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A META-DOCUMENTARY ABOUT FILMMAKING IN EGYPT SINCE THE REVOLUTION FILMING REVOLUTION START BROWSING LOADING 18 days in egypt a deep long breath a walk in the grey sun abdullah sharkas activism activist filmmaking/video activism activist pov art + activism ahmed fawzi saleh ahmed nour aida elkashef alia ayman alone, together… in media res archive arij: scent of revolution as i want audience bassam mortada cairo drive catharsis chaos, disorder coming forth by day cressida trew + hanan abdalla crop documentary animation character-led documentary collaboration creative documentary document vs documentary documentary form documentary in egypt fiction/documentary interactive/nonlinear journalism vs documentary observational documentary voiceover narration dream away experience ii film as weapon film festivals filming revolution (not) about revolution 18 days filming in tahrir square filming on the frontlines long form vs short form politics + propaganda production process revolution as backdrop revolutionary filmmaking to film or not to film first person/personal film from behind of the monument funding + distribution generations hala lotfy happily ever after history + memory i will speak of the revolution identity in grey depth in the last days of the city in the shadow of a man independent fiction filmmaking before/after revolution institution building new wave working methods independent film initiatives cimatheque hakkim ‘aqlak/make up your mind hassala productions independent filmmakers syndicate janaklees kazeboon mosireen panorama of the european film radio tahrir tahrir cinema tahrir media tent zawya zero productions irit neidhardt issues + clashes battle of the camels maspero massacre mohamed mahmoud clashes no to military trials for civilians port said massacre torture workers jasmina metwaly journalism citizen journalism journalism vs activism video journalism kandake khalid abdalla laila samy land without lara baladi limits of representation little eagles marianne khoury marouan omara metaphor/allegory miscellaneous 18 days film project (nasrallah) ahmad abdalla born on the 25th of january burden of filming community outreach filming in cairo ibrahim el batout misr international radwan el kashef random yousry nasrallah youssef chahine mohamed rashad mona lotfy mosireen mostafa bahagat nada hasan nada riyadh nadine khan narrating the revolution (re)writing history battle over narrative on a monday opantish open lab egypt out on the street philip rizk rags and tatters ravings remarking january 25 remarks on medan reporting… a revolution revolution 2.0 revolution in a bus/maslaha revolution? role of the artist salma el tarzi samaher alqadi shayfeen.com: we are watching you sherief elkatsha sherief gaber tahani rached tahrir cinema tamer el said the battle in simon bolivar square continues the fish are killed twice the modern art of revolution the square the story of “n” the vote underground/on the surface viola shafik vox populi waves women/gender gender/sexual violence women filmmakers women's movement women's projects yasmin elayat hide list show list FILTER ARCHIVE archive filterarticles THEMES PEOPLE PROJECTS ARTICLES THEMES PEOPLE level: ARCHIVE CLUSTER MEDIA In the first days of the revolution by Alisa Lebow it was as if a dam broke - lara baladi filming in the square from the start - aida elkashef the choice to experience and not to record - tamer el said the urgency to film in the early days - jasmina metwaly filming during the 18 days and beyond - philip rizk Documentary possibilities by Alisa Lebow coming out of deep freeze - laila samy an open approach to documentary filmmaking - mohamed rashad advice for making documentary - marouan omara not interested in classical documentary - ahmed nour The problem with films about the revolution by Alisa Lebow what to make a film about? - salma el tarzi i will speak of the revolution (2011) sending a message - nadine khan i will speak of the revolution (nadine khan, 2011) - i will speak of the revolution a matter of priorities - laila samy the problem with films about the revolution - marouan omara the films explicitly about revolution were the weakest - marianne khoury MAVIS by anonymous an educational video from the NGO Hakkim A'qlak/Make up your Mind - revolution in a bus/maslaha new working methods: tamer el said, zero productions - viola shafik revolutionary use of film language - tamer el said the choice to experience and not to record - tamer el said overcoming stereotypes that films create - tamer el said Reviewing the Revolution by Sophie Mayer art +activism - jasmina metwaly i will speak of the revolution (nadine khan, 2011) - i will speak of the revolution i will speak of the revolution (2011) sending a message - nadine khan the revolution can never be a film - nada riyadh alone, together… in media res, extract from 3 channel installation (lara baladi, 2012) - alone, together… in media res confusion between art and activism - lara baladi tahrir cinema 21.7.2011 (from the internet) - null mosireen: how it all began - aida elkashef involvement in jehane noujaim's the square (2013) - aida elkashef the square trailer (jehane noujaim, 2013) - the square women filmmakers since the revolution - marianne khoury mneptune pathway example by Miriam Neptune personal narration + animation, waves extract (ahmed nour, 2013) - waves the contribution of animation - ahmed nour shift from short form to long form - khalid abdalla Bee by anonymous coming out of deep freeze - laila samy the difference between journalism and documentary - bassam mortada reporting…a revolution (el thawra khabar, bassam mortada, 2012, 64 min) - reporting… a revolution what is the best way to fight? - khalid abdalla Gender IRL/VL by Sophie Mayer virtual tahrir, arij extract (viola shafik, 2014) - arij: scent of revolution women's rights: a basic part of the struggle - laila samy women's protests in response to the rise in sexual violence - samaher alqadi cassie nabil aka reborn cleo: the mascot of the revolution - lara baladi cassie nabil, "reborn cleo", mascot of the revolution - null pathway! by mango emoji confusion between art and activism - lara baladi moug/waves stands out among the films about revolution - tahani rached tourism in second life, arij extract (viola shafik, 2014) - arij: scent of revolution working with youssef chahine - marianne khoury ibrahim el batout inspired this new wave - alia ayman out on the street teaser - out on the street cairo intifada (philip rizk + jasmina metwaly, 2011) - remarking january 25 ravings (alia ayman) - ravings tahrir square haiku, from remarks on medan (jasmina metwaly, 2011) - remarks on medan waves trailer (ahmed nour, 2013) - waves alone, together… in media res, extract from 3 channel installation (lara baladi, 2012) - alone, together… in media res the