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Ed Webb

TCM Explores Depictions of Arabs in Cinema in Acclaimed Race & Hollywood Initiative - 0 views

www.tcm.com/...movie-news.html

Arabs movies film stereotypes television

shared by Ed Webb on 27 May 11 - No Cached
  • Turner Classic Movies is preparing to launch Race & Hollywood: Arab Images on Film, a month-long movie event that focuses on the diverse portrayals of Arabs in cinema. Tuesday and Thursday nights in July, TCM host Robert Osborne will be joined by internationally acclaimed professor, author and Middle East media consultant Dr. Jack G. Shaheen to introduce a wide range of films and provide extensive insight into Hollywood's ever-changing attitude toward Arab people.
  • 14 TCM premieres, including the award-winning Gulf War action drama Three Kings (1999), starring George Clooney, Mark Wahlberg and Ice Cube; the romantic comedy-adventure Jewel of the Nile (1985), starring Kathleen Turner and Michael Douglas; the Libya-set dramas Lion of the Desert (1981), starring Anthony Quinn; The Black Tent (1956), with Donald Sinden; the adventure films Tarzan the Fearless (1933), with Buster Crabbe; and the silent classic The Sheik (1921), starring Rudolph Valentino. The July lineup will also include David Lean's Lawrence of Arabia (1962), Caesar and Cleopatra (1945), Kismet (1944), The Thief of Bagdad (1924) and several animated shorts featuring Bugs Bunny, Porky Pig, Popeye and other famous characters
  • I can't say the celluloid Arab has changed. He is what he has always been - the cultural 'other.' Arabs have too often been viewed as backward, barbaric and dangerously different through Hollywood's distorted lens. Unfortunately, these stereotypes are now deeply ingrained in American cinema
  • Ed Webb on 27 May 11
     
    This is huge. And overdue.
gweyman

Tunisia: Bloggers Join Election Race · Global Voices - 1 views

globalvoicesonline.org/...sia-bloggers-joi-election-race

tunisia democracy elections blogger

shared by gweyman on 07 Oct 11 - No Cached
  • gweyman on 07 Oct 11
     
    Bloggers form the vanguard of democratic transition in Tunisia.
Ed Webb

Friendly Fascism: National Media Give David Duke a Face-Lift - FAIR - 0 views

fair.org/...ia-give-david-duke-a-face-lift

USA US media fascism politics extremism racism analysis history

shared by Ed Webb on 28 Feb 16 - No Cached
  • Ed Webb on 28 Feb 16
     
    Useful reminder of the difficulty US media have in confronting the reality of extremist views and statements in candidates running for high office. The framing of electoral competition as a sport/race/game with two competitors who must be dealt with even-handedly forestalls critical or even accurate reporting.
Ed Webb

Beirut's draq queen scene is starting to flourish, inspired by Ru Paul - The Washington... - 0 views

www.washingtonpost.com/...8-a17e-162b712e8fc2_story.html

Beirut Lebanon drag LGBT LGBTQ

shared by Ed Webb on 28 Jan 19 - Cached
  • Beirut’s drag-queen scene
  • The Middle East is known for its conservatism, but with its febrile nightlife and more liberal mores, Beirut has long been hailed as a relative haven for the region’s LGBTQ community, though not without challenges.
  • Performers usually turn up in their street clothes, transform into a whole new character, then shed their costumes again before slipping back outside. Anissa, though, will be making an entrance tonight. A car to the venue has been organized, and she wants to enjoy the reactions of her fellow passengers. 
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  • Many here who became drag performers grew up watching Bassem Feghali, a comedian who gained popularity in the early 2000s by impersonating female singers. In 2015, Evita Kedavra, a Palestinian Armenian drag queen, took the stage, and one by one, the circle grew. 
  • With dozens having taken the plunge since last year’s Grand Ball, the artists credit one celebrity above all: RuPaul and his wildly successful talent show “RuPaul’s Drag Race.” “That made a huge difference,” said Narcissa, another drag queen, of the Emmy-winning U.S. television series. “Suddenly everyone was watching it, and you just thought, ‘Wow, I could do that, too.’ Those artists taught us a lot.”
  • a scene that blends an homage to American drag culture with something distinctively, and irreverently, Lebanese. Anissa Krana and Narcissa exude Hollywood glamour, all tumbling curls and dresses with jewels. Performers like Kawkab Zuhal set kohl liner on dramatic lashes for acts lip-syncing to Arabic music or telling sharp jokes about Lebanon’s crumbling political system. 
  • The Grand Ball earlier this month was to be at one of the biggest, with some 30 contestants competing in front of an exuberant, tightly packed crowd
  • In October, to almost everyone’s surprise, “RuPaul’s Drag Race” star Sasha Velour strode through one of Beirut’s most famous civil war landmarks, a brutalist-style cinema still riddled with bullets known as the Egg
  • “My drag is what I couldn’t be when I was young,” said one performer, who spoke on the condition of anonymity out of fear for his safety. He said he had started trying on his mother’s heels and makeup in secret, years before coming out as gay. When his parents found out, they barred him from their house and his friends turned on him. He lives with other drag queens now. “They’re like my family,” he said. “We help each other with food, with makeup, money — everything.”
  • Although the Lebanese state is more tolerant of homosexuality than other Arab governments, the penal code can still be invoked to make arrests
  • “We don’t have stable laws here,” said Narcissa. “One minute, the state is looking one way; the next, it’s staring right at us.”
  • Only a small number of venues are recognized as “safe spaces” for the drag and broader LGBTQ community, and owners must have strong ties to local authorities to ensure the police won’t turn up and harass attendees
Ed Webb

