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Ed Webb

How citizen video journalists in Egypt are 'pushing at traditional journalism' - Egypt ... - 1 views

www.egypt-business.com/...4769

Egypt journalism journalists media citizenJournalism

shared by Ed Webb on 24 Apr 12 - No Cached
  • Members of the collective see themselves as performing an essential storytelling role: providing coverage of police brutality and filling a media "vacuum". "There isn't a free media," founder member Omar Hamilton told me during a visit to the collective's workspace in Cairo. "We have to step in where we can to provide alternative narratives, to provide what we would see as the truth that's not being presented."
  • "There's nothing you can really do about it except run at the right time. Which is just after everyone else but not before it's too late,"
  • we needed a space to work out of and to host a library of revolutionary material and to archive everything we can, including mobile phone footage and news-quality material
  • ...6 more annotations...
  • The collective formed in the days following the January 2011 uprising when it set up a "human rights media tent" in Tahrir Square as "a point to collect footage that people had of police abuses".
  • The citizen journalists have licensed footage under creative commons on YouTube and Vimeo, where others can download the films. These can be used by broadcasters.
  • "We are both attacking state media and trying to push traditional media outlets into taking a stronger stance and backing them up in being able to show things that perhaps felt they were unable to show. "We are also empowering everyone that has a camera phone to make them feel like they can contribute to a wider narrative rather than just uploading it to YouTube."
  • Mosireen is therefore reaching out to those without internet access, which is "one of the big, big, big challenges". "It's very easy to forget how hyper-connected we are compared to most of the world," Hamilton said
  • Asked whether they see themselves as activists or journalists, Hamilton explained how they have a "definite journalistic push". "We have a decentralised approach. We don't have an editorial policy, we don't have an editorial meeting at the beginning of the day to tell people where to go." Anyone can contribute footage, creating an "almost infinite number of camera people" who can be out filming, using mobile phones, DSLRs and hand-held video cameras.
  • It is not the international audience the activists are focused on. "We are in a fight that is going to be settled, or won or lost, here [in Egypt], so we don't need to spend too much time talking to or addressing international audiences. "It's really much more about Egyptian public opinion and the narrative within Egypt that is important, and helping people get access to the truth."
Ed Webb

Tahrir Monologues: Storytelling the highs and lows of revolution - Street Smart - Folk ... - 0 views

english.ahram.org.eg/...50350.aspx

Egypt media theatre theater Tahrir memory

shared by Ed Webb on 14 Aug 12 - No Cached
  • The performance displayed the fear, the doubt, and the waning of faith that materialised in the months that followed the stepping down of former president Hosni Mubarak. “Stories of unity and diversity seem like a ridiculous memory now,”
  • This performance at Left Bank featured memories from the battle in Mohamed Mahmoud Street last November, the December clashes at the cabinet sit in, and the February football match massacre in Port Said.
Ed Webb

The Death of Journalism? (or journalism in the era of open) | eaves.ca - 0 views

eaves.ca/...journalism-in-an-open-era

newspapers journalism future blogging

shared by Ed Webb on 21 Mar 09 - Cached
  • are we seeing the death of Journalism? I for one, hope so, as it will mean a more profound change may be upon us.
  • What if it is the underlying structure and values of not just the news institutions but also the entities they normally cover that are eroding? What if the value of objectivity and the faith in any opaque structures are dying?
  • Such a transformation, a reshaping of credibility from objectivity to transparency, would have profound implications for every organization – corporate, non-profit and governmental – in our society.
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  • it is simply becoming harder and harder to keep secrets
  • Those who share information and invite criticism and analysis may be better positioned to survive crises and challenges than those who don’t.
  • in a transparent landscape where huge amounts of information about most organizations is being generated and shared the critical role of the journalist will be that of mystery solving – figuring out how to analyze, synthesize and discover the mystery within the vast quantity of information.
  • this is precisely what many blogs – alone or as part of an emergent network – already do. They take large complex stories, break them down and, by linking back and forth to one another, create a collective analysis that slowly allows the mystery to be decoded.
  • What we will still need in the future is Quality storytelling
Ed Webb