square trailer (jehane noujaim, 2013) - the square involvement in jehane noujaim's the square (2013) - aida elkashef seeing between the li(n)es, waves extract (ahmed nour, 2013) - waves anyone involved in the revolution has questions - ahmed fawzi saleh a story about two men in a precarious situation - ahmed fawzi saleh catharsis: a self portrait (alia ayman, 2013) - catharsis the industry produces both arthouse and commercial film - nadine khan the issue of the "i" in recent egyptian documentaries - viola shafik vj-ing a narrative - khalid abdalla video document on tahrir cinema (lara baladi, 2013) - tahrir cinema cyclical repetition describes traffiic as much as revolution - sherief elkatsha driver's licence, cairo drive (sherief elkatsha, 2014, extract) - cairo drive coming forth by day teaser 2 (hala lotfy, 2013) - coming forth by day neither entirely fiction, nor entirely documentary - hala lotfy finding a film style that resembles egyptian life - hala lotfy cinema no longer out of reach - mona lotfy finding insights in the interstices, not in the "big" events - jasmina metwaly the personal revolution - ahmed nour no time for critical distance - tahani rached overcoming stereotypes that films create - tamer el said the contribution of animation - ahmed nour no revolution, hence no revolutionary cinema - irit neidhardt nikole by anonymous intro - aida elkashef creativity is also needed - aida elkashef operation anti-sexual harassment (OpAntiSH) video - opantish khalid abdalla skypes with his father, the square extract (jehane noujaim, 2013) - the square the square trailer (jehane noujaim, 2013) - the square example of rizk/metwaly shorts on workers - null archive as arsenal - sherief gaber the battle of simon bolivar (philip rizk, 2011) - mosireen history repeats, liberty leading the people to tahrir (khalid abdalla, 2011) - null the politics behind the port said massacre - ahmed fawzi saleh i will speak of the revolution (nadine khan, 2011) - i will speak of the revolution i will speak of the revolution (2011) sending a message - nadine khan at the beginning of the revolution it felt almost grotesque to film - lara baladi cairo drive (sherief elkatsha, 2014, extract) - cairo drive alone, together… in media res, extract from 3 channel installation (lara baladi, 2012) - alone, together… in media res maybe, just maybe - mona lotfy Out on the Street--approaches and strategies by Alisa Lebow baraf sh'era (out/in the streets) - philip rizk out/in the streets the truth is always subjective - jasmina metwaly collaborative production process - philip rizk neither documentary nor fiction - philip rizk scene where 'boss' keeps handful of dejected workers - out on the street out on the street teaser - out on the street Noha by Noha the films explicitly about revolution were the weakest - marianne khoury a film about revolution without showing revolution - marouan omara crop trailer (johanna domke + marouan omara, 2013) - crop major historical events throw people back on themselves - viola shafik the issue of the "i" in recent egyptian documentaries - viola shafik cairo drive (sherief elkatsha, 2014, extract) - cairo drive the camera may not be a weapon but it can leave a record for history - mostafa bahagat films about the revolution will be important in the future - alia ayman On my way home... by anonymous it was as if a dam broke - lara baladi filming during the 18 days and beyond - philip rizk Formal choices by anonymous uses of voiceover - sherief gaber the contribution of animation - ahmed nour massacre of the crows, waves extract (ahmed nour, 2013) - waves a metaphor shouldn't be easy - ahmed nour Anne Alexander - selections by anonymous our right to honorable work (mosireen) - mosireen from the archive: videos of workers - sherief gaber archive as arsenal - sherief gaber 2010 campaign for minimum wage - philip rizk striking similarities - irit neidhardt history repeats, liberty leading the people to tahrir (khalid abdalla, 2011) - null history repeats itself in images - khalid abdalla framing in/framing out - jasmina metwaly Viola Shafik work samples by anonymous arij: scent of revolution trailer (viola shafik, 2014) - arij: scent of revolution an educational video from the NGO Hakkim A'qlak/Make up your Mind - revolution in a bus/maslaha social change and the emergence of new documentary by Asli Ozgen-Tuncer from behind of the monument (jasmina metwaly, 2013) - from behind of the monument baraf sh'era (out/in the streets) - philip rizk out/in the streets the truth is always subjective - jasmina metwaly collaborative production process - philip rizk neither documentary nor fiction - philip rizk out on the street teaser - out on the street revolutionary use of film language - tamer el said improvised shooting style - tamer el said the urgency to film in the early days - jasmina metwaly filming during the 18 days and beyond - philip rizk Robyn by anonymous i will speak of the revolution (2011) sending a message - nadine khan goinig beyond simply documenting events - viola shafik may be a controversial way to film revolution - nada riyadh the revolution is not the main point here - ahmed fawzi saleh so many films about the revolution but not within it - jasmina metwaly the films explicitly about revolution were the weakest - marianne khoury how to tell this story? can't take the easy route - ahmed nour you don't have to film in the square to make a film about the revolution - marouan omara revolution is a state of mind - salma el tarzi Robert by anonymous mosireen: making films politically - jasmina metwaly revolutionary filmmaking: experimentation, flexibility and mixing fiction and documentary - abdullah sharkas no filmic tricks - hala lotfy shot/countershot: a time fo fiction and a time for documentary - khalid abdalla fictional and real life characters merge - laila samy neither documentary nor fiction - philip rizk when fiction and life begin to resemble one another - khalid abdalla a film about revolution without showing revolution - marouan omara Project by anonymous video activism demands something different than other films - aida elkashef documenting the event - aida elkashef it is important to document the revolution - nadine khan realizing the importance of the camera - aida elkashef cairo intifada (philip rizk + jasmina metwaly, 2011) - remarking january 25 Curating Revolution by Sophie Mayer creating an audience in tahrir square - khalid abdalla video document on tahrir cinema (lara baladi, 2013) - tahrir cinema kazeboon means "liars" - aida elkashef a kazeboon screening in zamalek (from internet) - null zawya - alia ayman Arab/African resistance by anonymous out on the street teaser - out on the street scene where 'boss' keeps handful of dejected workers - out on the street a people's archive as opposed to a state archive - sherief gaber reporting…a revolution (el