Arabic literature and the African other - 0 views

africasacountry.com/...k-and-write-about-black-people

Arabic literature Arabs racism race analysis opinion Africa

shared by Ed Webb on 13 Oct 19 - Cached
  • In 1992, Mazrui had a proposal: “The French once examined their special relationship to Africa and came up with the concept EURAFRICA as a basis of special cooperation. We in turn should examine the even older special relationship between Africa and the Arab World and call it AFRABIA.”
  • The project of “Afrabia,” as I interpret, would allow Africans to revisit a long history of the Islamic empire in Africa, its intersecting points with colonial projects subcontracted to Arab and South-Asian masters, as well as a shared history of decolonial struggles and anti-capitalist ambitions. For Arabs, it would mean a much-needed and long-overdue revision of their history, as well as of language and artistic expression that deal with Africa, blackness, and Afro-Arabs in reactionary, racist, and apolitical terms
  • Arabs, like their western teachers, when discussing anti-black racism and black issues, seem fixated on skin color, ideals of beauty, and visual representations; in a sense they express their own racial anxiety. It is as if anti-black racism has no history, trajectory, or realities beyond the stigma assigned to it, or the rhetoric surrounding it.
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  • When I use the term “Afro-Arab,” it is just my American lingua, not an actual term that Arab thinkers are trying to adopt or even consider. It is the kind of term you find in US academia but not in Arabic letters or political discussions. Even on the e-margins, young East and North Africans have been embracing their Africanness in opposition to Arabness, often citing Arab racism and exclusionary politics as reasons to depart from that historical bond.
  • I noticed how often Arab writers, including those North and East African, seem at ease when othering Africa—the bordered continent is harder for them to grasp than an imaginary “Arab World” made up by the French, and later appropriated by Arab nationalism. Moreover, the wildly inaccurate treatment of black experiences and cultures as one sum; from Zanzibar and Lagos to Havana and Detroit.
  • the Arab-Afro encounter seems more connected to the Americas and France, than to Africa itself
  • translations, references, and intertextual conversations, even by black Arabs, look toward Aime Césaire, Frantz Fanon, as well as African-American literature, and the civil rights era.
  • From one panel title “Black writer, White reader,” in a nod to Fanon, it was clear how the Arab fixation on black skin functions as an erasure of race, therefore assuming Arab is White
  • Arab writers, in the aftermath of the Iraq war and its apolitical introduction of identity politics into the region, have found an opportunity in writing about these groups which could get them translated and serve as primary literature for western academics and NGOs alike. Their white translators whisper to me “oh my god, this shit is racist” sometimes mediating in the process to clean up the language
Ed Webb

