FOCUS 13

‘Egyptian revolutionary art’ or ‘Egyptian 1 Graffiti art’ has received worldwide atten- All That is Banned is Desired : ‘Rebel tion since 2011. The topic itself has been Documentaries’ and the Representa- (critically and uncritically) portrayed, dis- cussed and evaluated in a multitude of tion of Egyptian Revolutionaries2 articles, books, symposia, talks and exhibi- tions by researchers, curators, critics, pho- tographers and artists (see for example Abaza, Tourists and Graffiti; Antoun; Eickhof; Shalakany). Linked to Egyptian revolutionary or graffiti art is the notion of Ilka Eickhof the revolutionary rebel artist. The focus on young Egyptians and specifically artists Related to the increasing attention to so- Although taking different perspectives, also appears in a number of films that called Egyptian revolutionary graffiti, one the films sketch out a snap shot of a gen- have appeared since 2011 and circulated can also observe the appearance of eration that is caught in an ongoing vio- in manifold international film festivals as “Rebel-Documentaries”, focusing on a lent revolutionary process by (re)present- documentary films, receiving various similar group of protagonists: young, ing a specific rebellious Egyptian identity. prizes from within the Western award mostly male (graffiti) artists and revolu- In discussing the works, I will look at dif- economy.3 Now some accounts critically tionaries. In this article, I will take a closer ferent intertwined representational scrutinize the sudden hype on revolution- look at a selection of these documenta- effects that are related to the composi- ary youth and their specific, one-dimen- ries and their inherent power structures tion, realization and commercialization of sional Western representation as young, that frame the representational mechan- the films. Finally, the article raises ques- rebellious, educated, modern, and global- ics with a focus on the western notion of tions about the self-positionality of the ized (El-Mahdi; Bennani-Chraïbi and Fil- ‘the revolutionary rebel.’ The case exam- protagonists as well as to the localization lieule, et al.) In the following essay, I will ples are: Abdo–Coming of Age in a Revo- of the films, and the existence of embed- take a closer look at the orchestration of lution (Jakob Gross, 2015); Art War ded power structures and symbolic capi- four visual accounts of what I will refer to (Marco Wilms, 2014); Al Midan–The tal complicit with neoliberal and other as rebel documentaries in order to exam- Square (Jehane Noujaim, 2013); and The pressures. ine how a similar one-dimensional repre- Noise of Cairo–Art, Cairo and Revolution sentation of the artistic rebel is con- (Heiko Lange, 2012). All four focus on the Keywords: Representation; Othering; structed, which, in the end, (involuntarily) role and the supposedly ‘free, rebellious Revolutionary Art; Symbolic Capital; turns both film directors and protagonists spirit’ of the young generation in Egypt. Egypt into market products: Abdo – Coming of

