Palestinian Militant Cinema: A Master Class with Filmmaker Mohaned Yaqubi

I’d like to welcome you to an event session of the Center for Palestine studies the center itself is five years old and remains the only such center in the Western Hemisphere I’m the co-director brinkley Messick I’m professor of anthropology and I’d like to welcome you specifically to the launch of the second part of a new project called Palestine cuts it figures among the art initiatives of the Center for Palestine Studies and it’s conceived as a new space for filmmakers and video artists to present and discuss their work and an engaging and encouraging environment it’s a new space in short at Columbia University and in New York City for the filmic arts of Palestine this is again the second stage of this inaugural event in which we envision as a series as an ongoing conversation to be continued and developed in the coming academic years a conversation between visiting artists and local faculty students and the film and video community in other words in short a community and a conversation and before he reduced our guest filmmaker I just want to mention the names of a few people who have made this project possible and some of them were in attendance last night some others are in attendance tonight this afternoon but the people who lent their names to this project at the very beginning Hamid Dabashi and James Shamus were crucial to lifting its prospects from the outset then also we’ve had continuing conversations with a number of faculty and people like Richard Pena Madeline Dobie Brian Larkin Keith Sanborn and Francis Negroni Montaigne who was actually here tonight today as opposed to those who were there last night also anthropology graduate student hadiyyah-lah sally was crucial to the early discussions he’s a video maker in her own right has worked in gaza and postdoctoral scholar Omar Jabari Salamanca who was crucial to the early ideas of this project and who ended up designing our logo and he will figure this afternoon as a facilitator or convener of our discussions also too when I thank Dalia Zayn are our wonderful skilled senator palestine studies program director who is responsible for all this organization that makes these things possible and to our friends the levy churches without whose support of the ambitions here would be much more limited and so I’d like to now just to welcome the filmmaker and producer Muhannad yaqoob’ who joins us from Ramallah Palestine Muhammad teaches film studies at the International Art Academy in Palestine he is part of subversive films a curatorial and research collective that focuses on militant film practices ecobee is a producer of internationally screened films such as infiltrators by cottage or our pink bullet by ramsey husband and he is the co-producer of Habibi by Suzanne Youssef and though I know the river is dry by Omar our Hamilton he’s also the creator and producer of the project suspended time an anthology film by nine filmmakers reflecting on 20 years after the signing of the Oslo peace accords his latest short no exit written in collaboration with Omar Harry had its premiere at the Dubai International Film Festival last night we had a workshop in which he screened for us in a special screening this is a film that hasn’t been released yet screened in a fine cut version this is off frame a journey through militant cinema it’s a film about and not to summarize it but about the Palestine Palestinian film unit the P if you in the workshop we had both the screening and then a discussion moderated by Hamid Dabashi the professor at the University this afternoon we have a masterclass on Palestinian militant cinema and myself I have never attended a masterclass unable to even conceive of what it was what involved and and you too well then we’re all virginal in this topic but how nice experimentally is but this is going to be as I won’t I won’t try to characterize what it’s gonna be actually and maybe we’ll turn it over to to Muhammad for a presentation and after

that we will engage with him in a discussion and Omar will facilitate that discussion Omar Salamanca thank you welcome thanks a lot and I would like to thank again the center of Palestine study to offer this opportunity and which is great like usually as a filmmaker it’s very hard to have reviews and feedbacks on your film before it’s released so you mainly get it from feedbacks and when it’s released and you get the feedback when the film is released and yeah this is kind of weird like my colleague filmmakers would be like why you’re doing this like you should be going to a film festival directly but it’s very important because the topic is the topic of the film itself I’m working on it’s very much dealing with the collective memory of the Palestinians or the people that I come from of course I would like to thank as well Omar Omar Jabari Salamanca who very much was supportive and not only for this event but for a long time the process has been six years now and it’s been going on seems like another another year so you have to survive with me okay so my name is Mona Yacoubian and I’m a filmmaker I start actually I’m a mechanical engineer I graduated as a mechanical engineer from busy at university in Ramallah but I didn’t go to my graduation because I was doing my first film and yeah I was like I stayed five years after graduation