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Die Syrische Gesellschaft in Den Filmen Von Omar Amiralay

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Die Syrische Gesellschaft in Den Filmen Von Omar Amiralay Die syrische Gesellschaft in den Filmen von Omar Amiralay Dissertation zur Erlangung des Grades „Doktor der Naturwissenschaften“ im Promotionsfach Geographie am Fachbereich Chemie, Pharmazie und Geowissenschaften der Johannes Gutenberg-Universität Mainz Ahmad Izzo geb. am 09. April. 1983 in Masyaf-Syrien Mainz, 2016 Zusammenfassung Obwohl sich Filmgeographie als eine weitere Teildisziplin der Kulturgeographie ab der Mitte der 1990er Jahre herauskristallisierte, steht die Analyse von Dokumentarfilmen vor allem innerhalb der deutschsprachigen Filmgeographie am Rand des wissenschaftlichen Interesses. Aus diesem Grund befasst sich die vorliegende Dissertation mit drei Dokumentarfilmen der syrischen Filmemacher Omar Amiralay (1944-2011), der in den Augen vieler Filmkritiker als der Vorläufer des syrischen Dokumentarfilms angesehen ist. Mwaylih, Sadad und El-Machi sind syrische Dörfer, in denen Amiralay die gesellschaftlichen Machtverhältnisse dokumentierte und seiner politischen Sichtweise entsprechend wieder konfiguriert und darstellt. Die vorliegende filmgeographische Untersuchung stützt sich auf die theoretischen Grundverständnisse, dass die dokumentarfilmischen Repräsentationen weder schlichte Abbildung noch neutrale Wiedergabe der lebensweltlichen Wirklichkeit zu betrachten sind. Darüber hinaus resultiert die machtbeladene Konstruktion von Filmräumen aus einem komplexen und kontextuellen Wechselspiel von Filmästhetik auf der einen Seite und vorfilmischer Realität auf der anderen Seite. Im Verständnis der vorliegenden Arbeit ist die Macht kein Ding im materiellen Sinne, das man zu besitzen vermag, sondern ein gesellschaftlicher Antrieb und eine Komplexität von soziopolitischen und ökonomischen Zusammenspiel, deren Einflüsse sich von der Normierung der alltäglichen Bedarfsbefriedigung bis zur Wiederkartierung der Welt erstrecken könnten. Macht lässt sich vor diesem Hintergrund symbolisieren, repräsentieren und danach interpretieren. Hierfür rekurriert die empirisch-analytische Auseinandersetzung mit den zu untersuchenden Filmmaterialien sowohl auf die in der Filmwissenschaft gängigen Instrumente zur Filmanalyse wie auch auf die qualitative Inhaltanalyse, um eine zielgerichtete geographische Filmlektüre zu entwickeln. Zunächst richtet sich das Augenmerkt der Analyse auf das physisch-materielle Wesen der geographischen Struktur des einzelnen Dokumentarfilms, die aus verschiedenen filmischen Orten zusammengesetzt ist. Die Analyse der materiellen Struktur der Filme liegt der Interpretation der konstruierten Filmräume zugrunde, welche mit machtbezogenen Bedeutungen aufgeladen sind. Die eingehende Lektüre der ausgewählten Dokumentationen stellt die Analyse und Interpretation der kontextuellen Zusammenhänge von ästhetischen Gestaltungsstrategien, verbalen Äußerungen und Handlungen der gefilmten Personen sowie materiellen Ausstattungen der filmischen Orte in Vordergrund, da sie zur raumgenerierenden Bedeutungszuschreibung und zur Aufklärung der Macht-Raum-Verhältnisse beitragen. I Abstract Despite the fact that film geography crystallized as a further branch of cultural geography from the mid-1990s onwards, the analysis of documentary films – especially in German-speaking geography – is at the margins of scientific investigation. For this reason, the present thesis deals with three documentary films by the Syrian filmmaker Omar Amiralay (1944-2011). Mwaylih, Sadad and El- Machi are Syrian villages through which Amiralay has documented and represented the dynamics of the social relation power. According to the present study, power could not be understood as a thing in the material sense that one is capable of possessing, but as a complexity of sociopolitical and economic interactions, whose influences extend from the normalization of the daily satisfaction of needs to the re- mapping of the world. Power can be therefore symbolized, represented and interpreted. For this purpose, the empirical-analytical approach to investigate the filmic space-power-relation in the chosen documentaries recurred both on the common analysis methods used in film-studies and on the qualitative content analysis. In-depth reading of the selected documentaries focused on the analysis and interpretation of the contextual connections of the framing, aesthetic strategies, spoken and written language, actions of the filmed persons as well as material characteristics of the filmic place. II Inhaltsverzeichnis 1. Gegenstand der Arbeit, Ziele und Fragestellungen .......................................................................... 1 1.1. Einleitung und Gegenstand der Arbeit .................................................................................... 