Middle East – Topics & Arguments #06–2016 FOCUS 14

Age in a Revolution (directed by Jakob resentation that is said to produce sober, voices to make them be heard again, to Gross, 2015), Art War (directed by Marco unauthored texts through which the world “bear witness to Cairo’s vibrant artistic Wilms, 2014), Al Midan – The Square supposedly tells itself, without any ideo- underbelly, as it raises its voice once (directed by Jehane Noujaim, 2013) and logical intervention from its author” (God- again” (website noiseofcairo.com)? Why The Noise of Cairo – Art, Cairo and Revo- milow 3). Although I would assume that does another German director make a film lution (Heiko Lange, 2012). the aforementioned filmmakers Gross, about Abdo (Abdel Rahman Zin Eldin), Wilms, Noujaim and Lange would not who is “a young man looking for his iden- Theoretical Framing: Staging a Rebel Doc- claim that their work is neutral, documen- tity” (website Abdo-film.de)? ‘Why not?’ umentary tary films do act as authorities to the audi- one might think, yet this is not a sufficient All four films are set within the genre of ences because their images are assumed answer since the history of who makes ‘documentary film.’ When we hear ‘docu- to be truth, even though they are fiction whose voice not only heard, but also mat- mentary film,’ most of us will think that the (Trinh T. Minh-ha). They “claim the pedi- ter is strongly connected to positionali- film will show an objective reality in the gree of the real and all the attributes and ties—and to the genre of documentary. sense of ‘how things really are,’ or, in other privileges of the real” (Godmilow 4). In This is tied to another intrinsic power words, that the documentary film is based the end it is the surveillance camera dynamic, namely the ability and the free- on the ambition to tell a truth, the idea of which comes closest to the actual com- dom of movement: who makes a docu- the “purity of the image,” and with it the mon understanding of a documentary mentary about whom and for whom, who “assumptions about transparency, imme- (Plantinga 52). has the passport to travel (in this case to diacy, and singularity of meaning” (Sabea, Egypt), the cash to stay for an extensive Westmoreland 2). This truth, however, is The way documentary films are built and period of time and shoot a film (whether constructed through the regulatory means the way they use reflexive elements lead self-financed or with funding), and who of image selection, camera operation, to questions of authorship and represen- has the social and educational capital to musical underlining, narrational intention- tation—what do we see, who do we see, do so, plus the cash to pay the fixers—and alities, titles, etc. Other tools are so-called and how does it talk to us? Although all who does not? Where do these documen- validating devices like camera jiggles, four films differ regarding their means of taries take place? graininess, bad focus or other ‘accidents.’ production, plot line, funding and circula- Film directors Gross, Wilms and Lange These devices, which we encounter in all tion experiences, they do have in common financed their works on their own for a four films, serve as an indication that the that they represent their protagonists as long period of time, sometimes facing director did not control the event he or rebel heroes in one way or another — precarious periods, motivated maybe for she was recording (Ruby, Image) and con- smooth, mature and confident as inNoise the sake of art, of a political project, of vey proximity. of Cairo, or young, chaotic and adventur- believing in something, of receiving atten- The problem is that classical documentary ous as in Abdo. Why does a German direc- tion, and/or of receiving symbolic capital filmmaking is a “system of cinematic rep- tor need to catch the Cairene art scene’s which might translate into funding for

Middle East – Topics & Arguments #06–2016 FOCUS 15

future fi lm projects. However, it is also the ‘documentary pop stars’ and realize their of structural reasons like not being able to protagonists who gain capital. In Abdo as 15 minutes of fame rather than critically travel, or to suddenly recognize how lim- well as in The Square, working on the fi lm examine how their images are constructed ited the gained social and symbolic capi- with the person who later appears as the and the potential impact on audiences.” tal was for them in the end. fi lmmaker was a shared experience for the (Ruby, Speaking 50). Based on personal protagonists, and often a deep friendship conversations, some of the protagonists In “A Thing like You and Me,” Hito Steyerl evolved out of it, at least for the time of the recounted that they were rather disap- refers to David Bowie’s song “Heroes” fi lmmaking process. “Documentaries are pointed after the fi lms were out and where he calls for a new brand of hero in often regarded as elaborate home movies screened, for private reasons and expecta- the neoliberal times of revolution, his hero by the people in them. Subjects become tions that were not met, but also because no longer being a subject, but an object: Foto: © Heiko Lange © Heiko Foto: GANZEER designed by Wilms, © Marco Foto: Jäger © Ammar Abo Bakr and Christoph Foto:

The fi lm posters of three of the four documen- Figure 1: The Noise of Cairo. A Documentary About Figure 3: Abdo. Coming of Age in a Revolution, taries, visually connecting art/street art with the Cairo, Art and Revolution, 2012. 2015. revolution.4 Figure 2: Art War. Egyptian Artists Salvage the Revo- lution from Going Under, 2014.