working on films and learning film techniques from the street I we don’t have a proper film education and in Palestine or Ramallah so what I learned from was like carrying tripods and following filming other cameraman and seeing all of this complexity of how to understand what is a Palestinian image how do we represent ourself and it was funny there was one incident I mean I saw several DPS like the DP of Anne Marie Giselle salt of the sea and then after that the DP of pomegranates and mer of what montage are and they all have this thing of having the camera being held not putting in a tripod and it’s like and ask them ask both of them why do you do that and they said that’s to reflect the situation it’s kind of an unstable situation which is it has to be shaky to feel the emergency of the image there is a fast fast movement all the time which is kind of I was all the time in my work I tried to at least put the camera on tripod when I’m filming just to kind of be against the norm but that’s yeah I mean that’s part of it but then it took me again like to think about so how were other representations like how do we deal with the aesthetics of dealing with cameras dealing with the image itself and how do we produce images that related to the way we are thinking and that comes really from that practice or that practice working in film it comes to that I come and do a feature film MA in Goldsmith in 2008 it was a great opportunity to be there but to be discovering a lot of what is happening specially in the film history but the striking moment for me was when I discovered that the Palestinian that there is something for the Palestinian film industry film film scene that is related to the International and that happened in a workshop like a seminar where we were talking about third cinema I was a big big class like 200 students were there and Russell Moore who’s like a torturer a teacher and militant cinema third cinema practices archival practices she looked at me at that class and she thought you’re a Palestinian right like yes our Palestinian so do you know Mustapha Valley I know this must of ivali he’s like an old director whose stays in Ramallah but I never had the chance to see his films she started to speak about mustafa bali and his relation with gouda and then started to speak about leipzig film festival as being a central event for militant third world struggle film practices that was meeting in leipzig film festival it’s a film festival that was in East Europe at that time in Berlin not in Leipzig sorry and no but the headquarter was in Berlin so they were making it in Antarctic and then there is a other event that was happening and there was like several texts going out from there and and she was saying like how the Palestinian how the Palestinian cause attracted many of the international filmmakers especially coming after many practices like being in Vietnam filmmakers were so in solidarity with Vietnam for example there’s a famous film made by a French collective it’s called far from Vietnam was produced in sixty 66-67 and you can imagine everybody was

there Agnes very good Chris Marker and probably I can’t remember the other names but there was like a kind of certain practices of filmmaking and going doing filmmaking that is more closer to the people rather than being like being a reflection of an institution and it’s a classic discussion especially that’s why we’re new the new realism and the novel vak cinema came as a reflection or a kind of a presentation or trying to express different ways of making films so when the palestinian revolution comes in 68 it was kind of this ideas of making struggle cinema was almost almost there but what happens with the palestinian cinema revolution cinema it comes and they made the better practices let’s say they refined the language and aesthetics of that but this is what the thing that i’m gonna be speaking about how the the refined aesthetics through from the period of 68 til 82 and militant cinema and that’s that for me was fascinating to see that now we weren’t talking about film history we’re not talking about only we have something in the film history as as a Palestinian and as a revolution because we intersect with many film practices like the landscape cinema and Japan that I can with Santiago Alvarez and the Cuban film school that was happening there was many people who are coming to to Beirut especially and practicing filmmaking there and which and somehow created a going more into the research I started to see that there is kind of an underground network happening between all of them between all of these filmmakers like yeah you can go get some wood take a camera from the French TV without the the head of the TV knowing they will take it to Palestine then maybe the Italian Communist Party will pay for doing the negatives and then maybe they can do it and by route after that to do the final screening distribution will be the responsibility of the PLO they will make like pay for 6070 copies and throw them out there but when I started like after that class I went out from the class and it was very mixed feeling like why did I grow up and I didn’t grow up with a revolutionary milieu let’s say and my parents were not involved in this at all but somehow it felt to me like this there’s something resonating from the way I’m seeing myself first and the way I’m