one holy book that mention that the body of that particular pharaoh was retrieved after he was drowned !!
and his body was preserved by the will of God till today as a sign for the people ...
this is a complete documentary of the story of Dr.Maurice with his research .
Side note : Dr. Maurice converted to Islam & he kept researching the "Qur'an" for more than 10 years in the eyes of modern science & he studied Arabic language too , and he came to the conclusion that the "Qur'an" & modern science are in total harmony .
-Visit my blog for many complete lectures & nasheeds , great conversion stories ..& other Videos @ http://hdvideosnewman2010.blogspot.com
ISLAMIC CIRCLE OF NORTH AMERICA
Uploaded on 24 Dec 2011
Several North Americans, and a man
from Britain tell stories of their reversion into al-Islam. Featured
speakers are (listed in order of appearance): Rafael Narbaez, Muhammad
Eckhaus,Yusuf Islam, Thomas B. Irving, Aminah McCloud, Umar A. Abdur
Rahman, Malcolm X (El-Hajj Malik Shabazz), Warithudeen Mohammed, Ayesha
K. Mustafaa, and Abd Al Hayy Moore. Choosing Islam was Written,
Directed,and Narrated by Gerard ibnEarl Bilal, Executive Director of
SADAQA-TV, for the Islamic Circle of North America's audio/visual unit,
Sound Vision, in 1413ah.
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