Middle East – Topics & Arguments #06–2016 FOCUS 16

“A thing, an image, a splendid fetish,” an unique historic moment, however, is crucial in terms of representation. Missing image that can be multiplied, copied, almost impossible. The narratives are con- Arabic subtitles in the documentary (Ara- looked at as a shiny product (Steyerl 49). tested, memories are aestheticized, and bic is dubbed to English but not vice This could be a simple critique raised representations are based on intrinsic versa) suggest an English-speaking audi- when discussing the Western hype of Cai- power structures of who represents whom. ence. The English-only website promotes ro’s graffiti in general or the rebel docu- Therefore, constructing a narrative that the documentary as “a cinematic adven- mentaries specifically. But the representa- derives out of a moment of sudden hype ture following the interplay between art tion of the rebel in the rebel documentaries can be a hazardous undertaking, because and revolution,” with artistic expression is not only objectifying ‘the Other,’ since it tends to strengthen a singular story only being considered “nothing but a threat to the protagonists of all films mentioned (see Abdallah; Aly; Downey; Harutyun- the status quo.” The film promises us the either filmed themselves or for the most yan). It goes without saying that documen- “flourishing” art scene “as it raises its voice part believed that they genuinely repre- tary films present a selective, exiguous once again”: “The artists of Cairo, who sented themselves. It is the objectification point of narration within a contested refused to quiet down, come together to of the subject in between the representa- frame. But why do the rebel documenta- be heard.” And so we listen to “[t]welve tion and the represented which is desired ries get so much attention in international influencers from Cairo’s cultural scene that on both sides, and in which process Western film festivals? Which need does lead us on a journey to understand the agency is being lost—from both the pro- the artist rebel as a product of consump- unique role artists played during the revo- tagonists and the filmmakers. Both cater in tion fulfill, emotionally or financially? lution in Cairo” (noiseofcairo.com), though one way or the other to a market and one of the speakers admits that she has become a market product regardless of Apocalypse Now! A Rebellious Entertain- not exhibited her work in Cairo since 2004. their personal motivations as film director ment Industry The twelve narrators vary in age, gender or protagonist. “I was reminded of the fall The interview-based documentary The and class, they are given time to speak and of the Wall. I wanted to document an Noise of Cairo – Art, Cairo, and Revolution to raise and develop their thoughts, and actual revolution, to film people who were (2012) is the calmest, most static film of the most of them act comfortably on camera. the age I had been in 1989,” states Wilms four. It was shot in ten days and without a Among the interviewees is a gallery owner (MacLean). Lange hoped to transport an budget. The atmosphere during the from the upper-class neighborhood of atmosphere, a “photograph from that shooting in the summer of 2011 is euphoric Zamalek. Her part is left without musical time, a snapshot of a moment” (Gad), and and positive. Yet for the audience, it overtone, followed by an underlying oud Noujaim aimed to “tell the story through remains unclear how the interviews were melody which later changes to an instru- the eyes of characters” (npr). “I make films structured, who asked the questions, in mental oriental tune (which reappears). because I’m curious about a story, not what language, and what these were. The musical tone shifts to what sounds like because I know the answers,” said Nou- Language and spectatorship in the sense simple cello and viola tunes when William jaim (Kelsey). The attempt to catch a of who is being represented to whom is Wells (Townhouse Gallery) speaks. The