seeing the things around me that is related to to the way there and starting to research and finding documents and finding papers it was not an easy thing especially many things were written in French I mean the main source of the experience about that was for coming from the career the cinema which is a French like notebook or magazine about cinema that was mainly producing after 68 and may 68 by several groups including Gaddar and so I came I came I found this very strange text by most of ivali it’s kind of his diary I’ll read I’ll read a bit of it and then we’ll see something he writes it’s it’s mid 1976 now the airport is closed we have 15,000 meters of both color negatives and reversal films there is nowhere in Beirut where we could develop and print these films some of these films have been locked up in canisters for three months now since they were shot they will definitely be destroyed if they will not develop and faster fastest time possible and in 1976 while the civil war was raging that’s why I’m reflecting on that in 1976 while the Civil War was raging across Lebanon a group of Palestinian and Arab militant filmmakers who formed what was called the Palestine cinema Institute have been organizing for month over what to do with thousands of meters of unexposed films they shot during the events of the Civil War with the focus on telezart massacre with the intention to make a film they were desperately searching for me is to keep the celluloid material from disintegrating and a place to find and and a place to finance and develop the negatives finally they were put in touch with the Italian Communist Party the ICP the ICP agreed to co-produce the film and offer its developing labs run by unitary films in Rome however one question remains how to get the 15 thousand meter of film back in large cans out of Lebanon to Italy that was actually when we work working on film like I wanted to have something to follow a journey it’s not only because it’s very hard to transfer a research into into kind of a text unless I’m doing an essay film but I don’t know I come from more like a classical

background I still need to have a story and react and there is that kind of a climax and things happening so I decided to take this one there’s there is a question the 15000 meters of negatives that needs to be going out but it’s not only that simple thinking about it like okay thinking about the dimension of 15,000 meters that was like around 3 meet like 3 meters maybe 2 meters have high that it was like almost meter and half as more about 500 canisters it’s kind of a big operation to do there and I started to think so how does that happen it doesn’t like nothing happens just like suddenly there should be a background there should be an experience of doing that and then I continued with his diary of Mustafa until he reached to one point talking about that when he were and they went it took the negatives they managed to take it it’s not only him because there was a work of the Institute and he was the head of the Institute and so there was like other filmmaker like no be hallowed free she’s a Lebanese Egyptian filmmaker she was also filming with that there was ransom on he’s a Lebanese director who was from the Lebanese Communist Party so they were thinking about how can we take it out and they took it to Saida side aware it has the kind of the air the port for the Palestinian depended up after the 75 and the most of put them both put these negatives in a small ship that was going to Cyprus and from there there were it should be transported to Beirut to Rome he writes while in the ship the second Israeli Navy ship came close to them and was like stopped the whole the small shape of most of ivali they had to hide down beside the negatives and he writes about that moment like thinking about that they still have to run away and they still have to hide even that they went through all of the fights and he mentioned the work of 1970 in Amman and the experience of that it’s like this this there was a moment of humiliation in him so that the moment where I decided okay there is it’s not the film is not about the research is not about that journey it’s about what they were doing in an unmanned because if I understand what’s happening what happened in a man and where the they got their aesthetics and their inspiration and somehow I will understand that moment in in 1976 I did I did one trailer of trying I mean I’m trying to explain now this I did the trailer trying to say this story first Kiera God our body machinist are awesome Lila Cobras at alert Osborn have docile Ptolemaic adeana loretto no digty and aroma the motor stutters Aleph lamed is born after Jessie one recommendation is all alone Alif LAAM set of libido to film of the well horribly one in it’s one of the one of the students who was here at the time that I was here was was a Palestinian kamusta Pahlavi who went back to work and was running the film the the Palestinians from the propaganda department for for Fatah people like that and it wasn’t in Jordan luckily a few definite Philistine yeah well record it less successful limosaurus was mean II could never I mean and management has my lover cinema