Is a Truly Free Press Emerging in the Wake of the Arab Spring? | Fast Forward | OZY - 0 views

www.ozy.com/...94499

MENA ArabWorld Egypt Jordan Lebanon journalism media journalists

shared by Ed Webb on 06 Jun 19 - Cached
  • Attalah is the chief editor of Egypt’s only independent media outlet, with 124,000 followers on Twitter and 241,000 on Facebook. But Mada Masr isn’t alone. It’s among a growing number of independent Arabic digital outlets that are emerging as fresh sources of news in a region where tyrants and oligarchs have for decades controlled the media.
  • Some, like Al Jumhuriya (The Republic) and Syria Untold, are run by exiled Syrian intellectuals from Germany, Turkey and Lebanon. Others, like Daraj (Stairs) — with 135,000 followers on Facebook — are providing pan-Arab coverage from Lebanon, where most traditional newspapers are party-affiliated. Still others, like 7iber (pronounced “hiber,” and meaning Ink) and Sowt (Voice), are offering nuanced coverage to readers in Jordan despite the threat of censorship. 7iber has 120,000 followers on Twitter and 341,000 on Facebook.
  • grief, limited resources and threat of censorship haven’t dissuaded these outlets from revolutionizing Arabic-language journalism
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  • These outlets offer their content for free and generate money from grants or by providing research and translation services. Mada Masr depends on the latter two streams. The business model is precarious, but so far it’s working. The outlet has gradually expanded to 32 employees.
  • 7iber now has 14 staffers and has built a credible reputation for providing in-depth reporting and nuanced analysis. In September 2017, it published an in-depth piece about the fate of 70 Sudanese refugees who were swiftly deported from Jordan in December 2015. The piece won an award for the best multimedia investigation at the Arab Investigative Journalism Awards in 2017.
  • On Dec. 10, 2018 — ironically, Human Rights Day — Lebanon’s Internal Security Forces entered the office of Daraj and detained editor-in-chief Hazem el-Amin, based on a complaint regarding a story they had published some months earlier, even though the plaintiff had already withdrawn the complaint. The editor was released within hours, but the incident was “reflective of the ways of a typical police state,” wrote el-Amin on Twitter.
  • In May 2017, Egyptian authorities blocked access to Mada Masr and 20 other websites. That makes it difficult for Mada Masr to measure its audience, but its followers still access the site through a VPN. Despite the risk of being shut down, Attalah says that Mada Masr concentrates on reporting fairly and accurately. One of Mada Masr’s articles this May, for instance, revealed how a majority of new television shows launched in Egypt during Ramadan have links to an intelligence agency.
  • The next challenge for outlets like 7iber and Mada Masr is to expand beyond their core followers of young progressive millennials and activists, says Ayman Mhanna, executive director of the Lebanese Samir Kassir Foundation, which defends press freedom across the Middle East. “When you ask most people on the streets of Egypt, Jordan or Lebanon about these platforms, they don’t even know they exist,”
  • Mada Masr, 7iber, Sowt and Al Jumhuriya have banded together to provide a one-year fellowship called the Alternative Academy for Arab Journalism. The fellowship begins in September and aims to train 25 young journalists each year in critical thinking and in-depth storytelling.
Ed Webb