thawra khabar, bassam mortada, 2012, 64 min) - reporting… a revolution 2010 campaign for minimum wage - philip rizk a little justice goes a long way (philip rizk) - null shooting away from the main event: the battles in simon bolívar continue - philip rizk the battle of simon bolivar (philip rizk, 2011) - mosireen pathway1 by Jessica Covert confusion between art and activism - lara baladi women's rights: a basic part of the struggle - laila samy women's protests in response to the rise in sexual violence - samaher alqadi waves trailer (ahmed nour, 2013) - waves rethinking the form by anonymous out/in the streets the truth is always subjective - jasmina metwaly scene where 'boss' keeps handful of dejected workers - out on the street neither documentary nor fiction - philip rizk documentation of an event by Sadegh Ad documenting the event - aida elkashef realizing the importance of the camera - aida elkashef the truth of the event is... by anonymous the choice to experience and not to record - tamer el said decided not to use the footage from tahrir - tamer el said out/in the streets the truth is always subjective - jasmina metwaly involving workers in their own representation - jasmina metwaly filming during the 18 days and beyond - philip rizk those most relevant to the revolution are rarely those represented - philip rizk shooting away from the main event: the battles in simon bolívar continue - philip rizk the revolution is personal - nada hasan no pretence to 'truth', just 'our perspective' - mostafa bahagat archive as arsenal - sherief gaber using the revolution: 18 days (yousry nasrallah, 2011) - nadine khan i will speak of the revolution (2011) sending a message - nadine khan personal stories beyond the headlines - yasmin elayat the cycle of history, the cycles in history - lara baladi Andromeda by Masoumeh Hashemi voiceover for polemical purposes - sherief gaber revolutions don't last very long - khalid abdalla this epic moment requires longer form films - khalid abdalla alia ayman by anonymous tension between collectivist culture and western individualism - alia ayman a trend of personal films in egypt? - alia ayman what makes a film revolutionary? - alia ayman Absent Women by counterfield arij: scent of revolution trailer (viola shafik, 2014) - arij: scent of revolution example of rizk/metwaly shorts on workers - null Maintaining Momentum by anonymous intro - yasmin elayat cimatheque is a hub - tamer el said scene where 'boss' keeps handful of dejected workers - out on the street an educational video from the NGO Hakkim A'qlak/Make up your Mind - revolution in a bus/maslaha a prophetic title? - abdullah sharkas i will speak of the revolution (nadine khan, 2011) - i will speak of the revolution what happens when the fad fades? - jasmina metwaly Aesthetic by anonymous seeing between the li(n)es, waves extract (ahmed nour, 2013) - waves confusion between art and activism - lara baladi some works can be both activism and art - jasmina metwaly art +activism - jasmina metwaly tahrir square cut skin, from remarks on medan (jasmina metwaly, 2011) - remarks on medan it was as if a dam broke - lara baladi new method of making films politically - viola shafik independent film scene started before the revolution, but some things have changed - aida elkashef investing in a future of creative production - hala lotfy how mosireen began - sherief gaber the footage may not be useful now, but will be useful later - khalid abdalla GHoul by anonymous independent film scene started before the revolution, but some things have changed - aida elkashef the future of the independent film movement in egypt - abdullah sharkas the film scene has changed since 2011 - mona lotfy "Shoot it cut it upload it"-when it works and when it no longer works - khalid abdalla deneme by anonymous underground/on the surface trailer (salma el tarzi, 2013) - underground/on the surface no pretence to 'truth', just 'our perspective' - mostafa bahagat 1969 by anonymous women filmmakers since the revolution - marianne khoury 2012 by anonymous janaklees: helping to bring film back to alexandria - abdullah sharkas Mummy by anonymous moving on from document to documentary - jasmina metwaly On the streets by anonymous out/in the streets the truth is always subjective - jasmina metwaly poli167 by anonymous the camera may not be a weapon but it can leave a record for history - mostafa bahagat archive as arsenal - sherief gaber uses of the material from the archive - sherief gaber striking similarities - irit neidhardt the rawness of the archive footage, mosireen - mosireen a coup or a revolution? (mosireen) - mosireen History Repeats by anonymous history repeats, liberty leading the people to tahrir (khalid abdalla, 2011) - null history repeats itself in images - khalid abdalla Arab Spring Class Presentation by anonymous in the fight for representation, the camera was our weapon - jasmina metwaly Film wisdom by anonymous filmmaking is definitely a weapon - aida elkashef the camera may not be a weapon but it can leave a record for history - mostafa bahagat personal trend by anonymous a trend of personal films in egypt? - alia ayman personal documentaries are the most interesting - marianne khoury test by anonymous finding a film style that resembles egyptian life - hala lotfy YEET by anonymous intro - aida elkashef Mosireen by anonymous battle of the camel, mosireen video - mosireen jasmina by anonymous intro - jasmina metwaly art +activism - jasmina metwaly the urgency to film in the early days - jasmina metwaly involving workers in their own representation - jasmina metwaly pathway 11/6 by anonymous massacre of the crows, waves extract (ahmed nour, 2013) - waves media of the middle east by anonymous virtual tahrir, arij extract (viola shafik, 2014) - arij: scent of revolution the vote is about the street vs the ballot box - cressida trew + hanan abdalla aren't films always personal? - ahmed nour 1 by anonymous a deep long breath trailer (tahani rached, 2012) - a deep long breath pathway by anonymous in the last days of the city trailer (akher ayam el medina, tamer el said, 2016) - in the last days of the city Mypath by anonymous for dual nationals film becomes a way of speaking - khalid abdalla Against the MAVM by anonymous documentary's master narratives - philip rizk what makes a film revolutionary? - alia ayman not just about 3 characters' personal struggles - cressida trew + hanan abdalla involving workers in their own representation - jasmina metwaly revolutionary filmmaking: experimentation, flexibility and mixing fiction and documentary - abdullah sharkas revolutionary filmmaking abdullah sharkas by anonymous revolutionary filmmaking: experimentation, flexibility and mixing fiction and documentary - abdullah sharkas iii by anonymous coming out of deep freeze - laila samy research project arab cinema by anonymous art +activism - jasmina metwaly mosireen: making films politically - jasmina metwaly framing in/framing out - jasmina metwaly Kareem by anonymous documenting the event - aida elkashef Kareem by anonymous i will speak of the revolution (2011) sending a message - nadine khan it's premature and dangerous… - nadine khan the revolution has become a fiction - hala lotfy decided not to use the footage from tahrir - tamer el said the first films about the revolution did more harm than good - aida elkashef Project by anonymous chaos, disorder trailer (nadine khan, 2012) - chaos, disorder Kareem by anonymous it was more an intifada than a revolution - philip rizk archive activism by anonymous a kazeboon screening in zamalek (from internet) - null test pathway by anonymous finally at home in the film scene today - viola shafik the vote is about the street vs the ballot box - cressida trew + hanan abdalla Workers by anonymous from the archive: videos of workers - sherief gaber non-talking-heads by anonymous experience ii (abdullah sharkas) - experience ii Archival by anonymous archive as arsenal - sherief gaber Claire by anonymous filming in the square from the start - aida elkashef filming as witness - khalid abdalla VinceJanssens by anonymous when fiction and life begin to resemble one another - khalid abdalla in the last days of the city trailer (akher ayam el medina, tamer el said, 2016) - in the last days of the city trying to capture the magic of the city - tamer el said fictional and real life characters merge - laila samy revolutionary filmmaking: experimentation, flexibility and mixing fiction and documentary - abdullah sharkas Magic documentary by anonymous trying to capture the magic of the city - tamer el said 3 films in 1, crop extract (johanna domke + marouan omara, 2013) - crop revolution without politics by anonymous striking similarities - irit neidhardt camera by anonymous the camera may not be a weapon but it can leave a record for history - mostafa bahagat tool by anonymous the camera may not be a weapon but it can leave a record for history - mostafa bahagat . by anonymous multi-linear historical narrative - yasmin elayat a prophetic title? - abdullah sharkas the modern art of revolution - abdullah sharkas is the event the clash? - khalid abdalla witnessing from the frontlines - mostafa bahagat no pretence to 'truth', just 'our perspective' - mostafa bahagat Essay by anonymous no revolution, hence no revolutionary cinema - irit neidhardt Seminararbeit by anonymous uses of voiceover - sherief gaber people by anonymous a deep long breath trailer (tahani rached, 2012) - a deep long breath revolution is a state of mind - salma el tarzi revolutionary use of film language - tamer el said any revolution with an ideology will create a new tyrant - alia ayman Out on the Streets by anonymous involving workers in their own representation - jasmina metwaly Amanda REC by anonymous advice for making documentary - marouan omara questioning the approach - cressida trew + hanan abdalla Favorites by anonymous what to make a film about? - salma el tarzi i will speak of the revolution (nadine khan, 2011) - i will speak of the revolution a matter of priorities - laila samy revolutionary use of film language - tamer el said alone, together… in media res, extract from 3 channel installation (lara baladi, 2012) - alone, together… in media res involvement in jehane noujaim's the square (2013) - aida elkashef why love has a place in revolutionary film - abdullah sharkas the trouble with journalism - nada hasan questioning the approach - cressida trew + hanan abdalla undecided name by anonymous films about the revolution will be important in the future - alia ayman First exploration by anonymous little eagles trailer (al nossour al saghera, Mohamed Rashad, 2016) - little eagles Personal Revolution by anonymous revolution is a state of mind - salma el tarzi so many films about the revolution but not within it - jasmina metwaly "this isn't a film about revolution" - sherief elkatsha the revolution is not the main point here - ahmed fawzi saleh the revolution is personal - nada hasan maybe not a revolution, but a reconnection with oneself - laila samy ac path by anonymous i will speak of the revolution (2011) sending a message - nadine khan Test Pathway by anonymous baraf sh'era (out/in the streets) - philip rizk our right to honorable work (mosireen) - mosireen in the fight for representation, the camera was our weapon - jasmina metwaly Egypt by anonymous both the political and cultural shifts predate the revolution - viola shafik Short Clips 1 by anonymous hassala - hala lotfy finding a film style that resembles egyptian life - hala lotfy Revolution by anonymous i will speak of the revolution (nadine khan, 2011) - i will speak of the revolution Fall 2021 class NYU by anonymous it was as if a dam broke - lara baladi by anonymous chaos, disorder trailer (nadine khan, 2012) - chaos, disorder ' by anonymous chaos, disorder trailer (nadine khan, 2012) - chaos, disorder women filmmakers since the revolution - marianne khoury by anonymous chaos, disorder trailer (nadine khan, 2012) - chaos, disorder l by anonymous chaos, disorder trailer (nadine khan, 2012) - chaos, disorder women filmmakers since the revolution - marianne khoury by anonymous chaos, disorder trailer (nadine khan, 2012) - chaos, disorder women filmmakers since the revolution - marianne khoury by anonymous chaos, disorder trailer (nadine khan, 2012) - chaos, disorder mj by anonymous women filmmakers since the revolution - marianne khoury Bryce Patton by anonymous video document on tahrir cinema (lara baladi, 2013) - tahrir cinema the mission of the film - ahmed nour a metaphor shouldn't be easy - ahmed nour sea as metaphor? waves extract (ahmed nour, 2013) - waves personal narration + animation, waves extract (ahmed nour, 2013) - waves Clicking into the Night by anonymous shooting away from the main event: the battles in simon bolívar continue - philip rizk the battle of simon bolivar (philip rizk, 2011) - mosireen cairo intifada (philip rizk + jasmina metwaly, 2011) - remarking january 25 why riot (mosireen) - mosireen voiceover for polemical purposes - sherief gaber no time for critical distance - tahani rached a deep long breath trailer (tahani rached, 2012) - a deep long breath tahani rached takes a novel approach - irit neidhardt questioning the approach - cressida trew + hanan abdalla the revolution can never be a film - nada riyadh i will speak of the revolution (nadine khan, 2011) - i will speak of the revolution i will speak of the revolution (2011) sending a message - nadine khan using the revolution: 18 days (yousry nasrallah, 2011) - nadine khan it was as if a dam broke - lara baladi filming in the square from the start - aida elkashef Bryce Patton III by anonymous the contribution of animation - ahmed nour next project: a creative