DOCSLIB.ORG

Documentary Film As Evidence in the Digital Era

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Documentary Film As Evidence in the Digital Era DOCUMENTARY FILM AS EVIDENCE IN THE DIGITAL ERA ALEXANDROS VALSAMIS A submission presented in partial fulfilment of the requirements of the University of Glamorgan/Prifysgol Morgannwg for the degree of Doctor of Philosophy Supported by the State Scholarships Foundation of Greece (I.K.Y.) November 2013 DEDICATION This thesis is dedicated to the memory of my beloved father, who did not make it until the end of this journey. 1 ACKNOWLEDGEMENTS There are many people who have invested in my work over the past five years and I am enormously grateful. There is no way I can thank all of those who made this journey worthwhile, fun and intellectually stimulating. In short, I am greatly indebted to my friends and family. Their love, encouragement, and kind support, have raised the bar for what I expect of myself. I am truly grateful to all of them for investing in me and my ideas. I also feel the need to thank my director of studies, Professor Stephen Lacey, for being so loving and encouraging to me and for teaching me how to be a good scholar. I hope someday I will be able to be the kind of mentor he has been to me. I thank him from the bottom of my heart. Finally, I would like to thank my dear friend Lena Hadjiioannou for offering me her excellent editing skills and for the endless hours of conversations in a field which is not her own. Her brilliant skills in English language, her patient love, and unconditional support, have not only made the completion of this PhD study possible but have also made me a better person. Words cannot describe how grateful I am to her. 2 INTRODUCTORY STATEMENT This PhD thesis consists of three components – a written component which follows, three short documentary films on a Digital Video Disc (DVD), which can be found attached at the back of the written thesis, and a website on the World Wide Web, which is dedicated to the aforementioned films and can be found at the following address: http://www.documentarytruth.comule.com/index.html. All three components complement each other and should be examined together. It is recommended that the reader/viewser first read the text, go on to examine the website and watch the short films in the end. The DVD contains a 29 minute documentary film, Syntagma 34 (Valsamis, 2011), and two variations of it: Syntagma Sq. (ibid., 6 m.), and Syntagma Diary (ibid., 5 m.). In all three I acted as producer, director, cameraperson, editor, and sound recordist and so I have exercised absolute creative control over the making of the project and I take final responsibility for the resulting films. I shot these short documentaries in Athens, Greece, at Syntagma (constitution) square on June 28-29, 2011. The shooting was done during the two-day general strike and the demonstrations that took place to protest against the recent cruel austerity measures as well as the widespread corruption in Greek politics. The website was also created by me and I am solely responsible for its design and contents. The films and the website account for approximately 35 percent of the thesis and the written component for about 65 percent. 3 TABLE OF CONTENTS DEDICATION 1 ACKNOWLEDGEMENTS 2 INTRODUCTORY STATEMENT 3 TABLE OF CONTENTS 4 ABSTRACT 6 INTRODUCTION A. Background and Motivations 8 B. Reality - Veracity/Truth - Fiction/Non-fiction - Shared Authorship 10 C. Filmic Verisimilitude 14 D. The Chapters of the Thesis 15 E. Methodology 18 CHAPTER I I. A. A Short Prologue to Chapter I 24 I. B. The Soviet Montage Cinema 25 I. B. 1 Dziga Vertov and the Cine-Eyes 35 I. C. Robert Flaherty 47 I. D. John Grierson and the British Documentary Movement 53 I. E. Cinema Vérités: The Fertile Seedbed of the Long, Strange Sixties 66 Direct Cinema and Cinéma Vérité, Two Observing Methods I. F. A Short Epilogue to Chapter I 78 CHAPTER II II. A. A Short Prologue to Chapter II 81 II. B. The Origins of the Internet 84 II. B. 1 Characteristics of the Internet 87 II. C. Digital Representation and the Documentary Online 99 4 II. D. This Is a Copyrighted World 105 II. E. R/W and R/O modes of Culture 108 II. F. Fair Use 110 II. G. The Author in the Blender 114 II. H. A Short Epilogue to Chapter II 118 CHAPTER III III. A. A Short Prologue to Chapter III 120 III. B. This is what Democracy Looks Like (Friedberg and Rowley, 2000) 122 III. C. Into the Fire (Dicks, 2011) 128 III. D. Bahrain: Shouting In the Dark (Welsh, 2011) 133 III. E. A Short Epilogue to Chapter III 140 CHAPTER IV IV. A. The Film’s Context 147 IV. A. 1 The Debt Burden 148 IV. A. 2 Political Corruption and the Dawning of Fascism 151 IV. A. 3 The Mainstream Media’s Role 153 IV. A. 4 The People As the Enemy 154 IV. A. 5 The Need for Change 158 IV. B. Syntagma 