Middle East – Topics & Arguments #06–2016 FOCUS 17

classic cello/viola/saxophone tune alter- Yet the images of the graffiti artist at night, not command the language and/or nates throughout the film with the more the dancing unveiled woman, the young chooses to ignore a certain audience. The traditional Arabic one. We also see Graffiti Arabic speaking artist, the middle-age use of language counts for the under- Artist Keizer represented as the rebel par novelist, and the veiled woman on stage standing of the context and the social text excellence, hoodie covering most of the cater to a Western imagining of the artistic within which language is embedded. With face, meeting in the dark at night, blurry revolutionary rebel of Cairo, no matter if the translation of Arabic to English subti- lights in the background. His presentation intended or not by the filmmaker. tles, many nuances for the non-Arabic feeds an image of the male rebel, of some- speaking audience are lost, such as hints one doing something illegal, against a sys- The documentary Art War (2013) is a dif- in dialect that are indicative of class, the tem that shall not know about his exis- ferent kind of rebel documentary: the use of certain words, fine humorous tence. Another observation is that some music underlining the action-packed visu- nuances, connotations, critique, etc. interviewees in The Noise of Cairo receive als is dramatic, regulating the emotional more representational capital as com- conception. The film marches fleetingly Embedded in the timeline of Art War is pared to others: for example a man who through a chronological order of events the representation of the characters talks, but is only being referred to as announced by staged information boards, woven around it, centering on three male “Osama, Street-Art Project.” Both Osama, such as “June 2011, After the fall of Mubarak artists/graffiti artists with images of them whose full name is not revealed, and the people demand freedom and partici- working at night and exposing them- Osama Moneim are not listed as inter- pation,” “January 2012, Graffiti artist paints selves to danger, in one case urging the viewees on the film’s website. Although street fight of Mohamed Mahmoud filmmaker in direct interpellation to turn both protagonists appear as speaking to directly on the wall,” “February 2012, off the light on the camera. Next to these the audience, they are attributed with less Islamists begin propaganda war against images, which support the notion of the significance in regards to representation— revolution,” and many more. The docu- rebel as a construct of a young man, are a choice of the film director. Shots of city mentary ends with “July 2013, The army curtated representations of women as sites and graffiti murals hinting at aspects ousted Mursi and the Muslim Brother- mainly provocative outcasts, perpetuat- of urban (imagined Western) modernity hood.” The story line is accompanied by ing the focus on their bodies, such as the and a young, alternative, cool scene inter- explanatory statements from German- reduction of the talented artist Bosaina as ject the narrations, an atmospheric change Egyptian political scientist Hamed Abdel- sexy agent provocateur or through Aliaa that is used in all four rebel documenta- Samad, known for his critique of Islam. The Elmahdy’s naked self-portrait. Also ‘the ries. The level of rebel-ness in this specific main language of the advertisement for all Muslim’ in disguise for religious Muslims, documentary is subtle; all in all the film of the films, including Art War, is English, aka Brotherhood members, is repre- seems to be calmly directed, without nec- not Arabic. This hints at an imagined spec- sented in a pejorative way: for example, essarily chasing the excitement of the rev- tatorship that is not necessarily literate in Mohamed from the Salafi Al-Nur Party, olution—a sharp contrast to the other films. Arabic, and to a film director who might who has a significant beard, poor com-

Middle East – Topics & Arguments #06–2016 FOCUS 18

mand of English, and voices not very well and the use of regulatory means mirrors ing, crying, as each one is shortly intro- conceptualized political ideas. This stands the film director’s positionality and his duced, then their stories woven together. in contrast with how the Muslim Brother- construction of a specific Egyptian young The timeline that guides us through the hood member Magdy Ashour in The rebel, presented as ‘like us,’ a globalized, events appears more neutral than in Art Square is portrayed: a complex, intelli- secular youth from a similar social field. War, and less agitated. The represented gent figure who is sometimes doubtful, events are not only intersected by the allows a change of mind, and appears as The Square presents itself as “a revolution- English information that appears on the open and warm-hearted towards his ary film about change and the power of screen, but also by a painting hand (artist friends. In Art War, the religious beliefs of people” (thesquarefilm.com). An “[…] Ammar Abou Bakr, whom we also encoun- the rebel protagonists are not scrutinized, Emmy-winning, street-level view of the ter in the films Art War and Abdo) con- vocalized, or negatively represented. The 2011 Egyptian Revolution [that] captures necting the revolution with an artistic areligious rebel in line with Western imag- the astonishing uprising that led to the touch and with the whole complex of the inings is favored over the as obviously collapse of two governments,” advertises rebel as the artistic activist. The presented religious constructed one. Netflix, and this one-hour-and-forty-three- images are sometimes extremely graphic: On the Facebook page of Art War, we minute epos was also nominated for an people overrun by cars, mourning, bodies learn that the documentary shows how Oscar. The film follows several people being carried bleeding, wounded and “[y]oung Egyptians use graffiti, new music involved in the revolution and tries to cap- dying. The rebel-ness in this film is subtle and art to enlighten their fellow citizens ture different positions and political per- again, a smooth repositioning of emo- and keep the revolutions of the Arab spectives on the events. Representing tions, igniting empathy with the different Spring alive against the odds” (Facebook voices from various backgrounds in terms characters, be it Ahmed Hassan the narra- page Art War, 21.09.2015). The fact that it of class, gender, religion and age is one of tor and working class rebel, or Magdy is a German film director who chose to the big assets of this film. Ashour, member of the Muslim Brother- represent the artist’s way to ‘enlighten The film starts with Ahmed Hassan, the hood, whom we see struggling with trying their fellow citizens’ opens up questions of main protagonist, telling us that he paid to find out what is right and what is wrong. representation and positionality. his school tuition by selling lemons in the The rebel here is represented as a thought- The material collected and presented is street. From there he guides us through ful person who fights back, theorizes, con- impressive and often very personal— the events, often contemplative, reflecting sults with friends and older members of images of the artists sleeping, in their on what is happening: “Let me tell you his family, and is in solidarity well beyond homes, with their friends, with the director how the story began…”. his own borders of belief and ideology. tailing along. Yet the timeline and the The image of the protagonists alternates Apart from the protagonists we also hear emotional regulation though the combi- between them being filmed and them and see an army spokesperson and a nation of sound and images blur the qua­ speaking directly into the camera. We see major commenting on the happenings, lity of the raw material that is accessible, them discussing with each other, laugh- presenting different opinions and trying to