collaborative animation with women, about women - salma el tarzi dual function of the camera: to record and to deter - samaher alqadi what is the best way to fight? - khalid abdalla archive as arsenal - sherief gaber NoahMullens by anonymous archive as arsenal - sherief gaber the rawness of the archive footage, mosireen - mosireen in the shadow of a man (hanan abdalla, 2012) - in the shadow of a man Nick Orlando by anonymous khalid abdalla skypes with his father, the square extract (jehane noujaim, 2013) - the square for dual nationals film becomes a way of speaking - khalid abdalla cinema tahrir: a people's cinema - khalid abdalla it is important to document the revolution - nadine khan never intended to include the revolution - nada riyadh how mosireen began - sherief gaber the mosireen collective - sherief gaber the archive - sherief gaber the camera may not be a weapon but it can leave a record for history - mostafa bahagat Bryce Patton by anonymous women filmmakers since the revolution - marianne khoury video document on tahrir cinema (lara baladi, 2013) - tahrir cinema vj-ing a narrative - khalid abdalla not just about hits on youtube - sherief gaber creating an audience in tahrir square - khalid abdalla tahrir cinema is born - lara baladi first screenings of tahrir cinema - lara baladi the difference between journalism and documentary - bassam mortada a film about revolution without showing revolution - marouan omara crop trailer (johanna domke + marouan omara, 2013) - crop shifting background and foreground - khalid abdalla an open approach to documentary filmmaking - mohamed rashad little eagles trailer (al nossour al saghera, Mohamed Rashad, 2016) - little eagles little eagles tries to make sense of how family can affect one's worldview - mohamed rashad made with an international audience in mind - sherief elkatsha bp by anonymous women filmmakers since the revolution - marianne khoury a film is made to be seen - tahani rached made for a broad audience, not just for egypt - ahmed fawzi saleh distribution and exhibition must change for documentary - tahani rached giran (neighbors, 2009) a film about garden city, cairo - tahani rached nafass taweel (a deep long breath, 2012) originally meant to be a tv series - tahani rached feature documentaries have no space - tahani rached moving on from document to documentary - jasmina metwaly ENG6138 - Boyte by anonymous witnessing the birth of a new women's movement in egypt - cressida trew + hanan abdalla maglis el-wozara clashes sparked new egyptian women's movement - cressida trew + hanan abdalla women's rights: a basic part of the struggle - laila samy women's rights are human rights - samaher alqadi kandake: searching for roots - nada hasan for dual nationals film becomes a way of speaking - khalid abdalla the square trailer (jehane noujaim, 2013) - the square moving on from document to documentary - jasmina metwaly made for export to the west, not for domestic consumption - irit neidhardt decided not to use the footage from tahrir - tamer el said Bisola Ajibade by anonymous coming out of deep freeze - laila samy mboya by anonymous battle of the camel, mosireen video - mosireen realizing the importance of the camera - aida elkashef made for export to the west, not for domestic consumption - irit neidhardt need to break the distribution monopoly - nadine khan kandake: searching for roots - nada hasan our right to honorable work (mosireen) - mosireen test by anonymous the need for an independent filmmakers syndicate - aida elkashef involving workers in their own representation - jasmina metwaly irene's pathway by anonymous making films to understand things better - tamer el said This is Film! by anonymous arij: scent of revolution trailer (viola shafik, 2014) - arij: scent of revolution Pain and responsbility by anonymous caught between sense of responsibility and feeling of pain - viola shafik digital turn allowed for more personal filmmaking - viola shafik kandake: searching for roots - nada hasan Egyptian Revolution Media by anonymous video document on tahrir cinema (lara baladi, 2013) - tahrir cinema DNA by anonymous a deep long breath trailer (tahani rached, 2012) - a deep long breath involving workers in their own representation - jasmina metwaly Gender and Women by anonymous the vote is about the street vs the ballot box - cressida trew + hanan abdalla not free to walk in the street unharassed - samaher alqadi operation anti-sexual harassment (OpAntiSH) video - opantish maglis el-wozara clashes sparked new egyptian women's movement - cressida trew + hanan abdalla questioning everything after the assault - salma el tarzi rob by anonymous reluctant documentarian - samaher alqadi devrim filmi by anonymous i will speak of the revolution (2011) sending a message - nadine khan path by anonymous coming out of deep freeze - laila samy ccc by anonymous coming out of deep freeze - laila samy Pathway1 by anonymous creating an audience in tahrir square - khalid abdalla arij: scent of revolution trailer (viola shafik, 2014) - arij: scent of revolution ravings (alia ayman) - ravings the urgency to film in the early days - jasmina metwaly duty to document - salma el tarzi by anonymous creating an audience in tahrir square - khalid abdalla Writing the Essay by anonymous you don't have to film in the square to make a film about the revolution - marouan omara decided not to use the footage from tahrir - tamer el said women by anonymous coming out of deep freeze - laila samy 1st day by anonymous it was as if a dam broke - lara baladi Untitled by anonymous questioning everything after the assault - salma el tarzi Autorrepresentação no Cinema - Mulheres Cineastas by anonymous personal documentaries are the most interesting - marianne khoury Autorepresentation in Women's CI by anonymous catharsis: a self portrait (alia ayman, 2013) - catharsis filming revolution by anonymous the new wave started before the revolution - alia ayman harag w'marag (chaos, disorder, 2012) - nadine khan Interested in Spirit and Cinema of this 'Revolution' - Martin by anonymous cinema tahrir: a people's cinema - khalid abdalla video document on tahrir cinema (lara baladi, 2013) - tahrir cinema first screenings of tahrir cinema - lara baladi what makes a film revolutionary? - alia ayman the revolution is personal - nada hasan revolution is a state of mind - salma el tarzi a personal film, not an allegory - hala lotfy waves trailer (ahmed nour, 2013) - waves in the shadow of a man (hanan abdalla, 2012) - in the shadow of a man The Square by anonymous questioning the approach - cressida trew + hanan abdalla experiencing the revolution through filming - cressida trew + hanan abdalla the one legitimate role for an outsider in the revolution - cressida trew + hanan abdalla the 3 characters represent a microcosm - cressida trew + hanan abdalla not just about 3 characters' personal