34, Syntagma Sq., Syntagma Diary (Valsamis, 2011) 159 IV. B. 1 The Shooting Method 161 IV. B. 2 The Digital Sublime 165 IV. B. 3 The Goals of the Thesis 166 IV. B. 4 Issues of Documentary Ethics 168 IV. B. 5 The Films 171 IV. B. 6 Conclusions 181 BIBLIOGRAPHY 185 FILMOGRAPHY 208 5 ABSTRACT The purpose of this PhD research is to investigate the truth claims of documentary film in relation to the capturing of social reality through the negotiation of digital technology. The following research questions serve as a starting point for the conducted investigation: Even if Errol Morris is justified in stating that nothing can guarantee the truth, by what means might the evidential status of documentary be elevated? In what ways, and under what circumstances, might documentary enhance its claims to represent social reality in the digital era? This qualitative research was conducted through a written thesis and Practice as Research (PaR). Through the history of documentary film, the former investigates the aims and methods of three documentary movements (Vertov’s Kino-Eyes, Grierson’s British Documentary and Vérité, as exemplified by its Direct Cinema and Cinéma Vérité branches), examines three case studies to discuss issues raised in documentary film-making by digital technologies, and critically reflects on the PaR. The latter consists of three short documentary films on video, attempting to honestly record what took place in Athens, during the massive and peaceful protests of the Greek people on 28 and 29 June 2011, and a website aiming to enhance the viewser’s understanding of the films’ subject. The thesis indicates that, although nothing can ultimately guarantee the truth, digital technologies may elevate documentary’s evidential status, since they affect how 6 documentary works are produced, distributed, and received, generally allowing for greater availability, affordability, plurality of views, and cross-examination of testimonies. This study concludes that if documentary film records social reality honestly, without falsifying or omitting crucial facts, it has a certain value as evidence regardless of contents, techniques, or stylistic elements chosen. It also highlights the importance of the open admission of where the film-maker’s sympathies lie in the digital as well as the conventional cinematography. Ultimately, evidence from multiple sources that the rising culture of Remix is able to offer, through digital platforms of communication like the internet, brings together a multitude of testimonies and may lead to higher evidential status. 7 INTRODUCTION A. Background and Motivations. My interest in investigating the truth claims of documentary filmmaking arises from my work in theatre. When I was writing a children’s play, in 2001, on the subject of the life and times of Alexander the Great, I confronted several issues regarding historical reality which led me to a series of anxious questions about what is fact and what is doxa, what is real and what is unreal, and about how to trace partiality and the workings of fiction in historical documents which lay claims to fairness and objectivity. Having decided from the beginning to present on stage nothing but historical facts, in a way a child could comprehend, I had to study several analyses by some of the finest Greek historians in order to evaluate the evidential status of each of my sources. The task was hard but it was possible to achieve thanks to a rich bibliography on the subject that offered me the chance to overcome many ambiguities and be as veridical as can be in my representation of Alexander the Great. However, in the two following years (2002- 2003), during which the play was performed in the capital of Greece, those questions kept coming repeatedly by critics, friends, and members of the audience alike; a great many people seemed to be anxious about the truthfulness of the representation they had encountered. Reflecting on my working experience behind the camera, in several positions both in fiction and non-fiction audiovisual projects, my main concerns have always been rather with the practicalities of each of my undertaken tasks. However, when I was invited to adapt my play on Alexander the Great for a TV documentary, the same questions about 8 authenticity and impartiality reappeared in different form. The sources were there, well researched and evaluated already, but the means of representation had changed. The theatrical conventions, which I came to appreciate during my years of studying and practicing theatre acting, were no longer applicable. Representation through the lens applied new meanings to the old question of truthfulness and introduced a series of implications. Thanks to Charles Pierce, Andre Bazin, and to my years of studying cinema directing, the case seemed clear in the first place.
