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Articles 181 - 210 of 2678
Full-Text Articles in Fine Arts
Carnets De Bord. Tables D’Orientation « Tariq Teguia », Pascale Cassagnau, Tariq Teguia
Carnets De Bord. Tables D’Orientation « Tariq Teguia », Pascale Cassagnau, Tariq Teguia
Regards
This interview by Pascale Cassagnau with Tariq Teguia puts into perspective the Algerian filmmaker’s work notebooks, which are both autonomous objects and working documents, linked to the film itself. A medium for thought, the notebook is a space for language, a score and a cartographic space that gives shape to the writing of the film in a graphic way. A discursive space parallel to the space of scriptwriting, the notebook accompanies the development of the film from its inception, collecting the writing of thought in no particular chronological order.
Résumé
Cet entretien de Pascale Cassagnau avec Tariq Teguia met en …
« Voi(E)X De L’Exil, Formes De La Pensée » : Le Cinéma-Essai De Borhane Alaouié », Elie Yazbek, Farah Alhashem
« Voi(E)X De L’Exil, Formes De La Pensée » : Le Cinéma-Essai De Borhane Alaouié », Elie Yazbek, Farah Alhashem
Regards
This article offers a comprehensive study of Borhane Alaouié’s work, a central figure in modern Lebanese cinema, situating it within the tradition of the essay film. Through an analysis of Lettre d’un temps d’exil, À toi où que tu sois and Khallas, it examines how exile, wounded memory, and fragmentary thought shape the filmmaker’s aesthetic and ethical approach. Exile is explored not only as a geopolitical condition but as an interior state, a persistent uncertainty that structures voices, narratives and images. The study highlights the importance of voice-over, fragmentation, memory-driven editing and epistolary address, while positioning Alaouié’s work …
The Personal Is Collective: Egyptian First-Person – Documentary Cinema As Post-Revolution Diary, Eman Elharmeel
The Personal Is Collective: Egyptian First-Person – Documentary Cinema As Post-Revolution Diary, Eman Elharmeel
Regards
The 2011 Egyptian revolution marked a watershed moment in the reconfiguration of individuality, autonomy and self-expression within Egyptian society. Challenging long-standing collectivist frameworks, the revolutionary moment opened new spaces for individual agency and subjective reflection. This paper examines how these shifts intersect with the rise of first-person documentary cinema as a powerful medium for articulating post-revolutionary subjectivity in Egypt.
Focusing on The Past Will Return (2015) by Dina Hamza, Happily Ever After (2016) by Nada Riyadh and Ayman El Amir, and Little Eagles (2016) by Mohamed Rashad, the paper analyzes how filmmakers negotiate personal desires, familial pressures and collective belonging …
Triste Souvenir Et Sombre Avenir, « Lettre À Ma Sœur » (2006) De Habiba Djahnine, Boualem Khelifati
Triste Souvenir Et Sombre Avenir, « Lettre À Ma Sœur » (2006) De Habiba Djahnine, Boualem Khelifati
Regards
This article explores how Letter to My Sister (2006), a film by director and poet Habiba Djahnine dedicated to her sister Nabila, a democratic and feminist activist who was murdered by Islamist terrorists in Tizi Ouzou in 1995, revisits the fate of the direct and indirect victims of Algeria’s dark decade of the 1990s and the repressive religious and state policies towards women. It employs a narrative structure that combines several film genres – film-letter, film-journey, film-poem, and film-archive – showing situations in which memories and pain are shared, as well as the necessary perpetuation of a struggle that is …
Beyrouth 1978-1982 : Le Fonds Photographique De Monica Maurer – Une Collection Contre L’Oubli Et La Destruction, Aude Fourel
Beyrouth 1978-1982 : Le Fonds Photographique De Monica Maurer – Une Collection Contre L’Oubli Et La Destruction, Aude Fourel
Regards
It was while searching for unused film footage on the Palestinian struggle for a documentary essay that I discovered the filmography of German director Monica Maurer and her work restoring and preserving Palestinian films. For the past four years, we have been working together to digitise and catalogue the photographs and documents she still keeps at home.