is a horse of inner human pelvis are no cinemas sharp militia the Palestinian struggle is just a partisan general struggle all over the world against in Paris it’s related to Vietnam it’s related to layers to Cuba to South America everywhere and we have to present a very okay no matter sovereign Catalina Belmiro homily here Oba Diah Lama is a stressful collection interview so consented so it’s the whole thing I mean I did this this this trailer I was lucky enough to get some funding to start the actual research and the actual research for me was like okay so what is the the moment now they we have I can’t imagine myself be I was trying to put myself in their shoes and imagining if I graduated now from film school in London and I go back to Ramallah and the or like or to talk to a man and the Revolution or there is a kind of a political movement happening happening there what would I be doing I mean if I didn’t if I graduated from I don’t know NYU for example what would I be equipped enough to be thinking about how can I be politically involved is that enough to be studying film techniques to be able to make a revolution to film or like to be more doing a more committed and political politically committed film and that’s where I started to think about the education what that what type of education these guys got especially it was the beginning was that there was three people who established the Palestine film unit one of them is Mustafa Abu Ali and there is Highness over a year and Salah facade Allah two of them Mustafa and Hanny they studied in the London Film School which code was called I think London school of film technique at that time it was one of the two main main school that was teaching film and in London and I had to go there and to check what they were studying and actually there is a lot of elements coming from studying in in the London Film School especially that the technique they’re not based on teaching you how to become a cameraman they based the whole thing the whole schedule curriculum of them that they have three years every year you do two films and you change your position within the film so in the first film you’re a sound man the second film you’re a cameraman the third one you might be the scriptwriter the fourth one the director the producer so basically you play within all of this and there was the introduction at that time there was the 16 millimeter camera was hot like it’s the same thing like when the 5d came out I was like yeah when I when we got the 5d for example in 2009 it was a complete shift in the way we’re thinking of making films and I can imagine because before that like before the 2009 was like big cameras it was very expensive to to rent and you need certain people to be running it but with the 5d came it was like suddenly affordable $1,200 you get that camera and like and you start making a very good quality film like HD that goes can compete on any big screen after that of course that that changes for me I think maybe like the Arab Spring today is related to that technical invention somehow making high quality images through anyone can do that and this was the same moment in nineteen let’s say it started with 1959 with two films mainly which is shadows by John Cassavetes and read less by jean-luc Godard with both films there we use the 16 millimeter camera both films they went out of the studio and they were filming normal people walking in the street and somehow kind of it was the moment in in the Western world were like reclaiming the public spaces and seeing how’s that manifested itself and the aesthetic of filmmaking and that’s what they were learning basically in London they were learning how to use the 16 millimeter camera this direct relation you are holding it it’s very intimate as the intimate your topic as the intimate of the camera your topic should be as well

intimate to you so la posada was doing more classical education in Cairo which is which is more coming from the heritage of Egyptian production that started from the 20s so more stood you work more like heavy and and but but the intervention she did that she was the first Arab woman who does a camera work because the camera work before that was the 35 millimeter cameras the big tripods the lot of lights in your dealing all the time with mechanics and technicians which was not very suitable as they think at that time for a woman to be doing that but she had to make a fight and her graduation task was to be the first a sea of Wahid I can’t remember his name but he was the DP of the film cult and Japan a famous Egyptian film at that time which is like yeah we will take you to the Japan to make sure that you can do that and she she graduated but at that moment had 1964 she graduated the first one it was also the time where the Palestinian students union was created and or like they were starting to be active in Cairo and that Union was actually the let’s say the origin of what will become later the militant fat or even many people from the pillow but I would think that the Fatah was there so some say is that Salafi a was hanging out with Abu she had Khalil was here and he asked her to to photograph the people the fighters who were going to do operations in Sina because it was still there was clashes happening in the borders and there’s AB the Nasser was still allowing the the Palestinian feeder is to go and do operations so she would be filming them photographing them then when the things happen in 66 I don’t know why they started moving to a man and especially after 67 