Load more

Recommended publications
  • March 2018 New Releases
    March 2018 New Releases what’s inside featured exclusives PAGE 3 RUSH Releases Vinyl Available Immediately! 59 Vinyl Audio 3 CD Audio 8 RICHIE KOTZEN - TONY MACALPINE - RANDY BRECKER QUINTET - FEATURED RELEASES TELECASTERS & DEATH OF ROSES LIVEAT SWEET BASIL 1988 STRATOCASTERS: Music Video KLASSIC KOTZEN DVD & Blu-ray 35 Non-Music Video DVD & Blu-ray 39 Order Form 65 Deletions and Price Changes 63 800.888.0486 THE SOULTANGLER KILLER KLOWNS FROM BRUCE’S DEADLY OUTER SPACE FINGERS 203 Windsor Rd., Pottstown, PA 19464 [BLU-RAY + DVD] DWARVES & THE SLOTHS - DUNCAN REID & THE BIG HEADS - FREEDOM HAWK - www.MVDb2b.com DWARVES MEET THE SLOTHS C’MON JOSEPHINE BEAST REMAINS SPLIT 7 INCH March Into Madness! MVD offers up a crazy batch of March releases, beginning with KILLER KLOWNS FROM OUTER SPACE! An alien invasion with a circus tent for a spaceship and Killer Klowns for inhabitants! These homicidal clowns are no laughing matter! Arrow Video’s exclusive deluxe treatment comes with loads of extras and a 4K restoration that will provide enough eye and ear candy to drive you insane! The derangement continues with HELL’S KITTY, starring a possessed cat who cramps the style of its owner, who is beginning a romantic relationship. Call a cat exorcist, because this fiery feline will do anything from letting its master get some pu---! THE BUTCHERING finds a serial killer returning to a small town for unfinished business. What a cut-up! The King of Creepy, CHRISTOPHER LEE, stars in the 1960 film CITY OF THE DEAD, given new life with the remastered treatment.
    [Show full text]
  • Representing History and the Filmmaker in the Frame
    REPRESENTING HISTORY AND THE FILMMAKER IN THE FRAME Trent Griffiths* Resumo: A presença do realizador no enquadramento representa uma relação única entre o documentário e a História em que o realizador se envolve na história social através da sua experiência pessoal e enquanto autor de uma representação. O realizador no enquadramento é, também, um representante do momento histórico, ao explorar de modo reflexivo o encontro com o processo de mediação e auto-representação que caracteriza a sociedade pós-moderna. Palavras-chave: subjetividade, auto-reflexividade, realizador no enquadramento. Resumen: La presencia del director en el encuadre representa una relación úni- ca entre el documental y la historia, en la cual el director se involucra en la historia social a través de su experiencia personal como autor de una representación. El director en el encuadre es también un representante del momento histórico, al explorar de modo reflexivo el encuentro con el proceso de mediación y auto-representación que caracteriza a la sociedad posmoderna. Palabras clave: subjetividad, auto-reflexividad, director en el encuadre. Abstract: The presence of the filmmaker as a subject in the documentary frame represents a unique relationship between documentary film and history, where the filmmaker engages with social history through their personal experience of authoring a representation of it. This paper explores how the tension between the filmmaker’s presence as an author and as a subject enacts a kind of self-reflexivity that recasts the possibilities of representing history through documentary film. Keywords: Subjectivity, self-reflexivity, filmmaker in the frame. Résumé: La présence du réalisateur dans l’image cinématographique témoigne d’une relation unique entre documentaire et histoire : le réalisateur s’engage dans l’his- toire sociale à travers d’une expérience personnelle et comme auteur d’une représen- tation.