Mati Diop's 'Atlantics' Is a Startling Study of Power | The Nation - 0 views

www.thenation.com/...atlantics-mati-diop-review

film Senegal France class migration

shared by Ed Webb on 07 Dec 19 - No Cached
  • Because these films are set in America, race and gender sometimes conceal the class tensions.
  • Because of its title, American viewers will likely assume that Atlantics, the new film from the French Senegalese director Mati Diop, is about either slavery or refugees. Even after seeing it, they may assume it is about love or ghosts or exoticized life on the west coast of Africa. But Atlantics is fundamentally about class. Despite the familiar trappings of esteem—like Parasite, it won a prestigious award at Cannes, and Diop’s family background suggests that she is the epitome of an Afropolitan elite—the way it reckons with capital and labor is far more interesting than this recent spate of class warfare films. Atlantics cannot overthrow film as an institution, but it does overthrow many of film’s formal conventions. In so doing, it wreaks havoc with the interlocking hierarchy of class, race, and gender that most of these other films assume, leaving in its wake a startling study of power in the raw.
  • Labor drama, love story, surrealist film, crime thriller, zombie flick—these shifts are both smooth and unsettling, just like that train in sudden reverse. They keep us on edge but never just for the sake of it. And they continually bring us back to the central question of class, even as they keep us from mapping it onto a single hero or plot or genre.
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  • “The violence of a certain capitalist economy makes a lot of life fragile, vulnerable, and empty of meaning. The film is about the beauty and innocence of love between two 20-year-olds, which is ruined and cut down by economic issues.”
  • This attention to material reality is another way that Atlantics thwarts our expectations about class. Many of the recent international films tend to make it legible and palatable to audiences in the West. The working classes are maids, nannies, drivers, tutors; in Parasite, the Korean upper-class family is easily replaced with a German one. I’d love to interview Americans leaving the theater after watching Atlantics. Are these Senegalese characters rich or poor? What class are they? The women have hair weaves and take selfies. They wear T-shirts, possibly second-hand, that say “Froot Loops” or “Chicago.” Everyone is black. Everyone has a cell phone. Ada casually sells hers on the side of a dirt road where a man in flashy sports gear goes for a run past horse-drawn carts. Her parents take her to a modern clinic for a doctor to test if she is a virgin.
  • We are the Atlantics. The sea is the sweat of the great majority trying to live, love, and work.
Ed Webb

AI Causes Real Harm. Let's Focus on That over the End-of-Humanity Hype - Scientific Ame... - 0 views

www.scientificamerican.com/...ot-imaginary-existential-risks

opinion analysis AI class race computing propaganda science

shared by Ed Webb on 11 Aug 23 - No Cached
  • Wrongful arrests, an expanding surveillance dragnet, defamation and deep-fake pornography are all actually existing dangers of so-called “artificial intelligence” tools currently on the market. That, and not the imagined potential to wipe out humanity, is the real threat from artificial intelligence.
  • Beneath the hype from many AI firms, their technology already enables routine discrimination in housing, criminal justice and health care, as well as the spread of hate speech and misinformation in non-English languages. Already, algorithmic management programs subject workers to run-of-the-mill wage theft, and these programs are becoming more prevalent.
  • Corporate AI labs justify this posturing with pseudoscientific research reports that misdirect regulatory attention to such imaginary scenarios using fear-mongering terminology, such as “existential risk.”
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  • Because the term “AI” is ambiguous, it makes having clear discussions more difficult. In one sense, it is the name of a subfield of computer science. In another, it can refer to the computing techniques developed in that subfield, most of which are now focused on pattern matching based on large data sets and the generation of new media based on those patterns. Finally, in marketing copy and start-up pitch decks, the term “AI” serves as magic fairy dust that will supercharge your business.
  • output can seem so plausible that without a clear indication of its synthetic origins, it becomes a noxious and insidious pollutant of our information ecosystem
  • the people selling this technology propose that text synthesis machines could fix various holes in our social fabric: the lack of teachers in K–12 education, the inaccessibility of health care for low-income people and the dearth of legal aid for people who cannot afford lawyers, just to name a few
  • Not only do we risk mistaking synthetic text for reliable information, but also that noninformation reflects and amplifies the biases encoded in its training data—in this case, every kind of bigotry exhibited on the Internet. Moreover the synthetic text sounds authoritative despite its lack of citations back to real sources. The longer this synthetic text spill continues, the worse off we are, because it gets harder to find trustworthy sources and harder to trust them when we do.
  • the systems rely on enormous amounts of training data that are stolen without compensation from the artists and authors who created it in the first place
  • the task of labeling data to create “guardrails” that are intended to prevent an AI system’s most toxic output from seeping out is repetitive and often traumatic labor carried out by gig workers and contractors, people locked in a global race to the bottom for pay and working conditions.
  • employers are looking to cut costs by leveraging automation, laying off people from previously stable jobs and then hiring them back as lower-paid workers to correct the output of the automated systems. This can be seen most clearly in the current actors’ and writers’ strikes in Hollywood, where grotesquely overpaid moguls scheme to buy eternal rights to use AI replacements of actors for the price of a day’s work and, on a gig basis, hire writers piecemeal to revise the incoherent scripts churned out by AI.
  • too many AI publications come from corporate labs or from academic groups that receive disproportionate industry funding. Much is junk science—it is nonreproducible, hides behind trade secrecy, is full of hype and uses evaluation methods that lack construct validity
  • We urge policymakers to instead draw on solid scholarship that investigates the harms and risks of AI—and the harms caused by delegating authority to automated systems, which include the unregulated accumulation of data and computing power, climate costs of model training and inference, damage to the welfare state and the disempowerment of the poor, as well as the intensification of policing against Black and Indigenous families. Solid research in this domain—including social science and theory building—and solid policy based on that research will keep the focus on the people hurt by this technology.
Ed Webb