war the defeat and up the nostril closing all of he doesn’t want to make any any like unplanned move with the Israeli forces that can strike another war so he really controlled the Palestinian Fida in and they decided mostly to move to to a man at that moment there were of course other stations like in Syria and in Iraq but they did it to Tom man and they asked mahadeva to go there it was the moment as well where had he graduated Mustapha graduated both of three of them young graduate filmmakers thinking about so what we should be doing and how can we be part and supporting the Arab the Palestinian revolution and that’s when they start creating this thing the pfu which started and in a place called they called it a mud bog which is like an old house a mud bog means the kitchen a kitchen in English and the they was the whole place was called the kitchen according because they were using the pfu they were using the kitchen as a place to to develop the negatives they need the water and they need to to close it and it was I don’t know i think feed a ian were not eating a lot using the kitchen a lot so they were using it instead at the same time it’s like this i can imagine as they were telling me they were making bombs like Fida ian would be making bombs and the clocks for the bombs at the same time the negatives will be developed and they were this whole coloration or like intersection between militant and filmed like filmmaker or photographer and one of the guys were remembering his name is added were seeing like yeah we were dealing with negative like with our cameras as the fighter were dealing with their plasma cough so that when they were going to do an operation the cauda PDE or the militant will take the classroom they will take the camera and they will all go together so i think there was a something connecting between all of them and their main job or the main thing at the beginning was to document the document and they say it specifically the document the revolution in its way to victory which is a bit weird I mean it’s kind of the first time that that happens at that moment because most of the other nerd like me struggle cinema that came out was after the victory most of it I’m sure there are many films which I’m not aware of that was made while the revolution is happening I revolution for example the Cuban Revolution rginia revolution or Vietnamese war Laos or whatever but would this one they were much much very aware that we need to create like documenting and presenting a new image of Palestinian was one of the tasks that they were trying to do and Lia’s sambar is a historian and writer and our the Palestinian representative in UNESCO he’s not staying along anyway but he he

put it in a nice way and says 1948 I mean when I asked him about what is this obsession of documenting everything or happening on the moment while like it’s better that we’ll be fighting and then we celebrate our victory and we document that rather than just documenting everything on the spot and he was saying for 1948 for Palestinian it’s a moment where we disappeared like totally disappeared from from the international community from all of the record there is no state anymore and for someone who’s disappeared his weapon would be a camera and that’s that that’s exactly the sense of what is the palestinian revolution it’s all about it was mainly about the representation and coming back visually the sound of the clash on was not to kill someone was to prove that you exist that you have a sound you have an image of course he put it in a different way after that and yes and says but the dilemma is that we came back to the picture but with a covered face so and it’s always this invisibility visibility question is always hunting the Palestinian people and even from the the beginning of the photography where the machineries and churches were sending photographers to test photography technique but they were using that and the Holy Land and they were filming photographing the Holy Land without people which after that took by the Zionist movement and said this is a holy land without people for holy people without land or so yeah and they’d always have a problem with being visible and I think that’s that’s the whole question of the century so yeah there was much awareness of of that moment and and they were continuing to do that of course many many many of the aesthetics comes from and recently we found a notebook like this year by made by must behind is over here and it’s basically that this year that he is teaching other militants because there were three three guys and they didn’t have anyone working with them so what they were doing they needed to teach other other militants and I remember Mar Amari Bali who’s the son of Mustafa Bali he was when and by route maybe 77 or 78 he was young he was like 10 years old but he remembers when he goes to the restroom of the photographers it’s like most of them one without an eye there’s missing leg missing hand so basically there were militants who were getting injured in an operation and so they were challeng then one will go to radios one we’ll go to photography one will go to like writing or a factory or something so you can see that there was a direct need to educate these militants on how they would present their image and there is a lot of discussions and that not book about like if you