Cairo International Film Festival Essay
The Black Sunglasses, 1963
The golden age of Egyptian cinema survived the fall of the monarchy, the departure of the British, the nationalization of the Suez Canal, and three wars with Israel — but not Cold War-era capitalism.
“Golden age” in this context is of course an amorphous term, but it does point to a palpable phenomenon which, in the form of roll film, remains testable for efficacy. Over roughly three decades from the beginning of 1940s to the end of the 1960s, a certain balance of quantity and quality was maintained. Art remained a meaningful business proposition even after capital was monopolized by the state and a centralized economy established.
As the IDF begins its withdrawal from the scene of the crime, Hamas is poised to harvest the political yield
An Israeli reservist prays July 18 near the Gaza border by Sderot, Israel. Source: CNN
On Friday 1 August, the blog of the Jerusalem-based news site The Times of Israel published and then quickly removed a post entitled “When Genocide Is Permissible”.
A barely literate homily in the Israel’s-right-to-defend-itself genre by a New York accountant named Yochanan Gordon, it casually suggested that, if the cost of “peace and quiet” is the wholesale elimination of Palestinians who disturb it, then perhaps it is a cost that should be shouldered. It was exactly like saying, “But if you were in unbearable anguish and torturing Yochanan Gordon to death was the only way to recover your peace of mind, what would you do?”
@Sultans_Seal wallows in his lack of democratic mettle
Time and again, since 30 June last year, I’ve come up against the commitment to democracy that I’m supposed to have betrayed by appearing to endorse the army’s intervention in the outcome of Egypt’s second revolution.
Time and again I’ve had to explain what on earth makes Egyptians think that Washington and Tel Aviv are secretly in league with the Muslim Brotherhood to decimate the Arab world along sectarian lines and bring death and destruction upon innocent Egyptians as much as Syrians and Libyans in the name of human rights—presumably to the benefit of that impeccably democratic and profoundly civilized neighbor state where racist, genocidal, militarized sectarianism does not present the world community with a human-rights problem.
For the Western media and Western policy makers, it seems the story of what’s been happening in Egypt is a simple one. Having deposed and taken into custody a democratically elected president on July 3, the army went ahead and forcibly disbanded two large sit-ins staged in protest of the coup, killing over 500 civilians on August 14, then hunting down the remaining leaders of the Muslim Brotherhood and allied groups, whence both president and protesters hail.
Legendary photographer Josef Koudelka packed the house at the Paramount Theater in downtown Charlottesville during the Look3 Festival of the Photograph over the weekend, and the audience greeted him with a standing ovation after master of ceremonies, photographer Vince Musi, announced that Koudelka had been reluctant to participate. Koudelka, who has a reputation as a lone wolf among a group of peers known for their independence, has rarely granted interviews during a career that spans more than 40 years.
“Of course I don’t feel very comfortable to be here. I am not a good speaker,” said Koudelka, who was nevertheless gracious to Anne Wilkes Tucker, curator at the Museum of Fine Arts Houston, who was also on stage to interview him. “I don’t know what she’s going to ask me, [but] I gave her assurance I would answer everything…I will try to be as honest as possible.”
Koudelka also told the audience at the outset that he “never listened much to what [other] photographers say,” and recounted how Henri Cartier-Bresson had asked him to read and comment on the text of The Decisive Moment before that book was published. “I said to Bresson I’m really not interested and I’m not going to read it.” Koudelka added, “I think the best portrait of a photographer are his photographs, so please judge me on my photographs.”
The audience cheered, and the program got under way with a projection of a sampling of Koudelka’s earliest work–a documentary of stage actors during performances, followed by a series of abstract images that stemmed from his work as a theater photographer. The program alternated between silent projections of Koudelka’s major bodies of work, presented chronologically, followed by several minutes of Q&A conversation between Tucker and Koudelka about that work.
Here’s an edited version of the conversation. The headings indicate the subjects of the major bodies of Koudelka’s work, and when it appeared during the program.
First there was a riot, a kind of street fight with the police. Killings led to a sit-in that led to power changing hands. No one took issue with the hangman’s noose swinging symbolically at the maidan, though the riots were supposed to be silmiyyah. The killers never hanged in the end, and no one took issue with that. Only the rioters vowed to take revenge unless the courts hanged someone, but when the courts said not guilty it was all they could do to start a new fight. And in every new fight more rioters were killed. It became something of a national fetish to riot, and riots sprang up everywhere in the country, sometimes for no reason at all, often because no one was hanged.
٦ نوفمبر ٢٠١٠
هل لابد أن ترتبط هوية الكاتب بمكان جغرافى وتاريخ محدد؟
أرى أنها على العكس لابد أن لا ترتبط، لا يصح أن تكون الكتابة مكبلة بفكرة انتماء لمكان معين أو حتى زمن معين. الانتماء لمكان وزمان يكون حاصلا رغماً عنك. سهل جداً أن تقع فى فخ سياسى أو غير أدبى، غير أدبى بأى معنى، ليس من الضرورى أن يكون سياسياً، لو أنك ربطت بين كونك تنتج أدباً وفكرة أن هذا الأدب له مكان أو له زمن أو له أى نوع من أنواع الانتماء.