Bader Hirsi (1968–) is a renowned Yemeni British filmmaker whose works include the documentary The English Sheikh and the Yemeni Gentleman (2000) and the feature film A New Day in Old Sana’a (2005). This essay explores how photography and film creatively interact in A New Day in Old Sana’a to tease out the peculiarities of love and marriage against a backdrop of intersecting socioeconomic factors such as tradition, gender, race, and national class. The essay, affirmed by Hirsi himself, also makes use of interdisciplinarity to evaluate how Hirsi’s film embodies Yemen’s heritage, which includes the historical influence of the Horn of Africa and its relationship with the West.

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