Thursday, March 28, 2013

Movie Review: Crop, by Marouan Omara Johanna Domke

Great movie/documentary about the role of images before and during the revolution. Particularly interesting because it almost entirely filmed inside the State-run Al-Ahram newspaper building.

I thought it was particularly interesting that none of the workers in the building (routine work scenes from all floors) ever acknowledged the camera even though it was always in their face. They pretended it wasn't there. Regarding this, Johanna said that all the workers knew very well that if someone received the permission to film inside that building, that they must have been very important and that it was best not to laugh at it. Better to act serious and pretend like they're working.

Try to see it. Here's the trailer.

A Film by: Johanna Domke & Marouan Omara

CROP is an experimental documentary co-directed by Johanna Domke (DE) and Marouan Omara (EG). The film analyzes the role of images in the Egyptian revolution and puts it into historic perspective with the image politics of Egypts leaders. The idea of framing, that originates in a pharaonic architectural feature of representation, conceptualizes the mechanisms of state controlled media and contrasts the use and distribution of images taken by the general public during the riots. Crop questions what becomes part and what stays outside the frame in the shaping of history. The film is shot entirely in the location of Al-Ahram, Egypts biggest state newspaper. It contrasts the executive floors of the building with the employee and workers sector.

The audio track is composed out of interviews with writer and media theorist Maria Golia and photographer Yasser Alwan. While the audio gives an analysis of the historic and social change of the relation to images and the social media revolution the visual side follows the anachronistic process of a newspaper production.

Duration: 45 min
Sound: stereo
Format: HD, 16:9
Language: english

Here are some photos I took of Marouan Omara and Johanna Domke after the screening:

The screen behind them, on which was projected their movie.

The directors in front of the audience, being captured in yet another image(s).

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