    [Show full text]
  • Helsinki in Early Twentieth-Century Literature Urban Experiences in Finnish Prose Fiction 1890–1940
    lieven ameel Helsinki in Early Twentieth-Century Literature Urban Experiences in Finnish Prose Fiction 1890–1940 Studia Fennica Litteraria The Finnish Literature Society (SKS) was founded in 1831 and has, from the very beginning, engaged in publishing operations. It nowadays publishes literature in the fields of ethnology and folkloristics, linguistics, literary research and cultural history. The first volume of the Studia Fennica series appeared in 1933. Since 1992, the series has been divided into three thematic subseries: Ethnologica, Folkloristica and Linguistica. Two additional subseries were formed in 2002, Historica and Litteraria. The subseries Anthropologica was formed in 2007. In addition to its publishing activities, the Finnish Literature Society maintains research activities and infrastructures, an archive containing folklore and literary collections, a research library and promotes Finnish literature abroad. Studia fennica editorial board Pasi Ihalainen, Professor, University of Jyväskylä, Finland Timo Kaartinen, Title of Docent, Lecturer, University of Helsinki, Finland Taru Nordlund, Title of Docent, Lecturer, University of Helsinki, Finland Riikka Rossi, Title of Docent, Researcher, University of Helsinki, Finland Katriina Siivonen, Substitute Professor, University of Helsinki, Finland Lotte Tarkka, Professor, University of Helsinki, Finland Tuomas M. S. Lehtonen, Secretary General, Dr. Phil., Finnish Literature Society, Finland Tero Norkola, Publishing Director, Finnish Literature Society Maija Hakala, Secretary of the Board, Finnish Literature Society, Finland Editorial Office SKS P.O. Box 259 FI-00171 Helsinki www.finlit.fi Lieven Ameel Helsinki in Early Twentieth- Century Literature Urban Experiences in Finnish Prose Fiction 1890–1940 Finnish Literature Society · SKS · Helsinki Studia Fennica Litteraria 8 The publication has undergone a peer review. The open access publication of this volume has received part funding via a Jane and Aatos Erkko Foundation grant.
    [Show full text]
  • Vision, Desire and Economies of Transgression in the Films of Jess Franco
    A University of Sussex DPhil thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details 1 Journeys into Perversion: Vision, Desire and Economies of Transgression in the Films of Jess Franco Glenn Ward Doctor of Philosophy University of Sussex May 2011 2 I hereby declare that this thesis has not been, and will not be, submitted whole or in part to another University for the award of any other degree. Signature:……………………………………… 3 Summary Due to their characteristic themes (such as „perverse‟ desire and monstrosity) and form (incoherence and excess), exploitation films are often celebrated as inherently subversive or transgressive. I critically assess such claims through a close reading of the films of the Spanish „sex and horror‟ specialist Jess Franco. My textual and contextual analysis shows that Franco‟s films are shaped by inter-relationships between authorship, international genre codes and the economic and ideological conditions of exploitation cinema. Within these conditions, Franco‟s treatment of „aberrant‟ and gothic desiring subjectivities appears contradictory. Contestation and critique can, for example, be found in Franco‟s portrayal of emasculated male characters, and his female vampires may offer opportunities for resistant appropriation.
    [Show full text]
  • Maurice Proulx
    01/10/13 The Clergy and the Origins of Quebec Cinema The Clergy and the Origins of Quebec Cinema: Fathers Albert Tessier and Maurice Proulx par Poirier, Christian A handful of priests were among the first people in Quebec to use a movie camera. They were also among the first to grasp the cultural significance of cinema. Two individuals are particularly significant in this regard: Fathers Albert Tessier and Maurice Proulx. Today they are widely recognized as pioneers of Quebec cinema arts. Since 2000, Quebec cinema has been experiencing renewed popularity. Nevertheless, the key role played by the clergy in the development of a cinematographic and cultural tradition before the Quiet Revolution of the 1960s has not been fully appreciated, even though they managed nothing less than a collective heritage acquisition of cinema during a period dominated by foreign productions. After initially opposing the cinema-considering it an "imported" invention capable of corrupting French-Canadian youth- the clergy gradually began to promote the showing of movies in parish halls, church basements, schools, colleges and convents. It came to see film as yet another tool for conveying Catholic values. Article disponible en français : Clergé et patrimoine cinématographique québécois : les prêtres Albert Tessier et Maurice Proulx A Society on the Threshold between the Traditional Past and the Modern World During the first half of the 20th century, Quebec society underwent a process of gradual change: it became more industrialized, urbanized and economically diverse, while modern ideas such as liberalism or secularism increasingly became accepted as credible alternatives. Nevertheless, for the political and intellectual elite, the values associated with traditions, Catholicism, and rural life were still the of the French-Canadian people's identity.