have like 10 minutes real because it’s before and 16 millimeter you would have a 10 minute drill that’s the the limit that you have and you only have that 10 million lira read and there is like a question what do you do what would you do with that if you are in the middle of a battle how can you document what are you gonna be filming to make sure that the message is gonna be out I would be fantasizing or thinking about the answers it would be really beautiful like maybe someone will be filming at the sunset and having maybe that with this 10 minute real and this is this is it and it’s all about the editing after that so yeah maybe we’ll see something else they they they they didn’t start at the beginning making films it wasn’t the idea of making films as much as it was documenting the events like the events were for example the biggest event they they documented and launched their career let’s say or this whole thing of militant Palestinian militant cinema and got the attention of the international filmmakers to come and get communicated with the Palestinians and especially with Mustafa and han eunsu lafa was the Kurama battle which was 68 small group of palestinian decided to stay and they all get killed most of them but they had a symbolic meaning for the Arab world that after the defeat of 67 for for Arab armies were defeated and suddenly there is a group of a fighter who are able to stand and they managed to damage like four or five tanks and they killed some Israeli soldier but the thing is they were waiting for such a moment the minute the next day there was a directly a press conference you have salata memory one of the fighters speaking about he was the political community at that moment and speaking to maybe like 20 cameras at that time there was Mustafa volley and Hani and saliva filming different tanks and there was like the international

media wanted to know about what is happening so they started to organize before that was just like yeah they were stealing cameras they didn’t had even cameras they only had their own personal photography camera and they didn’t had a film camera the PLO at the leadership was not really understanding what is what does it mean to make films and into the revolution or to document the events but after the may 6th after the 68th event in March 68 they suddenly realized that it’s very important because one one one imagination one one interview I did what with a guy called jean-pierre olivier de Chardin he’s a visual anthropologist and he lives in niger now but in May 68 for example he was in Paris and he was part of this group called goofs proletarian left proletarians or something which is somehow taking the the heritage of the Communist Party but taking it more in a fresh way so they were organizing the people in the street but for them the main question was Palestine and they got introduced to that through hamshari mood hamshari and as it developed and so they they they when he was telling me that when they decided ok may 68 happened they needed to make a film about Palestinian revolution and there was nothing about that mahmoud hamshari brought him maybe 20 photographs made by hanage over here and he gave it to him and they made the whole film in Paris so they put put the pictures on the wall and they were just like scrolling and moving through them of course the film is I mean we tried to look for the film together he doesn’t know because it’s only screen for several times and seventy and him he got disappointed with this whole revolutionary movement and went to Niger and was teaching more he didn’t do any other films so the film basically got lost but it’s very interesting that was kind like okay that we start with photography before we do any negatives or like films and it was the same thing with the Palestinian militant group like the pfu they started with photography but they didn’t thought about making editing until that Roger plan comes the Roger suggestions after 67 war there was many talks between the Arabs and the Israelis to get a peace settlement and Rogers Walter Rogers I think his name is who was the Secretary of State the US and he proposed this plan and the plan was making a settlement between the Israelis and the Arabs without mentioning the Palestinian people in it so again there is like a we’re still invisible we need to have a more fight to be presented and people need to like the international community need to talk to the PLO directly rather than talking to the Arab movement around them and then that start they asked the PAP if you to make a film I don’t know if they asked them or the PPU themselves they just documented the demonstration that happened nah man in Beirut and they made a film about it called no for peace process Holliston me the film is totally lost also again there’s the early period of the militant cinema it’s very hard to find any of that films like the films later on made in 70s late 70s in Beirut you can find a lot of copies but that’s why again why I felt that it’s very important to think about or to look at that period and an unmanned rather than in Beirut because Beirut there was like an establishment thing I mean an established institution but none man there was like a young group of young people who were just like hearing about Mao and the power of people and like there was some Maoist coming studied in China and came