Fragments of War and Animation: Dahna Abourahme’s Kingdom of Women and Soudade Kaadan’s Damascus Roofs: Tales of Paradise
Identifieur interne : 000125 ( Main/Exploration ); précédent : 000124; suivant : 000126Fragments of War and Animation: Dahna Abourahme’s Kingdom of Women and Soudade Kaadan’s Damascus Roofs: Tales of Paradise
Auteurs : Stefanie Van De Peer [Royaume-Uni]Source :
- Middle East Journal of Culture and Communication [ 1873-9857 ] ; 2013.
English descriptors
- Teeft :
- Abourahme, Aesthetic appeal, Ancient city, Animated, Animated documentaries, Animated documentary, Animated films, Animated fragments, Animated realism, Animated sequences, Animation, Animation studios, Animator, Arab, Arab animation, Arab world, Archive, Assad government, Beirut, Book illustrator, Calligraphic animation, Cartoon, Childlike illustrations, Cinema, Contemporary developments, Creative dissidence, Cultural purposes, Dahna, Dahna abourahme, Daily life, Damascus, Damascus roofs, Different meaning, Documentary, Documentary films, Ella shohat, Exotic animals, First sight, Fragmented animation, Hady zaccak, Hani bayoun, Hijazi, Hilweh, History lesson, Honess, Hybrid, Hybrid form, Independent studios, Israeli invasion, January, Jasmine birds, Joude gorani, Kaadan, Large number, Last decade, Lebanese, Lebanese history, Lebanon, Lena, Lena merhej, Lina ghaibeh, Long time, Merhej, Mimetic substitution, Mission statements, Naji, Naji cartoons, Oral testimony, Palestinian, Palestinian cinema, Palestinian film archive, Palestinian refugee camp, Parallel shot, Paul ward, Peer, Peer middle, Piotrowska, Political dissent, Political implications, Popular culture, Private companies, Same time, Sarah wood, Social networking, Soudade, Soudade film damascus roofs, Soudade kaadan, Southern lebanon, Star animation, Substitution, Sulafa, Sulafa hijazi, Syria, Syrian, Syrian animators, Texas press, Transnational, Transnational audience, Trauma, Traumatic, Traumatic instances, Traumatic memories, Western eyes, Young animators.
Abstract
In this article, the author addresses the meaning of animated fragments in documentary films. She analyzes a Syrian and a Lebanese film, and illustrates the role and function of the hybrid form as a means through which women are now able to express themselves. Dahna Abourahme’s film Ein El Hilweh: Kingdom of Women (Lebanon, 2010) and Soudade Kaadan’s film Damascus Roofs: Tales of Paradise (Syria, 2010) are used as recent examples of documentaries addressing taboo issues by way of animated fragments. The author places these films in the wider context of the contemporary developments in animation in the Middle East, paying special attention to women’s contributions in the field. Both documentaries use animation not only for aesthetic appeal but also to enhance understanding and deepen engagement with topics and events that are necessarily situated beyond the knowledge and experience of a transnational audience. The author contends that animation creates a different film experience, and the audience must deal with the seduction of the animation.
Url:
DOI: 10.1163/18739865-00602003
Affiliations:
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Le document en format XML
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She analyzes a Syrian and a Lebanese film, and illustrates the role and function of the hybrid form as a means through which women are now able to express themselves. Dahna Abourahme’s film Ein El Hilweh: Kingdom of Women (Lebanon, 2010) and Soudade Kaadan’s film Damascus Roofs: Tales of Paradise (Syria, 2010) are used as recent examples of documentaries addressing taboo issues by way of animated fragments. The author places these films in the wider context of the contemporary developments in animation in the Middle East, paying special attention to women’s contributions in the field. Both documentaries use animation not only for aesthetic appeal but also to enhance understanding and deepen engagement with topics and events that are necessarily situated beyond the knowledge and experience of a transnational audience. The author contends that animation creates a different film experience, and the audience must deal with the seduction of the animation.</div></front></TEI><affiliations><list><country><li>Royaume-Uni</li></country></list><tree><country name="Royaume-Uni"><noRegion><name sortKey="Van De Peer, Stefanie" sort="Van De Peer, Stefanie" uniqKey="Van De Peer S" first="Stefanie" last="Van De Peer">Stefanie Van De Peer</name></noRegion></country></tree></affiliations></record>Pour manipuler ce document sous Unix (Dilib)
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