'Queen Cleopatra' Netflix backlash frustrates show scholars - The Washington Post - 0 views

www.washingtonpost.com/...atra-looks-netflix-controversy

Egypt media USA US politics race history television TV

shared by Ed Webb on 12 May 23 - No Cached
  • those criticizing the docuseries are “applying our racial constructs to the ancient world, and that is anachronistic.”
  • “With the exception of Jews, ethnicities weren’t really recorded in early Egyptian history,” he wrote. “In Alexandria especially, there was no normative race: genetic makeup was varied as people from across the region, from Europeans to Nubians, lived and married on its lands.”
  • “anti-Blackness is the framework” for much of the discourse around Cleopatra and how she should be depicted.
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  • She is mainly “an object of fascination to Europe — to Greece, to Rome — and to the stitched-together history of quote-unquote Western civilization,” Carr said. “That’s why she is the best known of the Egyptian rulers. She’s virtually irrelevant to the long history of Egypt.”
  • “The HBO series ‘Rome’ portrayed one of the most intelligent, sophisticated and powerful women in the world as a sleazy, dissipated drug addict, yet Egypt didn’t seem to mind,” Gharavi wrote. “Where was the outrage then? But portraying her as Black? Well.”
  • Though “Queen Cleopatra” is billed as a documentary series, it features an easy-to-miss disclaimer at the bottom of each episode’s credits noting that while the series is “based on true events” some “characters and situations have been altered for dramatization purposes.”
Ed Webb

No to Military Trials for Civilians: Half an Hour With Khaled - 0 views

en.nomiltrials.com/...half-hour-with-khaled.html

Egypt opinion bloggers revolution #jan25

shared by Ed Webb on 20 Dec 11 - No Cached
  • they do not kill us to restore their state; they kill us because killing and jailing are normal behaviours in their state
  • It wasn’t only the police of their state who let us down; did the deans of their colleges not share in running over our children? Were we not let down by the bakeries and the gas depots of their state? By the ferries and ports of their state? Were we not let down by its wheel of production that lavishes millions on the director and the consultant while at a standstill but cannot spare a crumb for the worker when turning? Were we not let down by its economy that closes down the textiles factories while the cotton is piled high in the farmers home but keeps the fertilizer plant pouring poison into our water? Were we not let down by its football clubs that let security brutalize the fans if they cheer too noisily but intervenes to shield players when they raise arms? We are let down by all its institutions and every leader in it and tomorrow we will be let down by its parliament and its president.
  • That you should bury your son rather than he bury you? Is there a worse injustice? Is there a worse imbalance? We kid ourselves and pretend it’s an exceptional event and that it is possible to reform that state, but all the evidence shows that it is a normal event and there is no hope except in the fall of that state.
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  • Nothing is exceptional in the Midan except our togetherness. Outside the Midan we think that we rejoice at a wedding because we know the bride and groom, in the Midan we rejoiced and celebrated at the wedding of strangers. Outside the Midan we think that we grieve at a funeral because we know the deceased, in the Midan we grieved for strangers and prayed for them.
  • Nothing is new in the Midan except that we surround ourselves with the love of strangers. But the love of strangers is not a monopoly of the Midan: hundreds sent me messages of love for Khaled from outside the Midan, some describe themselves as belonging to the sofa party. Millions grieved for the shaheed in every home in Egypt.
  • We love the newborn because he’s human and because he’s Egyptian. Our hearts break for the shaheed because he’s human and because he’s Egyptian. We go to the Midan to discover that we love life outside it, and to discover that our love for life is resistance. We race towards the bullets because we love life, and we go into prison because we love freedom.
  • If the state falls it is not just the Midan that will remain; what will remain is the love of strangers and everything that impelled us towards the Midan and everything that we learned in the Midan.
  • As for their state it is for an hour. Just for an hour.
Ed Webb