back and some people coming from London and studying in France or didn’t really know what does it mean what is the type of struggle we want to do but what they know exactly that they had they had the people Jakob’s which is where they all the time trying to engage them didn’t need really the image to be engaged but it was very good to see they wants Khadijah and Mustafa they were remembering the moment when the screen they do not know for peace process and naam man and it was the moment where suddenly and refugee camps I don’t know if you know that and if you G camps the Honorable was organizing every Thursday screening of Egyptian film on one of the walls of the of the camp and mainly it was the school of the camp and the Egyptian films of that time were kind of you know it has it had everything that the Palestinian miss it had like the beautiful house there is a car there’s big dinner parties at the musical so for them for kind of the Pristina refugees in a man and being the owner world cinema became the place where the dream happens and somehow and suddenly they’re seeing themselves being replaced the replaced for each how II with

Palestinian militant or Patten Hammami with a militant female cleaning a gun so they and somehow they replaced the idols and the Palestinian mentality and that’s what I don’t know if somebody saw some some of you saw the film yesterday when a bomb our I mean this is the honest thing maybe we managed to change the Palestinian from refugees into a freedom fighter and it’s again I would add to that we managed to change the image of the Palestinian from refugees to an image of freedom fighter and there is also the downside and the dark side of just building that on an image and that’s what we see after that because I don’t think there was a real let’s say real work on the ground there was always a lot of corruption and there is a lot a big fight for power and their presentation within the PLO happening and these poor guys of the pfu were just taken within this big struggle of representation I want to show you a scene from with Saul with blood which is the second film made by the pfu the first one was lost and then they made with salt with blood which was basically edited from the material they filmed while happening the happening of 1970 September Black September events and Mustafa and and Hanna’s falafel was not with them anymore because she got shot while in a friendly fire while she was giving a workshop one of the workshops they were giving to the militants at that time and one of them was playing with a gun and she got shot in the head so she was already out when the Black September events happen and then it was Mustapha Hani and like another two three people with them Omar Mukhtar moti Ibrahim and Adel they filmed and they documented this Mateus the events happening and they took it with them out when they went to Beirut the interesting thing about watching with soul with blood that you see that there is no one behind what is gonna be saved so it’s totally them that the political message and it seems that they were like yeah we have a lot of material we need to add everything so in some how you can see that they’re using text at the same time music and the same time using graphics fiction scenes using documentary scenes acted like the beginning of the film as well but like kids playing on the on the roof of a building it’s all come together and I’m making a very unique style of film a style that we and somehow we can trace and the next two or three movies at least the period when till 74 we can we can still taste or follow dust experimentation and the image they were doing Oh

because this film is is prevented from being screen and by route and a man I mean because it’s very much criticizing the Jordanian regime and actually most of all II had a lot of problems to come back after the 82 to go live back again in a man and when they had he had finally the chance to make a meeting with Jordanian intelligence he told them like benefit many people who were involved in the Black September I didn’t carry a gun even so why are you making a lot of problems for me and they said who shot on us we shot on him but he did the film that we can’t answer yet till now so that’s why even in a man period he was really restricted of traveling he couldn’t go anywhere he couldn’t do anything and when he went to Ramallah I think that was his depression and in Ramallah is word because we want to keep good relation with the Jordanian regime we can’t screen this film that’s why it’s good to be in a free place like here it’s a beautiful film but it’s very like thinking about the translation of the film it’s very hard because as you see there is the voice-over and there is the text all the time happening he is like he used some graphics of Nazir na ba who was an artist at that time yeah so this this this film was finished in 1971 and they screened it the first time in 1972 at the Damascus Film Festival for for youth films and filmmakers and that I think it got the silver a word of that festival and there was a lot of discussions and a lot of new having guard movement or images of films coming at that time especially I can remember a film called hundred faces of a single day by a director called Christian Rossi who died who left us last year and it’s like it’s also this avant-garde Guderian playing with sound