Middle East – Topics & Arguments #06–2016 FOCUS 19

capture the entangled societal complexi- game, talks about girls, university, Gaza, sentation of an energetic Egyptian young ties. Due to the course of events that con- plays football, and takes care of his little man who drinks and smokes and frolics stantly challenged the plot of the film, film- dog. The film seems put together out of with his friends that seems contradictory maker Noujaim and her team tried to arbitrary puzzle pieces of someone’s life, to our imaginations of a young Arab? mend and adjust the film material, but at with no commentator, narrator or text, and Does the film challenge a set stereotype, some point gave up and let the film be a only disrupted by the aforementioned or exoticize the young revolutionary rebel film, a document of a certain narrative of a atmospheric change of scenery: all of a who acts in the margins and rebels against certain time. Overall this reflects the diver- sudden barricades, fights, loud noises, societal standards? sified approach of the work. people with gunshot wounds stumbling According to Caroline Francis in “Slashing The most recent release of these four towards the camera, apocalyptic images, the Complacent Eye,” film is always eth- rebel documentaries is Abdo - Coming of demonstrations, violence, people running. nography: “[E]thnographic films are inher- Age in a Revolution (2015). Young Abdo, At this point it remains unclear if we are ently always about the filmmaker because an “Ultras football fan, atheist and an­archist looking at Abdo’s material, who is filming film is a medium of construction […]” (85). with a Salafist family background,” is “look- as well, or at the director’s. The film directors appear visually in Art ing for his identity” with “[h]is camera In one sequence we see Abdo dancing War and Abdo, initiating a twist in thought: [being] his only certainty in a world that is and rotating with the camera tight around somehow their appearances remind us of upside down” while his “life […] is shaken his head. Another one is located on the their role, but concurrently they seem to by the Egyptian revolts and the football wall, pointing at him, and he looks straight be absent from the film-making and edit- massacre of Port Said,” and he becomes a into it, aware of being filmed. He is turning ing process because they themselves rebel without a cause (website abdo-film. in circles, the music is loud, and then we appear as an edited, selected image, de/en/). The documentary starts with see the film director Gross sleeping in the which confirms the idea of a documentary Abdo looking straight into the camera—it adjacent room, Abdo filming him. Similar being something objective, truthful and is evening or dawn—as he speaks in Ara- to The Square, both the director’s and the authentic. At the same time, their appear- bic. The English subtitles read “Who are protagonist’s film material is used. The film ances construct themselves partly as you who are you | you are nobody | you are ends with a close-up of Abdo filming in heroes, as ‘I have been here, too,’ or as tak- nobody | nobody | I am also nobody | the metro. He remains silent, thoughtful. ing a bit of rebel aura from figures like Don’t laugh… | when it’s not funny | and The portrait of Abdo as a young man in his Abdo or Ammar. don’t cry | when it’s not supposed | to make ‘rebel years’ during the revolution is car- you cry | .” Throughout the film Abdo talks ried out in a careful and loving way. The In the end it is the film director who is cut- in Arabic or broken English, and some- director, one of the youngest of the four ting and choosing the material and setting times we hear questions addressed to him presented here, seems to be a friend of it up in a distinct timeline. His or her inter- in English. Abdo walks around, spends Abdo. What makes this documentary pretation and representation is based on time with his friends, drinks beer, plays a interesting for the market? Is it the repre- a choice of a plot structure, and/or a