    [Show full text]
  • Truth in Cinema
    Truth in Cinema http://web.mit.edu/candis/www/callison_truth_cinema.htm Truth in Cinema Comparing Direct Cinema and Cinema Verité Candis Callison Documenting Culture, CMS 917 November 14, 2000 Like most forms of art and media, film reflects the eternal human search for truth. Dziga Vertov was perhaps the first to fully articulate this search in “Man with a Movie Camera.” Many years later he was finally followed by the likes of Jean Rouch, Richard Leacock and Fred Wiseman who, though more provocative and technologically advanced, sought to bring reality and truth to film. Edgar Morin describes it best when, in reference to The Chronicle of a Summer , he said he was trying to get past the “Sunday best” portrayed on newscasts to capture the “authenticity of life as it is lived” 1. Both direct cinema and cinema verité hold this principle in common – as I see it, the proponents of each were trying to lift the veneer that existed between audience and subject or actor. In a mediated space like film, the veneer may never completely vanish, but new techniques such as taking the camera off the tripod, using sync sound that allowed people to speak and be heard, and engaging tools of inquiry despite controversy were and remain giant leaps forward in the quest for filmic truth. Though much about these movements grew directly out of technological developments, they also grew out of the social changes that were taking place in the 1960s. According to documentary historian Erik Barnouw, both direct cinema and cinema verité had a distinct democratizing effect by putting real people in front of the camera and revealing aspects of life never before captured on film.
    [Show full text]
  • Inmedia, 3 | 2013, « Cinema and Marketing » [Online], Online Since 22 April 2013, Connection on 22 September 2020
    InMedia The French Journal of Media Studies 3 | 2013 Cinema and Marketing Electronic version URL: http://journals.openedition.org/inmedia/524 DOI: 10.4000/inmedia.524 ISSN: 2259-4728 Publisher Center for Research on the English-Speaking World (CREW) Electronic reference InMedia, 3 | 2013, « Cinema and Marketing » [Online], Online since 22 April 2013, connection on 22 September 2020. URL : http://journals.openedition.org/inmedia/524 ; DOI : https://doi.org/10.4000/ inmedia.524 This text was automatically generated on 22 September 2020. © InMedia 1 TABLE OF CONTENTS Cinema and Marketing When Cultural Demands Meet Industrial Practices Cinema and Marketing: When Cultural Demands Meet Industrial Practices Nathalie Dupont and Joël Augros Jerry Pickman: “The Picture Worked.” Reminiscences of a Hollywood publicist Sheldon Hall “To prevent the present heat from dissipating”: Stanley Kubrick and the Marketing of Dr. Strangelove (1964) Peter Krämer Targeting American Women: Movie Marketing, Genre History, and the Hollywood Women- in-Danger Film Richard Nowell Marketing Films to the American Conservative Christians: The Case of The Chronicles of Narnia Nathalie Dupont “Paris . As You’ve Never Seen It Before!!!”: The Promotion of Hollywood Foreign Productions in the Postwar Era Daniel Steinhart The Multiple Facets of Enter the Dragon (Robert Clouse, 1973) Pierre-François Peirano Woody Allen’s French Marketing: Everyone Says Je l’aime, Or Do They? Frédérique Brisset Varia Images of the Protestants in Northern Ireland: A Cinematic Deficit or an Exclusive
    [Show full text]
  • Cinema Verite : Definitions and Background
    Cinema Verite : Definitions and Background At its very simplest, cinema verite might be defined as a filming method employing hand-held cameras and live, synchronous sound . This description is incomplete , however, in that it emphasizes technology at the expense of filmmaking philosophy. Beyond recording means, cinema verite indicates a position the filmmaker takes in regard to the world he films. The term has been debased through loose critical usage, and the necessary distinction between cinema-verite films and cinema -verite techniques is often lost. The techniques are surely applicable in many filming situations, but our exclusive concern here is for cinema-verite documentaries , as will become clear through further definition. Even granting the many film types within the cinema-verite spectrum (where, for instance, most Warhol films would be placed), it is still possible to speak of cinema verite as an approach divorced from fictional elements. The influence of fictional devices upon cinema-verite documentaries is an important issue, but the two can be spoken of as separate entities. Cinema verite in many forms has been practiced throughout the world , most notably in America , France, and Canada. The term first gained popular currency in the early sixties as a description of Jean Rouch's Chronique d 'un Ete. To embrace the disparate output of Rouch, Marker, Ruspoli, Perrault, Brault, Koenig, Kroi- tor, Jersey, Leacock, and all the others under one banner is to obscure the wide variance in outlook and method that separates American cinema verite from the French or Canadian variety and further to fail to take into account differences within the work of one country or even one filmmaker .