playing with image there was no one focused on like the e-field that there is no institution behind it that is trying to to speak something but that created also a lot of problems because now most of us alone in Beirut and he has he was like in front of the PLO and the leadership he has to build up an institution a cinema institution and with this film and he wanted to keep working on this style he couldn’t there was a big problem when I think it’s incident not many people remember that with this history it’s most of all I wanted to make a fiction film because he was trained as a fiction filmmaker but he decided ok I’m gonna serve the revolution now we’ll do a documentary for them but in 71 72 he already started work on a fiction film it’s called by a filmmaker by a writer or a shot of shower and it’s called I am in Hopewell mode the days of love and death that’s the noble that he decided to make as a film a feature film but oh shut up shower was very critical of the PLO and they he accused them of being the reason on factor especially or being the reason of our defeat of the defeat of the Palestinian and in a man and all of the consequences that happened after so pillow suddenly decided we’re not gonna fund you most of ivali to make that film and he was very angry of that so he made the film it’s called zionist aggression which is which is like I don’t know if how many of you knows the not exist a film by Mustapha Valley that was made in 74 he made the film before that in 73 called zionist aggression

where it’s kind of a pure cut of the donut exists you can see the same style and the same movement in the camera and using the the silence of the film but from from my understanding or from my kind of research I felt that Mustapha was doing this like making the silence and this one is 20 minutes you have 16 minute awaited silence of the zionist aggression and somehow he doesn’t want he want to silence the propaganda of the institution using an artistic form saying that i it’s better that you look at the image without hearing a sound which was also a discussion of that time best for for for me I think it’s also that he doesn’t want to hear the political leadership speaking he want to silence them in their own funded movies

comparing that to the Palestinian films today which Christina films were today after all specially they are starting the starting point is a checkpoint and the closing point of the checkpoint so this is more up for me it’s more like seeing a future and at least I hope all the time but if I want just to go very fast to see where the last minute of course that the one that everybody is like saying it’s lost again we see here the same thing the beginning opening nice people nice life is very quiet music it’s reflect the kind of a relaxing and intimacy then we have the attack of course it’s better in terms of form a structure they do not exist because he using like different types of music as well and there is a drama element in it where little girl is trying to is sending a gift for a militant fighter to show the community support but let’s see maybe the last minute Muhammad is a karate either this is the thing like when I’ve been working in this one like in especially in European film markets so are you going to talk about the propaganda propaganda as much as the representation of how can you tell you you story using what is available in front of you and facing the obstacles in both and that we are subtly speaking about ourselves and we are we don’t have equipment to do that so which create a very interesting format now all this this fight I mean this this thing with these films and the work that most of Hany soon after were been doing of course it was almost ended with Henny being killed and in the civil war events in 1970 76 and honey as well was part involved in making this fifty thirty thousand meters of negatives and that’s where we come back to the beginning of this talk about what did

make what was their experience to go and do such developing these movies of course with the end in 82 this whole thing was the disappeared and it was very hard to take out the negatives from Beirut that at least the original format of this films but luckily I mean they were and somehow knowing that they were doing something for the future and they were making 6070 copies of each film and sending them all around the world like for student unions in Chicago or and like worker unions and in France and fighters in Mozambique so we can now find somehow find many of these copies and teller tells us a lot about the international connections with this film now I think I’m gonna end here and I prefer to go for discussion I didn’t go into the international connections with like different film groups that are working with them and to see how this images were transferring in several films it’s but the only thing that changes artists is the sound so the like international filmmakers like Buddha or Santiago alvarius or other people would come Van Kirk and they would be coming and taking negatives and rushes from the pfu copies of that and then adding them to their films with a different soundtrack so it’s kind of it’s built on archive there is an archival process that is happening all the time and in the film I’m doing a frame I’m also trying to take this technique and add another sound layer to them thanks a lot and