Middle East – Topics & Arguments #06–2016 FOCUS 20

choice of a paradigm of explanation, tion and instead we want to take apart, tionalities, of class, gender, and other biased by moral or ideological decisions dismantle, tear down the structure that, intersections that construct subjectivities, (White 304). Even forms of collaborative right now, limits our ability to find each and of the question of who gets to speak filmmaking can be challenged when ask- other, to see beyond it and to access about whom, and who gets the capital out ing “[w]ho raised and controlled the the places that we know lie outside its of speaking about whom.5 funds? Who owns the equipment? Who is walls. (Halberstam 6) professionally concerned with the com- The young educated male/female artist/ pletion of the film? Who organizes and Part of the motivation behind directing revolutionary/rebel is an object of con- controls the distribution?” (Ruby, Speaking these documentaries might have been a sumption because we ascribe a certain 50). In all four cases, this power lies in the sense of solidarity and the wish to support meaning to it: the signification works, tell- hands of the respective director, although the struggle for the one, truthful narrative ing a story that is widely accepted to man- the protagonists might have been involved of how things really were. Yet the underly- ufacture commonality. The interest for ‘the in the process. In the end the films fail ing message of showing support or soli- rebellious Other’ was accompanied by a when it comes to sharing the symbolic darity with the revolution or those who hope for a change from abject representa- capital that is being accumulated as film were involved through producing a rebel tions that were prevalent post 9/11, and director (however it might have been not documentary reinscribes an asymmetrical indeed these new images of the revolu- intended to share this form of capital in power dynamic. We, the Western middle- tionary rebel were far from the usual pic- the first place). It remains open for debate class audience who attend film festivals tures of ‘the Muslim’ (see literature cited in whether or not this form of symbolic capi- and visit art house cinemas for which these first paragraph). But the non-acknow­ tal is shareable—whether as film director, documentaries have been tailored, look at ledgement of epistemological power author, researcher, etc. the protagonists in awe, maybe thinking (who tells the story?) makes it difficult to ‘they are just like us.’ Watching a docu- re-shift the inherent gaze of a privileged Conclusion: The Way They Are mentary, however, we as an audience tend audience when the ‘famed subalterns’ of If you want to know what the under- to forget that documentarians “speak the documentaries persistently remain on commons wants […], what black peo- about and never speak for a subject and a line of ‘us’ and ‘them.’ A contribution that ple, indigenous peoples, queers and that films never allow us to see the world aims at supporting a cause based on serv- poor people want, what we […]want, it through the eyes of [the subject], unless ing a hype- and interest-driven attention is this – we cannot be satisfied with the [the subject] is behind the camera” (Ruby, economy (Aufmerksamkeitsökonomie) recognition and acknowledgement ge- Speaking 60). The matter of who repre- leaves the signifier of solidarity or support nerated by the very system that denies sents whom is one that we not only empty. All that is banned is desired, the a) that anything was ever broken and encounter in the directing of the moving rebel fighting a cause that we can relate to b) that we deserved to be the broken image, but also regarding the written is celebrated. A deconstruction of social part; so we refuse to ask for recogni­ word. It is a matter of fieldwork and posi- structures and dynamics is needed, espe-

