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Some of the most provocative films owe more to pulp and lo-fi subcultures than to mainstream cinema: look at Omar Ali Khan's anti-yuppie, anti-fundamentalist horror flick Hell's Ground (2007), Halil Uysal's Tirej (2002), a mesmerising film about – and made by – Kurdish guerrilla soldiers, and Omar Majeed's Taqwacore (2009), about a bunch of dope-smoking Muslim punks in the US.

An alternative canon, curated by the Middle Eastern art magazine Bidoun, points to gems such as Peggy Ahwesh's Beirut Outtakes (2007), made up of film scraps from an abandoned cinema in the Lebanese capital; its combination of colour and decay, Hollywood and local celluloid, high and low culture captures the city's vivid history with panache.

Because the Arab spring was a revolution spread (if not created) by digital media such as mobile phones, Twitter and amateur video, it could be argued that more Muslims than ever before now associate political freedom with the moving image – rather than the printed word. What's more, the speed and sophistication of image-production by canny campaigners may also help to dispel some of the orientalist stereotypes that still circulate in the west.

"A lot of British Muslim kids are very keen to see themselves represented," he says. "They want to see they have a great culture. But often they go back to a glorious, nostalgic version of Islam that offers them only a narrative of cultural degeneration since the middle ages. Winds of Change should remind us that we have powerful and well-established critiques of religion from within our societies."

by being posited as films that inform, educate and explain what is going on here to audiences over there, these films become central to a pre-existing East-West dynamic—a sphere of knowledge production and image-making that tries to translate the orient to an elsewhere

These are discourses that seek to “save brown women from brown men” or brown liberal men from oppressive brown regimes, or basically to save the Arabs from their Arabness, with all the cultural stereotypes such a term entails.

The problem with these films is that they ignore the interconnectedness of “developed” and “developing” countries, of authoritarianism in the Middle East and liberal democracies in the west, of Islamic fundamentalism and the Cold War, and of metropolitan centers of global capitalism and the dispossession of millions all over the world. The problem gets even more complicated when entitlement and ability to represent becomes unquestioned.

These films portray living stereotypes of actual people, focusing on the elements of their lives that are ‘interesting’ only in so much as they tell us something about clichéd versions of Egypt, Tahrir, Islam, women, art and war, conflict, poverty, dispossession and resistance. These topics are not interesting for those who live in war, conflict, poverty and dispossession, those for whom Tahrir was not a spectacle and resistance is a complicated act. In such a context these issues might be relevant, but they are only interesting somewhere else.

I am skeptical of the act of representation itself, the provision of ready-made, easily translatable narratives about 2011 as if the revolution was a thing, and as if "Arabness" is also a thing. If postmodernism declared the death of the meta-narratives—teleogically oriented, totalizing worldviews that tend to put in a claim for the universal and promise utopian resolutions that are yet to occur—Arab Spring documentaries lie on the opposite side of the spectrum. The conditions of their existence, profitability, visibility and circulation depends first and foremost on their claims to a certain truth about “what really happened” over there. But neither the "Arab Spring" nor the "Arab World" can be explained through the sum of their parts. They are constructed, time and time again, through the very narratives that eclipse alternative imaginaries, historical renditions or analyses by foreclosing the realm of imagination all together.

bad people are also very good at social media

Tunisia’s Minister of Culture al-Mahdi Mabrouk told the conference. “You cannot expect to go from a media of propaganda to an independent media in just a few months, such a transition takes time,”

In Syria we resorted to a network of stringers who we trained over the phone

72 percent of those participating thought satellite news channels had contributed to the Arab Spring

“All the Arab regimes wanted to control the media, to impose restrictions on us and even to prevent us from working, as in Syria, which forced us to take positions,” said al-Jazeera presenter Jamil Azar

“The fact that there are a variety of means to get information does not necessarily mean quality journalism,”

The temptation to draw the comparison has some substance. In 2011, demonstrators explicitly demanded the end of regimes ruling over their respective countries, and the same is happening today.Moreover, both in 2011 and 2018-19, the protesters seem to be emboldened by the ongoing movements in other countries. Stephen McInerney, the executive director for the Project of Middle East Democracy (POMED), explained that “certainly what happens in one Arab country is seen elsewhere, and there are common frustrations shared across the region.”

It’s natural that boiling tensions inside countries and ongoing protests are giving way to the overarching claim that a new Arab Spring is underway. But that simplistic framing misunderstands the nature of political grievances and upheavals in the region. After all, they are similar to the protests in 2011, just as the 2011 protests are similar to those that happened in the decades before, and will be similar to those that happen in the future.

A ‘Spring’ implies in its history and usage, the new flowering of a spontaneous, overwhelming grassroots revolution that permanently changes the sociopolitical landscape of the countries and even the region. It paints a picture of a people awakened to the oppression they face and marching through the streets to demand justice.

But Arabs have been ‘awake’ to the corruption, misuse and abuse regimes have enacted upon them for decades, and have organized against it accordingly.

the same protests and chants that can be heard in Jordan and Sudan were yelled in the beginning of 2018. At both times and in both countries, the government cut bread and fuel subsidies in order to comply with loan conditions set by the International Monetary Fund (IMF).Egypt in 2017 also saw thousands take to Twitter and the streets to protest against similarly price hikes in bread following a government removal of subsidies, though the IMF continually insists it did not recommend these governments cut subsidies servicing poor and working class families.

To look at these continual mobilizations and isolate the movements happening now as an “Arab Spring 2.0” ignores the continual, inter-generational struggle for economic and political rights that has pushed continuously at the doors of old regimes. In their place, an alternate history is given whereby Arabs were resting, and were woken up.

“In Algeria, Jordan, and Sudan the regimes managed to dodge the original 2011 wave. The confrontation was avoided but popular discontent was not crushed, and the reasons for it not addressed. So this will continue to come back, until either a showdown happens or things change.”

It is less an ‘Arab Spring 2.0’ than a continuation of 2011’s protests, which were in themselves continuations of protests that occurred in the years before.

Ending practices of corruption and cronyism requires movements that aren’t framed as spontaneous ‘Springs’ of youth but as constituent parts of a broad-based, durable intergenerational call for justice from below.