struggles - cressida trew + hanan abdalla Lofty by anonymous how to change the film industry in egypt - hala lotfy working conditions by anonymous out on the street teaser - out on the street working conditions by anonymous out on the street teaser - out on the street 298 by anonymous catharsis: a self portrait (2013) - alia ayman archive as arsenal - sherief gaber Internet as archive - lara baladi tourism in second life, arij extract (viola shafik, 2014) - arij: scent of revolution Visual anthropology by anonymous the problem with films about the revolution - marouan omara the first films about the revolution did more harm than good - aida elkashef history repeats itself in images - khalid abdalla the revolution can never be a film - nada riyadh a film about revolution without showing revolution - marouan omara may be a controversial way to film revolution - nada riyadh Vinicius by anonymous the origins of the vox populi archive - lara baladi the origins of radio tahrir - lara baladi why riot (mosireen) - mosireen hide pathways show pathways < > ADD TO PATHWAY + select pathways, or create a new one RECOMMENDATIONS: SHARE TUTORIAL ABOUT 01 Khalid Abdalla, Actor, Producer, Activist 02 Laila Samy, Actor, Filmmaker, Activist 03 Tamer El Said, Filmmaker Filming Revolution is a meta-documentary about independent and documentary filmmaking in Egypt, bringing together the collective wisdom and creative strategies of media makers in Egypt before, during, and after the revolution. You are invited to engage with Egyptian filmmakers, artists, activists, and archivists talking about their work and their ideas about how (and whether) to make films in the time of revolution. This project is not a history of the revolution, nor is it meant to be an exhaustive chronicle of filmmaking in Egypt since 2011. It is instead a reflection on what it means to make films in these times. What is the power of the image? When is it effective, and when does it simply join the flow of content, one image among others? When is the short-form activist video appropriate and when is turning to longer-form work necessary or desirable? What kinds of projects are being made? The focus is on documentary and independent filmmaking and creative approaches to representing Egyptian culture and society leading up to and after the events of the revolution. Just as there are many people making interesting work, there are many different approaches to filmmaking that have developed in this period. This interactive documentary database consists of interviews with thirty filmmakers, archivists, activists, and artists between December 2013 and June 2014 to look at a range of projects and their ideas about them, and to begin to make sense of what it means to film in times of revolution. More Less Over thirty filmmakers, archivists, activists, and artists were interviewed for this project in two research trips to Cairo, the first in December 2013, the second in May and June 2014. The first set of interviews occurred just after a long and arduous military curfew was lifted, part of the state of emergency declared after President Mohamed Morsi was deposed and approximately one thousand of his Muslim Brotherhood followers were massacred by the army in Rabaa Al-Adawiya Square in August 2013. The second set of interviews was conducted during the election and inauguration of President Abdel Fattah el-Sisi. In both cases, the spirits of most of the people interviewed were low in relation to the political scene but less so in relation to the creative arena. As we’ve seen in Egypt and elsewhere, revolution is not a singular event, nor does it happen in a matter of days. It is an ongoing process that tends to be monitored in political terms but has many other facets. Even as the political classes work to reconsolidate their power, on the cultural level the power of creativity should not be underestimated. There were many I spoke with who were willing to question whether what happened in the years since the 2011 toppling of Mubarak could even be called a revolution. Some called it an uprising. Some called it a rebellion. Others still called it a fiction. Yet there were still some among those I interviewed who claimed the right to retain the word, knowing well that a revolution is no simple matter and that counterrevolutionary forces are always also in play. In this project, we retain the notion of revolution even as it is frequently questioned and problematized. At times it is referred to in terms of the initial eighteen days of the occupation of Tahrir Square, at others, as an ongoing condition, or unfinished project. These inconsistencies have not been sanitized, as these are the confusions wrought by the situation as it is encountered. Is the revolution over? Was it ever a revolution? If so, has it failed or been utterly co-opted? These are not questions for this project to answer. Instead the project takes its cues from the insights of the interviewees, who represent a spectrum of opinions on the matter. The choice to create an interactive meta-documentary, rather than to either write a book or make a linear documentary about filming in Egypt since the revolution, was a very conscious one. For a film scholar such as myself, the temptation is to write a book, not only because that is my training, but because that is what is expected of me. Yet to position myself as the author of a book about filmmaking in Egypt since the revolution is to put myself in the position of mastery over my subject, a position I was at the outset and also now unwilling to take. I did not experience the events of the revolution, nor am I an expert in Egyptian film. I do not speak Arabic and rely on translation and subtitles for my access to many of the films discussed. Rather than playing the expert, which is all I would be doing, I preferred the position of interlocutor, an interactivity that is amplified rather than reduced by this platform. My questions led to a range of responses, most of which are aired here and can be heard in dialogue with one another, not just with me. My role as producer or director becomes one of facilitator and organizer of the material so that it is accessible and searchable, allowing it to resonate on multiple levels. Of course, the very fact that I am asking questions, conducting interviews, and subsequently organizing the material implies a directorial hand. My questions, concerns, and recurrent themes of inquiry find their way into the project, as exemplified in the unexpected category of First Person/Personal Film, a subject upon which I have written extensively, yet had not planned to pursue here. However, it was the material itself, the fact that so many of those interviewed seemed to be working on personal projects, which was not something I had anticipated, that dictated this line of questioning. And many of the questions