BBC News - World media offer divergent views on Ukraine crisis - 0 views

www.bbc.com/...blogs-echochambers-26441892

Ukraine media

shared by Ed Webb on 05 Mar 14 - No Cached
  • Speaking of Syria, comparisons between its civil war and the situation in Ukraine dominate commentary throughout the Middle East. "At a time when the drums of war are beating in Ukraine and the Crimea Peninsula, the Russians should note that they should not vote for the death of diplomacy because they won the Syrian crisis with the same trump card," writes Jalal Barzegar in Iran's conservative daily Iran. "If diplomacy backs down in the face of militarism, or in fact be forced to retreat, its consequences will not be limited to Ukraine; it will rather affect the international atmosphere." He argues: "Russia's insistence on going down the same road could have unpredictable consequences for Crimea, other areas in Ukraine and even other parts of the world such as Syria." Yosef Mowlai in the reformist Iranian daily Sharq also draws comparisons to Iraq and Afghanistan, predicting that things aren't going to end well for the Russians. "The main concern of Russian officials is not international law; rather it is their country's security in its own backyard which comes at the expense of ignoring the independence and sovereignty of other nations," he writes. "It seems that the Russian Federation has not learned enough from its costly defeat in Afghanistan and has not learned from America's struggle in Afghanistan and Iraq's quagmire. Russia has made another serious mistake and got involved in a dangerous game again."
  • Could Syria and Ukraine be horse-traded in some sort of geopolitical diplomatic deal? Urayb al-Rintawi in Jordan's Al-Dustur doesn't think so. "Some people think there is a chance of trading Syria for Ukraine if the Kremlin were to abandon Al-Assad in return for Washington and Brussels's abandonment of their allies in Kiev and vice versa," he writes. However, such a trade-off is not possible because in America's strategic calculations, Syria is relegated to bottom position compared to Ukraine."
  • Khamis al-Tubi in Oman's Al-Watan detects what he sees as an anti-Russian "Zionist" conspiracy.
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  • Meanwhile, the Syrian government's daily Al-Thawrah sees the situation as chickens coming home to roost for US President Barack Obama's foreign policy. "Perhaps it has not crossed America's mind that the terrorism it manufactures and exports to the rest of the world, including to Syria as is the case today, will in the end bounce back. But lately, this fact started to rob Obama's administration's sleep," they write. "Amid the feverish US -Western race to target Syria, developments in Ukraine have started to steal attention as the eyes of the world turn to the Russian Caesar and wait for his final decision on the issue."
  • In Turkey's Hurriyet Daily News, Verda Ozer notes comparisons between the Ukrainian uprising and her nation's Gezi protests, but she contends that there are "many differences". She calls Ukraine an "authoritarian democracy" without Turkey's record of recent stability. Turkey's government, she writes, has been in an ongoing dialogue with protesters, which has prevented the sort of escalation that happened in Kiev.
Ed Webb

Bridges TV, News Online, Advertisment, Bridges Blog, Bridges Yahoo Group, Global Forum,... - 0 views

www.bridgestv.com

beheading TV

shared by Ed Webb on 21 Feb 09 - Cached
  • This appears to be the most tragic of domestic violence incidents and, although statistics suggest that more than three fatal cases of domestic violence occur every day in the US, no one here could ever imagine that this may happen to our beloved colleague. Several times each day in America, a woman is abused or assaulted. Domestic violence is a behavior that knows no boundaries of religion, race, ethnicity, or social status, and occurs in every community.
Ed Webb

Ex-Leader of Iran Announces Candidacy - NYTimes.com - 0 views

www.nytimes.com/...09iran.html

shared by Ed Webb on 09 Feb 09 - Cached
  • the 30th anniversary of the 1979 Islamic Revolution this week.
    • Ed Webb
      Ed Webb on 09 Feb 09
       
      As revolutions go, that's pretty successful.
  • It is unclear whether the Guardian Council, a hard-line body of clerics close to the supreme leader that has the power to approve or disqualify candidates, will try to prevent Mr. Khatami from running.Conservative politicians and former supporters of Mr. Ahmadinejad who now criticize his policies have said that if Mr. Khatami entered the race, they would unite behind Mr. Ahmadinejad.
  • he is not deep in his thinking
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  • “Mr. Khatami would not be an appropriate president and there might be riots again if he gets elected,” he warned, referring to the pro-democracy demonstrations during Mr. Khatami’s presidency.
Ed Webb

With video games, public diplomacy by mobile phone - SmartPlanet - 0 views

www.smartplanet.com/...387

games gaming public_diplomacy phones mobilephones mobile

shared by Ed Webb on 26 Aug 09 - Cached
  • MetroStar Systems, a 75-employee tech start-up contracted by the State Department to bring a better understanding of the United States to the countries with which it has less-than-amicable relations. The company plans to do so with X-Life Games, an initiative that effectively wraps a U.S. history lesson inside a downloadable video game for a mobile phone.
  • The products of this initiative — so far, “Driven,” a car-racing trivia game, and “Babangar Blues,” a music-based role-playing game — are intended to “demystify” the U.S. to foreign audiences, starting with the Middle East.
  • Ironically, the trivia very much resembles the test administered to new citizens. I asked Manouchehri if it was really fair to expect an Iranian to know who Patrick Henry was. “The hope is that they’ll look them up,” he said.
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  • the State Department gathers and receives behavioral data that helps it track “macro behavioral trends,” particularly among the Generation Y demographic MetroStar is targeting, born between 1981 and 2000.
  • Manouchehri is looking at deploying his mobile games in Pakistan, Iran, Iraq and the United Arab Emirates, as well as in nations with more mature telecom networks, such as Egypt, Indonesia and Lebanon.
Ed Webb