1 1.2. Ziel und Fragestellungen der Arbeit ........................................................................................ 8 2. Die theoretischen Grundlagen der Arbeit ...................................................................................... 10 2.1. Geographie und (Dokumentar-)Film ..................................................................................... 10 2.1.1. Geographische Beschäftigung mit dem Dokumentarfilm: ein Forschungsüberblick ...... 13 2.1.2. Dokumentarfilm: theoretische Grundbegriffe ............................................................... 20 2.1.3. Die geographische Verquickung mit dem (Dokumentar-)Film ....................................... 27 2.1.3.1. Ort und Raum im geographischen Verständnis ...................................................... 27 2.1.3.2. Filmischer Ort und Filmraum .................................................................................. 30 2.2. Macht .................................................................................................................................... 34 2.2.1. Macht: ein konkretisierter Blick auf einen komplexen Terminus ................................... 35 2.2.2. Zwei spezifische Formen der Macht ............................................................................... 38 2.2.2.1 Disziplinarmacht ...................................................................................................... 40 2.2.2.2 Propaganda und Personenkult ................................................................................. 41 2.3. Die theoretische Folie der Arbeit ........................................................................................... 46 3. Auswahl der Filme und Methodik der Analyse ............................................................................... 49 3.1. Auswahlkriterien der Dokus und Zusammenfassung der Inhalte .......................................... 49 3.2. Methodische Reflexionen ...................................................................................................... 52 3.3. Geographische Filmlektüre als Methode für die Analyse ...................................................... 55 3.4. Kategorien der Analyse der ausgewählten Dokumentarfilme ............................................... 60 3.5. Methodische Herangehensweise .......................................................................................... 63 III 4. Die geographische Struktur der filmischen Orte in den untersuchten Dokumentarfilmen ............. 66 4.1. Erläuterung der filmischen Orte ............................................................................................ 66 4.1.1. Alltagsleben in einem syrischen Dorf ............................................................................. 67 4.1.2. Die Hühner ..................................................................................................................... 71 4.1.3. Flut im Ba’ath’s Land ...................................................................................................... 73 4.2. Die Analyse von Sequenzgrafiken und Zeitachsen ................................................................. 76 5. Machtanalyse in den ausgewählten Dokumentarfilmen ................................................................ 83 5.1. Film I: Alltagsleben in einem syrischen Dorf (1974)............................................................... 83 5.1.1. „I was afraid there’s be a massacre in town“: Mwaylih als Hochburg des Tribalismus . 84 5.1.2. Übertragung von fernen Räumen in der Schule ............................................................. 90 5.1.3. Die Moschee als Erlösungsraum ..................................................................................... 91 5.1.4. Dorf dystopisch/Stadt utopisch ...................................................................................... 99 5.2. Film II: Die Hühner (1977).................................................................................................... 108 5.2.1. Teil I: Sadad als Raum des verzerrten Idylls ................................................................. 108 5.2.2. Teil II: Melodien von dörflichen Bourgeois ................................................................... 116 5.3. Film III: Flut im Ba’ath’s Land (2003) ................................................................................... 125 5.3.1. Die Schule als Materialisierung des ideologischen Diskurses der Disziplin ................... 125 5.3.2. Der Euphrat, der Fluss, die Heimat .............................................................................. 133 5.3.3. Akkumulation autoritärer Mächte in Al-Madafah ........................................................ 142 5.3.4. Auf dem Weg zum islamistischen Gottesstaat? ........................................................... 145 6. Resümee:
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