that I had planned to pursue prior to initiating the project, questions about revolutionary aesthetics, for instance, or about militant filmmaking, or about social networking, did not end up being prominent themes of the project at all. I can say in good faith that it was in the encounter with these lively, committed, engaging filmmakers (I’m using the term to encompass a range of media makers and a range of identifications) that this project, with its emergent themes, was forged. If I had preconceived ideas, they generally disabused me of them. If I had an agenda, it was usually rerouted onto more interesting tracks. If I needed to be briefed about the way things were (or were not) for them, they educated me in the gentlest and kindest ways. What I encountered in Egypt, in the midst of very uncertain times, despite people’s exhaustion and profound disappointment, was what seemed to be an infinite well of generosity—of time, of ideas, of spirit. I had prepared myself for polite rejection, because after all I came to them three plus years after the big headline events, after so much blood had since been spilled, so many allegiances broken, so many from the West abandoning them for the newest cause or craze. I expected people to be done talking, explaining, presenting, as if they were on show. And why should they have thought I’d be after anything different? Yet nonetheless, people made time to meet with me, show me their work, even if it was in the most preliminary stages, and most importantly to think aloud with me, as if they had never been asked these questions before, as if it was the first time they were thinking about these things that had clearly dominated much of their waking lives for the past three or four years, if not more. It was their spirit of dialogue, their magnanimity of time and energy that made me want to make this more than an inquiry for my own edification, but hopefully something of use to them as well. Many of the people included in this project don’t know one another or each other’s work. A few may have known one another in film school or have shared resources. Some have worked together collectively or in partnerships for a long time. There are overlapping circles for sure, yet there are also people and projects unknown to others, and it is my hope that this project brings people and ideas together in ways that have not happened before. It is, of course, also meant to be a resource for the rest of the world, anyone interested in the perspective of Egyptian documentary filmmakers of what is, undoubtedly and regardless of its ultimate outcome, one of the major historical events of our time. At present it is only available in English, which limits its reach quite dramatically, but given that nothing like it exists on the internet in any language, at least we can say it’s a start. As mentioned, some of the projects discussed here are in progress. Some may never get finished. Others may be a long way off. In most cases, we were unable to obtain footage from films that were not yet complete, which may be frustrating for the viewer. I determined that it was better to include discussion of these films in production rather than leave them out completely, because in many cases they point to a horizon, a coming wave of production that signals the interests and obsessions of a young generation of energetic and imaginative filmmakers who have just experienced a major event in their lives. They may well not all finish, especially if the government enforces a new and draconian law introduced in October 2014 that enables a crackdown on any project or organization that uses “foreign or local funds” for the purposes of committing “acts against state interest.” Depending on how broadly this is interpreted, any number of projects could perish under this suffocating net. And indeed, laws such as these are meant to menace and ultimately silence those who want to continue to speak out, as they do so ably and compellingly in this project. It is in the spirit of defiance, yet with the express support of the participants included here, that we present this material, these testimonies, and the inspired, creative work that you see in this project. A note on language: Filming Revolution is predominantly an English language project as it stands, with all of the text and most of the interviews currently in English. 90 percent of the interviews were conducted in English, in part to eliminate the need for a middle person between the interviewer and the interviewee. If the person being interviewed preferred to speak in Arabic, that was of course an option, and the interview was conducted in Arabic by the production coordinator/cinematographer Laila Samy in conversation with me, the project’s producer/director. Four of the thirty interviews in this project are in Arabic with English subtitles (Bassam Mortada, Mostafa Bahagat, Ahmed Fawzi Saleh, and Mohamed Rashad). All of the rest were conducted in English, and unfortunately there has not yet been the possibility of translating them into Arabic. This is an issue of time and resources, as the design and programming of the site would need to be substantially altered as well. We hope to be able to raise the money to do this translation in the coming years, but in the meantime, the approach is something like when publishing a book—the creator’s language was prioritized so that she could work with the material and publish it in a timely fashion. The next step is to translate it. This project was made with support from the Leverhulme Trust and the School of Media, Film and Music at the University of Sussex. Less CREDITS Creator/Director/Producer/Writer Alisa Lebow Realization Kakare Interactive > Hüseyin Kuşcu - Programmer/Collaborator > Asım Evren Yantaç - Designer > Ayça Ünlüer - Additional Design > Yasemin Yıldırım - Additional Design Production Coordinator/Cameraperson – Egypt Laila Samy El Balouty Sound Recordist/Additional Camera Alisa Lebow Video Editing/Transcoding Alisa Lebow Additional Video Editing – Arabic Vanessa Bowles Translation Amira Ghazala Alexandra Buccianti International Advisors Amal Khalaf Omar Kholeif Mukhtar Kokache Nora Razian Sherene Seikaly Maha Taki Mark Westmoreland Interactive/Design Advisors Sheena Calvert Yasmin Elayat Sandra Gaudenzi Derin Korman Cynthia Madansky Laila Shereen Sakr (aka VJ Um Amel) Special Thanks: Lawrence Abu Hamdan Orton Akıncı Michael Chanan Elizabeth Cowie Jon Dovey Madhusree Dutta Başak Ertür Jenifer Evans Khaled Fahmy Nida Ghouse Asena Günal James Knowles Ranjani Mazumdar Rasha Salti Azize Tan Nicole Wolf and all of those who agreed to be interviewed and share extracts from their films for this project Filming Revolution was funded by the Leverhulme Trust Research Fellowship Programme and supported by University of Sussex, School of Media, Film and Music. RESOURCES Counterpunch www.counterpunch.org Deep Dish TV www.deepdishtv.org Dictionary of the Revolution www.qamosalthawra.com Egypt Revolution and Politics archive-it.org Global Uprisings www.globaluprisings.org Global Voices - Egypt Revolution globalvoices.org Globalizing Dissent globalizingdissent.wordpress.com Jadaliyya www.jadaliyya.com Mada Masr www.madamasr.com Mosireen mosireen.org Open Democracy www.opendemocracy.net/arab-awakening Radical Film Network www.radicalfilmnetwork.com Revolution News revolution.news R-Shief r-shief.org Tabula Gaza tabulagaza.blogspot.co.uk Tahrir Archives (Vox Populi) tahrirarchives.com BIBLIOGRAPHY Maha Abdelrahman. (2011). “The Transnational and the Local: Egyptian Activists and Transnational Protest Networks.” British Journal of Middle Eastern Studies (38:3): 407–442. Giorgio Agamben. (1993). The Coming Community (University of Minnesota Press). Nadje Al-Ali. 