Mapping the Journeys of Syria's Artists | The New Yorker - 0 views

www.newyorker.com/...the-journeys-of-syrias-artists

Syria art artists film media Germany France Lebanon refugees

shared by Ed Webb on 24 Mar 18 - No Cached
  • Last year, wondering what it means to be a Syrian artist when Syria in many ways no longer exists, I began to map the journeys of a hundred artists from the country. As I discovered, a large portion of the older guard of artists has ended up in Paris, thanks to visas issued by the French Embassy in Beirut. Many of the younger generation headed for the creative haven of Berlin, where rent is relatively cheap. Only a scant few remained in the Middle East, which proved expensive or unwelcoming.
  • A few artists remain loyal to the Assad regime, which has long seen itself as a great patron of the arts. Some of the artists who were still in Syria asked not to be mapped, even anonymously, for fear that the regime would perceive them as disloyal and punish their families. A few took issue with the label “Syrian artist” altogether. “I don’t want to become part of the Syrian-refugee industry,” Sulafa Hijazi, a visual artist now living in Berlin, told me
  • the Syria Cultural Index, “an alternative map connecting the Syrian artistic community around the globe and showcasing their work to the world.”
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  • With the war now entering its eighth year, Barakeh is unable to return to Syria. He has chosen to settle among his fellow-artists in Berlin, and is practicing what he calls “artivism.” Among the projects he is working on is the first Syrian Biennale, a mobile exhibition, currently in pre-production, that will follow the route of Syrian refugees from Lebanon to central Europe and Scandinavia
  • For Zeid, Lebanon was a terrifying experience. The child of Palestinian refugees, she had no passport. Her fear of being sent back to Syria manifested in intense anxiety. While Salman trekked to and from Aleppo to take pictures, Zeid began to have panic attacks. When she learned that Lebanese security forces were tracking her, she knew that she had to get out of the country or risk being deported. A friend told her that the French Consulate in Beirut was allowing artists to enter France as political refugees. She managed to secure safe passage for herself and Salman, and in April, 2014, they left for Paris
  • in Germany she found herself crippled with shame at leaving her family behind. She couldn’t sit in the grass without feeling such crushing grief that she had to go inside. Eventually, she went into denial. “You try to pretend that you don’t miss the country and you’re totally O.K. with the idea of not going back,” she said. In some ways, it has worked, but she has also found that leaving Syria has cost her some of her power as an artist. “I feel like I signed an unwritten contract where I gave up part of my skill in exchange for safety,”
  • Living in Berlin among the younger generation of artists, Beik is now concerned with a different kind of revolution. The opening credits of “The Sun’s Incubator” read, “The future of cinematography belongs to a new race of young solitaries who will shoot films by putting their last pennies into it and not let themselves be taken in by the material routines of the trade.”
  • Kaprealian, whose family survived the 1915 Armenian genocide by fleeing to Syria, left the country in 2014, soon after finishing “Houses Without Doors.” He saw no reason to stay; as an artist, he said, he was out of ways to work. He crossed the Lebanese border and now lives in Beirut. “All of my friends are in Europe, in America, or Canada,” he said. “Some of them went on boats. Some of them walked for ten days through Ukraine and other countries.” He added, “All of us are angry.”
Ed Webb

An industry under threat: Ramadan 2019, brought to you by Egyptian Media Group | MadaMasr - 0 views