    [Show full text]
  • “Direct Cinema Is Anything but a Fly on the Wall”: a Conversation with Albert
    i i i i DOI: 10.20287/doc.d20.en1 “Direct cinema is anything but a fly on the wall”: a conversation with Albert Maysles Frank Verano* Albert Maysles, along with his brother David, was a pioneer in American observational documentary in the early 1960s. Revolutionary technological breakthroughs developed by Maysles, producer Robert Drew, and filmmakers Ricky Leacock and D.A. Pennebaker allowed sound and image to be recorded in complete synchronization independent of any physical connectivity; this provided filmmakers a manageable mobility that positioned them to observe and interact with the world in a new way in pursuit of a new cinematic realism. In 1964, Albert coined a term for their practice, which thus distinguished it from the arbitrarily-applied misnomer cinéma vérité: direct cinema. With Albert behind the camera and David recording sound, the Maysleses sought a modern cinematic expression of both the everyday and the extraordi- nary that emphasized a spontaneous present-ness. Their early work exploring performativity and lives on the run set the stage: (Showman [1963], What’s Happening! The Beatles in the USA [1964], Cut Piece [1965], Meet Marlon Brando [1966] and A Visit With Truman Capote [1966]). Cut Piece was just the beginning of the Maysleses’ new cinematic engagement with modern art, which continued in the 1970s in a series of films with Christo and Jeanne- Claude: Christo’s Valley Curtain (1974), Running Fence (1978) and Islands (1986). Their suite of films in the late 1960s and early ’70s represents a furthe- ring of the concept of direct cinema, with an increased emphasis on reflexivity in each.
    [Show full text]
  • The Emergence of Digital Documentary Filmmaking in the United States
    Academic Forum 30 2012-13 Conclusion These studies are the second installment of a series which I hope to continue. Baseball is unique among sports in the way that statistics play such a central role in the game and the fans' enjoyment thereof. The importance of baseball statistics is evidenced by the existence of the Society for American Baseball Research, a scholarly society dedicated to studying baseball. References and Acknowledgements This work is made much easier by Lee Sinins' Complete Baseball Encyclopedia, a wonderful software package, and www.baseball-reference.com. It would have been impossible without the wonderful web sites www.retrosheet.org and www.sabr.org which give daily results and information for most major league games since the beginning of major league baseball. Biography Fred Worth received his B.S. in Mathematics from Evangel College in Springfield, Missouri in 1982. He received his M.S. in Applied Mathematics in 1987 and his Ph.D. in Mathematics in 1991 from the University of Missouri-Rolla where his son is currently attending school. He has been teaching at Henderson State University since August 1991. He is a member of the Society for American Baseball Research, the Mathematical Association of America and the Association of Christians in the Mathematical Sciences. He hates the Yankees. The Emergence of Digital Documentary Filmmaking in the United States Paul Glover, M.F.A. Associate Professor of Communication Abstract This essay discusses documentary filmmaking in the United States and Great Britain throughout the 20 th century and into the 21 st century. Technological advancements have consistently improved filmmaking techniques, but they have also degraded the craft as the saturation of filmmakers influence quality control and the preservation of “cinema verite” or “truth in film.” This essay’s intention is not to decide which documentaries are truthful and good (there are too many to research) but rather discuss certain documentarians and the techniques they used in their storytelling methods.