Middle East – Topics & Arguments #06–2016 FOCUS 21

Ilka Eickhof cially when such structures rely on privi- line with subjectivities that the West ima­ leges that prevent and impede the very gines as less threatening—and as long as (MA in Islamic Studies, Sociology destruction of them. In that case power he or she does not rebel against us. and Modern History) works at the remains as part of a normative, unques- Netherlands-Flemish Institute in Cairo tioned construction, regulating the image as a PhD researcher and lecturer. Her of the rebel we like: a form of Muslim-ness PhD dissertation analyses Northern (or any constructed Other-ness) that is in European cultural institutions in Cairo 2011-2015 (University of Amsterdam). Her research focuses on postcolonial 4 Notes 3 The poster of the film The Works Cited Antoun, Naira: “Revolutionary critique, politics of representation, and Alisa Lebow’s UK-funded English-only project Square could not be included Art ”. Ibraaz, 2 Nov. 2012. Web. Bourdieusian theory. Her publications 1 “All that is banned is website ‘Filming Revolution’ as META was unable to Abaza, Mona: “Academic 20 Dec. 2015. include Antimuslimischer Rassismus desired” is also the title of a (filmingrevolution.org) gives obtain permission from the Tourists Sight-Seeing the copyright holders. [F.L., ART WAR. Marco in Deutschland. Theoretische world conference on artistic an interesting yet limited Arab Spring”. Jadaliyya, 27 freedom of expression, overview of documentary editor] Sept. 2011. Web. 20 Dec. 2015. Wilms. facebook.com/ Überlegungen (2010); “My Friend, the 25.-26.10.2012, held in Oslo, and independent filmmaking ARTWARmovie/. Web. 21 5 Rebel. Structures and Dynamics of Norway and co-funded by in Egypt since the revolution. An article discussing Alice ---. “Is Cairene Graffiti Losing Sept. 2015. Cultural Foreign Funding in Cairo” (2014), the Norwegian Ministry of Not further mentioned in Goffman’s sociological Momentum?”. Jadaliyya, 25 analysis of the lives of Bennani-Chraïbi, Mounia, and “Graffiti, Capital and Deciding What’s Foreign Affairs. this article because of the Jan. 2015. Web. 20 Dec. 2015. difference in approach young black men in West and Olivier Fillieule. “Towards Inappropriate” (2015). 2 This article would have not and genre are the works Philadelphia quotes her Abdallah, Mohammed: a Sociology of Revolutionary email: [email protected] been possible without the that the non-profit media father Erving Goffman: “Monumental Narratives Situations. Reflections on comments and critique of collective Mosireen ‘‘The most difficult thing Waiting to Cave.” Garden the Arab Uprisings.” Revue my reviewers, whom I would Collective uploaded, or about doing fieldwork is City. Another Blog About française de science politique like to refer to as silent co- Peter Snowden’s carefully remembering who you Last Night. moabdallah. (English) 62.5 (2012): 1-29. authors. Whoever you are, I composed film The Uprising are.’’ This case is particularly wordpress.com, 2011. Web. 21 Print. am very grateful for the time (2013), a film that is entirely interesting to me because Sept. 2015. you invested in this piece, based on videos made Goffman tries to negotiate Couldry, Nick. Why Voice and the patience you must by citizens and long-term her symbolic capital in and Abdo – Coming of Age in a Matters. Culture and Politics have had when reading it. residents of Tunisia, Egypt, with her work: She shares her Revolution. Jakob Gross and after Neoliberalism. London: Your comments and thoughts Bahrain, Libya, Syria and royalty checks evenly with Annika Mayer. abdo-film.de/. Sage, 2010. Print. will guide me in my further Yemen, or the film The Secret the book’s characters, and Web. 21 Sept.2015. work. Thank you! Capital by Samuli Schielke they refer to the book as ‘our ––› and Mukhtar Saad Shehata book’. Aly, Doa: “Art Can.” Garden (2013). City. Another Blog About Last Night. moabdallah. wordpress.com. Web. 21 Sept. 2015.