madamasr.com/...to-you-by-egyptian-media-group

Egypt intelligence propaganda TV television ownership Ramadan monopoly

shared by Ed Webb on 24 Jan 19 - Cached
  • This time of year, the offices of TV production companies are usually bustling with stars conducting meetings in preparation for the upcoming Ramadan television season (which falls in May this year)
  • The local television scene is rife with talk about the implications of recent developments in the field, which entail an effective halt in almost all TV drama production
  • What we’re witnessing this year is not a marketing crisis, or a weakness in screenplays, or any of the other issues that have ailed the drama industry in the past; rather, the very existence of the industry is under unprecedented threat. The number of series being produced has plummeted, and is expected to amount to 18 series at most, the majority of which are  to be produced by Synergy, the production house owned by Tamer Morsy, head of the intelligence-affiliated Egyptian Media Group (EMG). It is the newest step in the state’s ongoing bid to monopolize all forms of media and artistic production in Egypt.
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  • one must go back to the outset of the crisis, nearly three years ago. Back then, there were over 30 series released every season, produced under a diverse range of production houses and addressing a wide array of subjects. The industry cycle was more or less stable, starting with producers in competition with each other, to satellite channels racing to purchase the best series’ screening rights and advertising revenues being the central source of profit. The main issues concerned increasing production budgets and the skyrocketing salaries of certain stars.
  • the state was preparing a plan to exert control over the entire market. The first signs of this plan emerged in June 2017, with statements by the president and a number of government officials voicing their displeasure with the content offered on Ramadan TV series, and their desire to remedy the situation. This remedy manifested in the form of extreme censorship measures, including the establishment of the Drama Committee within the Supreme Meda Regulatory Council, designed to monitor the TV drama industry.
  • The effects of these directives became apparent last year in the striking similarity of the content of the series released, as well as the ubiquity of police and army officers as characters in most of them
  • satellite channels, many of which — including ONtv and Al Hayah — are currently controlled by EMG, owned by Eagle Capital for Financial Investment, a private equity fund founded by Egypt’s General Intelligence Services (GIS)
  • Television channels, sources say, will fill up the remaining airtime — previously overflowing with series — with variety television shows, including talk and game shows, instead. Tawfiq Okasha, the controversial media personality who made his comeback in March — courtesy of  Synergy Productions and EMG — recently dedicated a segment on his show (which airs on Al Hayah) to criticizing actors and “the obscene sums of money they demand.” Okasha then proceeded to discuss a plan to bring down the number of series airing this Ramadan to 18, with each television channel airing only three.
  • as a result of this monopoly, many producers are out of work this year, including Beelink’s Mohamed Mashish, El Adl Group’s Maha Selim, and producer Ahmed Al Sobky, when the three of them combined had eight series screening last Ramadan
  • most seem to attribute it to the president, who appears to be irked by the scale the industry had come to operate on and the high salaries paid to TV stars
  • difficulties the company faced when filming last year’s Eagle of the South, as a result of excessive military intervention in the series’ content and production process. Members of the Armed Forces were often present on set and would interfere in most details during the shoot, not to mention that the show’s star, Mohamed Ramadan, would often miss shoots because his military conscription service overlapped with shooting times. Sometimes, he would arrive to the shooting location in a military vehicle
  • Shaaban believes that the current setback in television production has been primarily brought on by declining economic conditions, which have led to a decrease in advertising budgets. The industry, he says, is built on the flow of money from advertising agencies to satellite channels to production companies. If channels were reaping advertising revenues, they would be able to buy series from producers, who in turn would be able to produce more series, and so on. However, given the current economic climate, corporations haven’t been spending as much on advertising as they used to, and this has definitely affected the production cycle.
  • prominent actor Adel Imam, who could potentially miss his first Ramadan season in seven years, due to alleged censorial objections to the subject matter of his new series, in which he was reportedly set to play the president’s physician
  • The initial outcome of Morsy’s monopoly over the Egyptian drama market became clear last year with the elimination of certain series from Egypt’s Ramadan season, including El Adl Group’s We Have Other Statements (starring Youssra) and Land of Hypocrisy (starring Mohamed Heneidy), which were only aired on non-Egyptian channels, as well as Beelink Productions’ What Came to Pass (starring Ruby), which was not broadcast at all. Now, with Morsy’s newly acquired control over more channels, in addition to EMG’s acquisition of shares in the CBC television network and Morsy’s partnership with D Media, it appears that other producers will no longer have access to air their series in Egypt. Both D Media and DMC, another prominent television network, are owned by the GIS.
  • It is possible that, for the first time in history, the Egyptian drama sector will produce less work than its counterparts in Lebanon, Syria and Kuwait, who produce 10 to 20 works on average each Ramadan season.
  • 2 million Egyptian workers of all stripes who contribute to and depend upon this industry, patiently waiting for the Ramadan season from year to year
  • Medhat estimates that the industry spends about LE2 billion annually and brings in about LE4 billion in revenue — all of which, in the 2019 season, will go almost entirely to one entity
  • One interpretation of these recent developments is that the Egyptian state — nostalgic for the heyday of state television, when the state alone was in control of all television productions — is planning a comeback under new terms, tailored to fit the demands of the current moment. After exerting its control over satellite TV channels, it now seeks to control production as well, in order to keep the media and entertainment sectors securely under its wing, only for the state to emerge once again as the only player on the local scene.
Ed Webb