    [Show full text]
  • Mediterranean Competition Bulletin
    MEDITERRANEAN COMPETITION BULLETIN BULLETIN MÉDITERRANÉEN DE CONCURRENCE N° 2 November 2010 http://ec.europa.eu/competition/publications/mediterranean/index.html EDITORIAL By Juan Antonio Rivière 3 ALGERIA PRESENTATION DU PROJET DE LOI n° 10-05 5 COMPILATION DU TEXTE DE L'ORDONNANCE n°03-03 6 PROJET DE JUMELAGE CONCURRENCE 18 EGYPT ABUSE OF DOMINANCE:PECULIARITIES AFFECTING ECONOMY 22 By Mourad Greiss SOUTH-SOUTH COMPETITION COOOPERATION: QIZ CASE STUDY 36 By Mohamed El-Far JORDAN NEW DRAFT COMPETITION LAW, ACHIEVEMENT & IMPROVEMENT 49 By Dr. Martin Beck, Moritz Ader, Léa Collet THE KONRAD ADENAUER STIFTUNG IN AMMAN 54 MACEDONIA FIVE YEARS OF COMPETITION ENFORCEMENT: ASSESMENT 56 By Ms Rozera Karova & Marco Botta MAROC POLITIQUE DE CONCURRENCE ET L'APPUI DE L'UE 73 COMPETITION POLICY AND ITS SUPPORT BY THE EU 90 Par Krzysztof Jaros SERBIA RECENT DEVELOPMENTS IN THE COMPETITION LAW 96 By Srdjana Petronijevic SYRIA ACT OF COMPETITION PROTECTION AND PREVENTION OF 100 MONOPOLY TUNISIE CONCLUSIONS OF THE COMPETITION LAW AND POLICY STUDY 110 JUMELAGE: MODERNISATION DU TRIBUNAL ADMINISTRATIF 114 UNITED TOWARD INDEPENDENT COMPETITION ADVOCAY IN THE 117 STATES OF MEDITERRANEAN WORLD:LEARNING FROM THE AAI MODEL AMERICA By Albert Foer THE EUROPEAN OMBUDSMAN: RESOLVING COMPLAINTS, 129 EUROPEAN PROMOTING GOOD ADMINISTRATION UNION By P. Nikiforos Diamandouros THE ROLE OF PUBLIC SERVICES IN "EUROPE 2020" 135 By Joaquin Almunia CEEP DECLARATION ON PUBLIC SERVICES SHAPING EU 140 CYPRUS COMPETITON COMMISSION IMPOSES FINES 141 ARLEM - EURO-MED REGIONAL AND LOCAL ASSEMBLY 142 EUROMED EMPA -EURO-MED PARLIAMENTARY ASSEMBLY RECOMMENDATION 145 APPEL DE HAMMAMET 154 EURO-MED BUSINESS DECLARATION 2010 155 SECRETARIAT OF THE UNION FOR THE MEDITERRANEAN 158 INFRAMED 164 INTERNATIONAL CITY FOR THE MEDITERRANEAN PROJECT 165 LISTE OF ARTICLES IN MCB-BMC n° 1 166 INFORMATION EUROPEAN COMPETITON NETWORK BRIEF 4 169 ……………….
    [Show full text]
  • Banks Are Responsible for the Economic and Social Crisis in Greece
    Banks are Responsible for the Economic and Social Crisis in Greece By Eric Toussaint Region: Europe Global Research, January 09, 2017 Theme: Global Economy, Poverty & Social Coalition for the Abolition of Illegitimacy Inequality Debt 9 January 2017 The present study shows that the Greek crisis that broke out in 2010 originated in private banks, not in excessive public spending. The so-called bail-out was designed to serve the interests of private bankers and those of dominant countries in the Eurozone. Greece adopting the euro played a major role among the various factors that contributed to the crisis. The analysis developed here was first presented in Athens on 6 November 2016 during a meeting of the Truth Committee on Greek Public Debt. At first sight, between 1996 and 2008, the development of Greece’s economy looked like a success story! The integration of Greece within the EU and from 2001 on within the Eurozone seemed successful. The rate of Greece’s economic growth was higher than that of the stronger economies in Europe. This apparent success actually concealed a vicious flaw, just as had been the case in several other countries – not only Spain, Portugal, Ireland, Cyprus, the Baltic Republics and Slovenia, but also Belgium, the Netherlands, the United Kingdom, Austria…, countries that had been badly hit by the 2008 financial crisis.1 | Not forgetting Italy, which was caught up by the banking crisis a few years after the others. In the early 2000s, the creation of the Eurozone generated significant volatile and often speculative financial flows 2| | that went from economies of the Centre (Germany, France, the Benelux, Austria…) towards countries of the Periphery (Greece, Ireland, Portugal, Spain, Slovenia, etc.).
    [Show full text]