I reflect on the paths opened up by the writing of a film in the making, on the formatting of Monica Maurer’s photographic collection, and on the initial prospects for visual and historical studies of this material in the particular context of the …
Sonorisation De L’Anarchive Ou La Palestine Comme Projet Politique – À L’Écoute De « A Fidai Film » De Kamal Aljafari Et De « Partition » De Diana Allan, Judith Abensour
Sonorisation De L’Anarchive Ou La Palestine Comme Projet Politique – À L’Écoute De « A Fidai Film » De Kamal Aljafari Et De « Partition » De Diana Allan, Judith Abensour
Regards
Kamal Aljafari’s A Fidai Film draws on Palestinian archives confiscated by Israel in Beirut in 1982. Diana Allan created Partition using archives from Mandatory Palestine held at the Imperial War Museum in London. The film notebook not only refers to a type of fragmentary editing, but also allows us to revisit the relationship between sound and image, thus offering an exercise in remembrance in the present. By adding sound to images, the two filmmakers question the contradictions inherent in archives, their erasure or their resistance to authoritative or propagandistic discourse. Thus, under the guise of sensory and sound anthropology for …
Videotracts For Palestine : Images Et Contre-Images, Lola Maupas
Videotracts For Palestine : Images Et Contre-Images, Lola Maupas
Regards
This article examines the political and aesthetic gesture of Videotracts for Palestine, a collective founded on Instagram in November 2023 in the context of the Israeli offensive in Gaza. Heirs to the ciné-tracts of 1968 and, more broadly, to international militant cinema, these very short anonymous films also mobilize contemporary digital tools and produce what might be called a counter-visuality of resistance. The study highlights how the collective situates itself within a tradition of images as weapons of struggle while inventing its own forms, shaped by the massive circulation enabled by the Internet and social media. The videotracts deconstruct …
Des Sons Pour L’Histoire. Correspondance Avec Mohammed Yaghi, Aude Fourel
Des Sons Pour L’Histoire. Correspondance Avec Mohammed Yaghi, Aude Fourel
Regards
Sounds for History. Correspondence with Mohammed Yaghi
Mohammed Yaghi was born in 1992 and trained in sound engineering in Gaza. He has worked for UNRWA television and collaborated with Palestinian and international documentary film production companies.
These sound recordings for films, educational programs and interviews were the first step in the sound diary that he has kept on building on a daily basis.
[...]
Résumé
Mohammed Yaghi est né en 1992 et s’est formé aux métiers du son à Gaza. Il a travaillé à la télévision de l’UNRWA et collaboré avec des maisons de productions palestiniennes et internationales de films …
Back Cover, Michaela Velleno
Credits, Michaela Velleno
Artist Index, Maneli Mianji
'West Coast Orpheus', Maneli Mianji
'West Coast Orpheus', Maneli Mianji
.RAW Journal of Art and Design
No abstract provided.
'The Dragon Eye'; 'Walking On The Edge'; 'All Material Scatters'; 'Unfinished Blanket'; & 'Lizard Helmet', Maxwell Rice, Alyssa Shavely, Cezar Gomez, Gabriella Yu, Emily Winters
'The Dragon Eye'; 'Walking On The Edge'; 'All Material Scatters'; 'Unfinished Blanket'; & 'Lizard Helmet', Maxwell Rice, Alyssa Shavely, Cezar Gomez, Gabriella Yu, Emily Winters
.RAW Journal of Art and Design
No abstract provided.
'My Skin As A Room'; 'Muscle Memory'; & 'I Remember It Being Brighter', Sarah Tarquin, Addy Cota
'My Skin As A Room'; 'Muscle Memory'; & 'I Remember It Being Brighter', Sarah Tarquin, Addy Cota
.RAW Journal of Art and Design
No abstract provided.
'Road Not Taken' & 'The Ripening', Sierra Hall, Kyra Oh
'Road Not Taken' & 'The Ripening', Sierra Hall, Kyra Oh
.RAW Journal of Art and Design
No abstract provided.
'Chop' & 'Simple Life', Owen Isachsen
'Chop' & 'Simple Life', Owen Isachsen
.RAW Journal of Art and Design
No abstract provided.
'Ethical Hacking', Lillie Turinsky
'Ethical Hacking', Lillie Turinsky
.RAW Journal of Art and Design
No abstract provided.
'Performers', Colin Pope
'The Unseen Anguish'; 'The Annunciation'; & 'Emerging', Abigail Gan, Angel Froumis
'The Unseen Anguish'; 'The Annunciation'; & 'Emerging', Abigail Gan, Angel Froumis
.RAW Journal of Art and Design
No abstract provided.
'Sweet Nectar' & 'The Songs Of Fish', Yasmin Myers, Julia Hazemoto
'Sweet Nectar' & 'The Songs Of Fish', Yasmin Myers, Julia Hazemoto
.RAW Journal of Art and Design
No abstract provided.
'Kinda Crushing Hard', Erin Robinson
'Kinda Crushing Hard', Erin Robinson
.RAW Journal of Art and Design
No abstract provided.
'Overgrown', Lucas Vergara
'An Inner Child’S Garden Of Growth' & 'Structures (Labor)', Maria Belén Luzuriaga Abad, Itzel Camarillo-Gonzalez
'An Inner Child’S Garden Of Growth' & 'Structures (Labor)', Maria Belén Luzuriaga Abad, Itzel Camarillo-Gonzalez
.RAW Journal of Art and Design
No abstract provided.
'West Coast Orpheus', Maneli Mianji
'West Coast Orpheus', Maneli Mianji
.RAW Journal of Art and Design
No abstract provided.
'Rhythm Of A Champion', Nick Degeorge
'Rhythm Of A Champion', Nick Degeorge
.RAW Journal of Art and Design
No abstract provided.
'An Ode To The Pacific', Owen Beim
'An Ode To The Pacific', Owen Beim
.RAW Journal of Art and Design
No abstract provided.
Preface, Owen Isachsen
Table Of Contents, Lucas Vergara
Opening, Michaela Velleno, Erin Robinson
Opening, Michaela Velleno, Erin Robinson
.RAW Journal of Art and Design
No abstract provided.
Cover, Owen Isachsen