In an age when video journalism is increasinly paramount and printing is arguably no longer necessary, how do you feel the still image is still pertinent to documentary or news work?
Video journalism serves its purpose and is growing as it is easier to create and distribute, but photos haven’t lost their power in this new environment. A single strong image can be viewed and summarize a situation in seconds. In our fast paced world there will always be a place for the still frame.
Do you think documentary and art photography are important for the development of photo journalism? Is there enough of that going on in Egypt (with the Cairo Image Collective, for example) to create a photographic culture?
As a photojournalist I often steal style from art and commercial photography. We must be aware of their modern visual language in our work to stay relevant and interesting. But even though the internet has broken down barriers it can be impossible to find many documentary or art photo books in Cairo. While in the west you can pick up a thick fashion magazine at almost any store and get inspired by the commercial portraiture it takes conscious effort for photographers to suss out inspiration in Egypt.
A Kid Came to Me
A kid they marked up down at the Qasr Al Nil police station came to complain to me. (This was what was going on back then, with the April 6th Youth Movement and Kifaya and all of that stuff; and the Brotherhood, too, they were getting it together on the sly, even though, bit by bit, they were starting to get it in the neck: cunts.) A sweet kid and a sissy, a guy could get a hard-on just sitting next to him, who’d been working with me for a while and whose name was Ashraf Bayoumi. They marked him up and he came to my house. The minute I saw him I spat and turned my back. On the 4th of April I’d sent him along to a tiny demonstration whose purpose he didn’t know in Talaat Harb Square, and he was supposed to have reported back to me the same day. He bent and wiped my spittle from the doorstep with his sleeve then threw himself at me smearing his mouth against my brow. Just hear me out, he said. Then he followed me inside and asked for a glass of water.
Cairo, 15 January 1850
[…] Here we are then, in Egypt, the land of the Pharoahs, the land of the Ptolemies, the kingdom of Cleopatra (as they say in the grand style). Here we are, and here we abide, with our heads shaven as clean as your knee, smoking long pipes and drinking our coffee lying on divans. What can I say? How can I write to you about it? I have scarcely recovered from my initial astonishment.
Murad came back in two packages. He was hit in the neck, they said. The squall of ammo was such the head wouldn’t stay in place.
After Mama was hauled to Tante Loulou’s I arranged him on a mattress in the living room, then I sat thinking how he hated the army.
I’d hated it too, twelve years before. Even though at that time conscripts weren’t being screwed. But to be in the barracks on July 23…
The Gunmen had timed it to make a point. The army is the state is the infidels is the enemy, they believe. And July 23, 1952? A coup.
It’s the coup you call R that WE call bloody C. How about everyone just calls it RC, I was thinking. Then I remembered.
Nymphomaniac’s Message for the Arab Spring
As an Arab you’re probably expecting me to lay into Nymphomaniac. It’s a film that must seem, if not offensive to my cultural sensibility, then irritatingly irrelevant to the poverty, underdevelopment, and upheaval that surround my life.
In most cases dropping the word “white” in the same paragraph as “Islam’s respect for women” is all it would take to slam Lars von Trier in this context. It would be a politically correct slur, too. I could even draw on Edward Said’s hallowed legacy to point out that the only time non-Europeans appear in over four hours of action, they’re portrayed as dumb sex tools. Not only self-indulgent and obscene but also Orientalist, etc..
But the truth is I actively delighted in Nymphomaniac, and I didn’t have to stop being an Arab for that to happen. To be accurate I should say I would’ve welcomed a von Trier film anyway, but this one showed up when it was needed—and it duly exploded on arrival.
If not being allowed to have strong opinions is not
#censorship I’m not sure what is