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(2015). “Revolution and Despair.” Mada Masr. https://www.madamasr.com/en/2015/01/25/opinion/u/revolution-and-despair/. (2013 [2010]). Life as Politics: How Ordinary People Change the Middle East (Stanford University Press). _____. (2013). “Revolution in Bad Times.” New Left Review (80, March/April): 47–60. Lara Baladi. ”(2016). Archiving a Revolution in the Digital Age, Archiving as an Act of Resistance.” Ibraaz (28 July). http://www.ibraaz.org/essays/163. Murray Bookchin. (2015). The Next Revolution: Popular Assemblies and the Promise of Direct Democracy (Verso). Judith Butler. (2011). “Bodies in Alliance and the Politics of the Street.” http://eipcp.net/transversal/1011/butler/en/print. _____. (2011). “On Tahrir Square” in Africa Is a Country https://africasacountry.com/2011/10/judith-butler-on-tahrir-square. Howard Caygill. (2013). On Resistance: A Philosophy of Defiance (Bloomsbury Academic). Nathan Coombs. (2011). “Political Semantics of the Arab Revolts/Uprisings/Riots/Insurrections/Revolutions.” Journal of Critical Globalisation Studies (4): 138–146. Hamid Dabashi. (2012). The Arab Spring: The End of Postcolonialism (Zed Books). Gilles Deleuze and Felix Guattari. (2006 [1984]). “May 68 Did Not Take Place.”In Two Regimes of Madness, ed. David Lapoujade, trans. Ames Hodges and Mike Taormina (Semiotext(e)), 233–236. Gaye Ilhan Demiryol. (2012). “Film as a Mobilizing Agent? Adorno and Benjamin on Aesthetic Experience. Philosophy and Social Criticism (38): 939–954. Kay Dickinson. (2012). “The State of Labor and Labor for the State: Syrian and Egyptian Cinema Beyond the 2011 Uprisings.” Framework: The Journal of Cinema and Media (53:1, Spring): 99–116. Costas Douzinas. (2013). Philosophy and Resistance in the Crisis (Polity Press). Aida Elkashef. (2015). “Legally or Illegally? How to Make a Film in Egypt.” Mada Masr. https://www.madamasr.com/en/2015/04/19/feature/culture/legally-or-illegally-how-to-make-a-film-in-egypt/. Jean-Pierre Filiu. (2011). The Arab Revolution: Ten Lessons from the Democratic Uprising (Hurst). Michel Foucault. (1997). “What Is Revolution?” In The Politics of Truth, ed. Sylvere Lotringer (Semiotext(e)). Wael Ghonim. (2012). Revolution 2.0: A Memoir (Houghton Mifflin Harcourt). Maria Golia. (2017). “Egypt’s Emerging Alternative Film Scene.” Middle East Institute. http://www.mei.edu/content/article/egypt-s-emerging-alternative-film-scene. Bassam Haddad, Rosie Bsheer, and Ziad Abu-Rish, eds. (2012). The Dawn of the Arab Uprisings: End of an Old Order? (Pluto Press). Bernard E. Harcourt. (2012). “Political Disobedience.” Critical Inquiry (39, Autumn): 33–55. Michael Hardt and Antonio Negri. (2012). Declaration (Argo). _____. (2004). Multitude (Penguin). _____. (2000). Empire (Harvard University Press). Adel Iskandar. (2013). Egypt in Flux: Essays on an Unfinished Revolution (AUC Press). Adel Iskandar and Bassam Haddad, eds. (2013). Mediating the Arab Uprisings (Tadween). Elizabeth Suzanne Kassab. (2014). “Critics and Rebels: Older Arab Intellectuals Reflect on the Uprisings.” British Journal of Middle Eastern Studies (41:1): 8–2. Lina Khatib. (2013). Image Politics in the Middle East: The Role of the Visual in Political Struggle (I.B. Tauris). Bahgat Korany and Rabab El-Mahdi, eds. (2014 [2012]). Arab Spring in Egypt: Revolution and Beyond (AUC Press). Samia Mehrez, ed. (2012). Translating Egypt’s Revolution: The Language of Tahrir (AUC Press). W.J.T. Mitchell. (2012). “Image, Space, Revolution: The Arts of Occupation.” Critical Inquiry (39:1, Autumn): 8–32. _____ . (2012). Preface to “Occupy: Three Inquiries in Disobedience.” Critical Inquiry (39:1, Autumn): 1–7. Rabih Mroué, Ziad Nawfal, and Carol Martin. (2012). “The Pixilated Revolution.” The Drama Review (56:3, Autumn): 18–35. Thomas Nail. (2015). Returning to Revolution: Deleuze, Guattari and Zapatismo (Edinburgh University Press). _____. (2013). “Deleuze, Occupy, and the Actuality of Revolution.” Theory & Event (16:1). Jean-Luc Nancy. (2012). “The Political and/or Politics.” Trans. Christopher Sauder. http://www.bbk.ac.uk/bih/nancy-jean-luc-the-political-and-or-politics-frankfurt-2012.pdf. Paul Patton. (2010). “Activism, Philosophy and Actuality in Deleuze and Foucault.” Deleuze Studies (4, supplement): 84–103. _____. (2009). “Events, Becoming and History.” In Deleuze and History, ed. Jeffrey Bell and Claire Colebrook (Edinburgh University Press). _____. (2000) Deleuze and the Political (Routledge). Nasser Rabbat. (2012). “The Arab Revolution Takes Back the Public Space.” Critical Inquiry (39, Autumn): 198–208. Elske Rosenfeld. (2012). “Pictures That Refuse to Go Back Inside: An Artist Talk on Revolutionary Images.” http://eipcp.net/projects/creatingworlds/rosenfeld/en/print. Andrew Ryder. (2012). “Revolution Without Guarantees: Community and Subjectivity in Nancy, Lingis, Sartre and Levinas.” Journal of French and Francophone Philosophy (Revue de la philosophie française et de langue française) (20:1): 115–128. Viola Shafik. (2016). Arab Cinema: History and Cultural Identity, Revised and Updated Edition (American University Cairo Press). Peter Snowdon. (2014). “The Revolution Will Be Uploaded: Vernacular Video and the Arab Spring.” Culture Unbound (6): 401–429. Ahdaf Soueif. (2012). Cairo: My City, Our Revolution (Bloomsbury). Paolo Virno. (2008). Multitude: Between Innovation and Negation (Semiotext(e)). Slavoj Zizek. (2012). The Year of Dreaming Dangerously (Verso). Please feel free to suggest additional references. CONTACT To contact please use Facebook or e-mail MENU CLOSE MENU ABOUT | CREDITS | RESOURCES | BIBLIOGRAPHY | CONTACT | TUTORIAL © 2018 Stanford University. All rights reserved. Terms of Use. ISBN 9781503605220 | DOI 10.21627/2018fr | OCLC 1057701579 Published by STANFORD UNIVERSITY PRESS You can login with Twitter to access your pathways later, or continue anonymous. login with twitter or continue anonymous Filming Revolution can be experienced best on a desktop browser.