'Three Thousand Years' and the History of Middle East Tales - New Lines Magazine - 0 views

newlinesmag.com/...e-history-of-middle-east-tales

film media Turkey MiddleEast MENA review orientalism

shared by Ed Webb on 30 Aug 22 - Cached
  • a film based on “The 1,001 Arabian Nights” is a risky venture. On the one hand, Hollywood Golden Age standards like “The Thief of Baghdad” (1924) and “Ali Baba and the Forty Thieves” (1944) get applause even from someone like Jack Shaheen, who in his book “Reel Bad Arabs” tries very hard to sniff out anti-Arab sentiment. On the other hand, Disney rolled the dice in 1992 and wound up with “Aladdin,” one of the most scandalous films ever made. This was thanks to an ill-advised song lyric about the Middle East: “Where they cut off your ear if they don’t like your face.” (The 1993 VHS version tossed out this carbuncle but kept the phrase “It’s barbaric, but hey it’s home.”) The 2019 Will Smith reboot of the same name, one of that year’s highest-grossing films, didn’t do much in the eyes of critics to update Orientalist caricatures. Teachers still use the 1992 version to show what not to say about Arabs and Islam. Another Disney production, 2010’s “Prince of Persia: The Sands of Time,” which was based on the Persian national epic “Shahnameh,” got panned for casting Jake Gyllenhaal, a white actor, to play a Persian character. And the list goes on.
  • both Byatt and Miller get much of the folklore right. Viewers learn that djinn come in many varieties, including those who fear God, like Alithea’s djinn insists he does, and those who don’t. Djinn are made of “smokeless fire” while humans are made from dust, based on the Quran’s chapter 55, “The Merciful.” Djinn can live for thousands of years, change size and shape, make love, eat and sleep (the djinn in the movie says his kind don’t do the latter). All this and more, drawn from Islamic folklore through Byatt’s story, makes Robin Williams’ blue meanie from the 1992 “Aladdin” look like the cardboard cutout he is
  • at a time of heightened sensitivity to who gets to tell stories, can Hollywood still celebrate the Middle East?
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  • these tales don’t come from fantasies like “The 1,001 Arabian Nights” but instead Middle Eastern history, especially Ottoman history. Anyone familiar with the region’s culture and storytelling will be struck by how thoughtful the film is, despite its kooky, over-the-top vaudeville
  • Miller’s location, cast and music celebrate rather than lampoon the Middle East, above all the wonders of Turkey. Shot on location in Istanbul, the film pans over Topkapi Palace, the Hagia Sophia and other iconic hotspots. Turkish actors fill most of the minor roles and speak Turkish throughout (Elba gives it his best college try). “Chesm-i bulbul,” or “the nightingale’s eye,” the name for the djinn’s bottle and hence of Byatt’s story, is in fact a beloved style of glasswork. The film credits roll to a Turkish love song.
  • “Three Thousand Years,” billed as “Aladdin for adults” and based on the 1994 short story “The Djinn in the Nightingale’s Eye” by A.S. Byatt for The Paris Review
  • he adds a scene that’s unjustified by the plot and which mainly serves the demands of cultural sensitivity, in deference to viewers who don’t know enough about the Middle East to see how much care Miller has taken. Back in London and close to the finale, Alithea greets two neighbor ladies who ask why Alithea wastes time with “ethnics.” She fires back that she can’t abide people — like them — with knee-jerk reactions against anyone different. “Fuckface,” one of them spits at Alithea, who ducks back into her house.
  • This scene’s welcome jab at xenophobia is not what annoys; it is rather the non sequitur. It’s the one and only time we meet these neighbors, though they later stand aghast while Alithea explains her enormous ebony djinn will be staying for a while. It’s the one time we hear their views. Their struggle to grasp the Middle East has not shaped us in any way, nor does the script humanize them beyond political caricature. “OK, boomer,” says the movie with a sneer. Miller could have stood on his thoughtfulness toward the Middle East without pandering, but in fairness, he’s less to blame than a culture industry that makes directors like him think that pandering is the price of keeping their skin.
  • Byatt’s story is nothing if not highly sexed, and Miller’s retelling can’t do it justice.
  • That both the djinn and Alithea are trapped by their own gigantic emotions produces one of the film’s loveliest sentiments, spoken by Alithea as part of her wish for the djinn’s affections: “I want our solitudes to be together.”
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