White masks in Tunisia - Africa is a Country - 0 views

africasacountry.com/...white-masks-in-tunisia

Tunisia race racism activism film

shared by Ed Webb on 25 Jan 18 - No Cached
  • Despite the emphasis on the Islamic coda that prohibits discrimination against fellow black Muslims and Act 21 of the national constitution which emphasizes that all Tunisians are “equal before the law without any discrimination,” racism against its black citizens permeates the social, institutional, and political strata of Tunisia.
  • “the level of interaction between Sub-Saharan in general and the Tunisian population is negligible.”
  • Maha Abdelahmid, co-founder of l’Association de défense des droits des Noirs (ADAM or the Tunisian League for the Defence of the Rights of Blacks) states that birth certificates delivered to black Tunisians who are born in Djerba (in the south east of Tunisia, known for its large black community) still carry the title “freed slaves.”
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  • excellent film by Nada Issa, “Tunisia’s Dirty Secret,” captures this prevailing sense of ordinary negrophobia
  • Tunisians see themselves as whites. Whether in literature, in media, in movies, or on television, the image of the white Tunisian who communicates in eloquent French is the ideal standard against which the stereotype of the Tunisian subject is defined and performed. Affet Mosbah, a black Tunisian, poignantly asked in her influential testimony on “Being Black in Tunisia”: “Aren’t we ourselves Africans? What is the meaning of this self-exclusion by this verb?” The lack of visibility of black Tunisians in the media is the most obvious as there is no black actors or black TV hosts. The few times there were references made in national newspapers about black Tunisians or sub-Saharan immigrants, they were focused on clandestine migration.
  • While linkages between BLM and the Arab Spring are often made, those who participated in the Arab Spring did not tackle racism in their own countries. In its wake, the degrading reality for black Tunisians and sub-Saharan immigrants remains unchanged. While the exact number of racially aggravated offenses remains impossible to identify due to institutional denial of these crimes, strong evidence from increasingly vocal civil rights organizations reveal that these attacks have been on the rise in Tunisia since the 2011 revolution.
Ed Webb

US lobbying revelations upend Tunisia's presidential race - 0 views

www.al-monitor.com/...-lobbying-ari-ben-menashe.html

Tunisia election elections lobbying US USA corruption media

shared by Ed Webb on 06 Oct 19 - No Cached
  • As Tunisians prepare for back-to-back legislative and presidential elections, news first revealed by Al-Monitor has had a bombshell effect: A purported emissary of imprisoned presidential candidate Nabil Karoui signed a $1 million lobbying contract to secure a meeting with President Donald Trump, among others.
  • Karoui’s opponents cite laws that forbid any foreign funding or support for Tunisians running for office. “The money didn’t come from Tunisia so it came from outside Tunisia, and that is against the law,” said Leila Chettaoui, a member of parliament for Prime Minister Youssef Chahed’s pro-secular Tahya Tounes party. “If it’s proven to be the case, Karoui must be disqualified.”
  • complaint also mentions Ennahda party, which has retained Burson-Marsteller (now BCW) for public affairs work in the United States since 2014, as well as parliamentary candidate Olfa Terras-Rambourg, who retained Washington firm America to Africa Consulting in early September
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  • Dickens & Madson is instructed to lobby the United States, Russia, the European Union and the United Nations in view of “attaining the presidency of the Republic of Tunisia.” It calls on Dickens & Madson's president, Ari Ben-Menashe, to secure meetings with Trump and other senior US officials before the elections. He’s also to arrange face time with Russia’s president, Vladimir Putin, to obtain “material support for the push for the presidency.”
  • statement noted that Karoui would seek legal redress against those who portrayed him “in such a despicable manner.” It closed by referring to Karoui’s “principled and consistent position in supporting the Palestinian cause.” The party apparently felt compelled to emphasize their leader’s pro-Palestinian stance in response to critics’ claims he was colluding with Israeli agents. Ben-Menashe is a former Israeli intelligence officer
  • The media magnate has cast himself as the champion of Tunisia’s poor through his popular Nessma TV channel and his charity organization, Khalil, named after his 18-year-old son who died in a car crash. Critics disparage him as “Karoui Macaroni” because his charity has donated large amounts of pasta, among other things, to Tunisia’s swollen underclass.
  • Anger over widespread corruption, joblessness and rising food prices helped Karoui pull in second behind law professor Kais Saied in the Sept. 15 presidential primary, which saw voters rebuff establishment hopefuls, including Chahed and Abdelfattah Mourou of the pro-Islamist Ennahda party.
  • Some draw parallels between Karoui and Trump, both wealthy populists who have taken on the establishment and whose supporters are apparently immune to allegations of wrongdoing, putting it all down to “fake news.” Chaouachi agreed there may be some similarities. “They are both leaders who think outside of the box, who challenge convention.” She added, however, that “they are fundamentally different, and Mr. Karaoui is unique.”
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