Middle East – Topics & Arguments #06–2016 FOCUS 22

––› Downey, Anthony (ed.). Godmilow, Jill. “Kill the Minh-Ha, Trinh T. Sabea, Hanan, and Mark Dissonant Archives. Documentary as We Know “Documentary Is/Not a Westmoreland. “Beyond the Contemporary Visual Culture It.” Journal of Film and Video Name”. October 52 (1990): Written: Visual Productions and Contested Narratives 54.2/3 (2002): 3-10. Print. 77–98. Print. and Sensory Knowledge.” in the Middle East. London: Visual Productions of I.B.Tauris, 2015. Print. Halberstam, Jack. “The Noise of Cairo – A Knowledge. Towards a Wild Beyond: With and for Documentary of Cairo, Art Different Middle East. Ibid. Eickhof, Ilka. “My friend, the Undercommons.” The and Revolution. Heiko Lange Cairo: American University in the Rebel. Structures and Undercommons: Fugitive and Mark Falk. noiseofcairo. Cairo Press, 2012. 1-11. Print. Dynamics of Cultural Foreign Planning & Black Study. Eds. com. Web. 21 Sept. 2015. Funding in Cairo.” Arab Harney, Stefano, and Fred Shalakany, Amr A. “The day Revolutions and Beyond: Moten. New York: Minor npr: “The Square’ Tightens the graffiti died.” London Change and Persistence. Compositions, 2013. 2-13. Lens On Egypt’s Revolution”. Review of International Law Eds. Naoual Belakhdar, Ilka Print. National Public Radio, 11 Oct. 2.2 (2014): 357-78. Print. Eickhof, Amal Hamada et al. 2013. Web. 20 Dec. 2015. Working Paper 11, 2014. 41-52. Harutyunyan, Angela. Steyerl, Hito: “A Thing Like Web. 9 Apr. 2016. “Before and After the Event Plantinga, Carl. “What a You and Me.” e-flux journal. There Was the Artwork.” Documentary Is, After All e-flux, 16 Oct. 2010. Web. 21 El-Mahdi, Rabab: PhotoCairo5: More Out of (2005).” Documentary. Sept.2015. “Orientalising the Egyptian Curiosity than Conviction. Stallabrass, Julian. London: Uprising.” Jadaliyya, 11 Apr. Ed. Mia Jankowicz. Cairo: The MIT Press, 2013. 52-62. Square. Jehane Noujaim. 2011. Web. 28 Sept. 2015. Contemporary Image Print. thesquarefilm.com. Web. 21 Collective, 2014. 17-35. Print. Sept. 2015. Francis, Caroline. “Slashing Ruby, Jay. “Speaking For, the Complacent Eye: Luis Kelsey, Colleen: “Jehane Speaking About, Speaking White, Hayden. Buñuel and the Surrealist Noujaim and Karim With, Or Speaking Alongside: “Interpretation in History”. Documentary” Visual Amer Take the Square.” An Anthropological and New Literary History 4.2 Anthropology 21.1 (2007): Interviewmagazine, 22 Documentary Dilemma.” (1973): 281–314. Print. 72-87. Print. Oct.2013. Web. 20 Dec. 2015. Journal of Film and Video 44.1/2 (1992): 42-66. Print. Gad, Amira: “The Noise Lewis-Krauss, Gideon: “The of Cairo. Heiko Lange in Trials of Alice Goffman.” New Ruby, Jay. “The Image Conversation with Amira York Times Magazine, 12. Mirrored: Reflexivity and Gad. Ibraaz, 13 July 2012. Jan.2016.Web. 18. Jan. 2016. the Documentary Film”. Web. 10 Dec. 2015. Journal of the University MacLean, Rory: “Rory Film Association 29.4 The MacLean meets Marco Documentary Impulse: Wilms”. Goethe-Institut, Feb. Current Issues (1977):3-11. 2014. Web. 20 Dec.2015 (via Print. ISSN: 2196-629X wayback machine). http://dx.doi.org/10.17192/ meta.2015.6.3801

Middle East – Topics & Arguments #06–2016