Marginalised Voices – Storytelling

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At this point, we have a rough idea of how the final outcome should look like. It’s VR, it’s immersive, and possibly interactive. What we need now are inedited stories, an outline that gives to our project a way to stand out as an innovative storytelling tool.

We are contacting different organisations, volunteers, associations and.. friend’s-friend, that can provide us with life-bites, pills that are not necessarily appealing for the media, but rather convey individual stories that are relevant for those who lived them. 

Contacted or to be contacted:

  • Amnesty International
  • ICS
  • SyriaUntold
  • Antonella Della Ratta
  • Rania Abouzeid

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Internazionale: In Syria the revolution lost the war of images

https://www.internazionale.it/bloc-notes/catherine-cornet/2019/03/29/siria-rivoluzione-immagini

The book Shooting a Revolution by Donatella Della Ratta offers an original reflection of the relationship between images and violence in Syria.

Pixelated revolution (https://www.ibraaz.org/news/21) was coined in 2012 by the Lebanese director Rabih Mrouè in one of his successful spectacles, and refers to the million of images and video uploaded on YouTube and Facebook in the last 5 years.

An explicit example is Code Name: Caesar, an impactful project of secret images taken by the Photographer Caesar (real name remains secret) of tortured refugees inside the prison of Ashar Al Assad. Images were only released from 2015 on, since before the ca

Some other projects: Still recording, where Syrian filmmakers question their own work Silvered waters: Syria’s self portrait (2014) by Osama Mohamed and Wiam Simav Bedirxan, gives homage to the thousands amatorial images shared by Syrian journalists.

Rabih Mroué and the Pixelated Revolution

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In Hayden White’s essay ‘The Value of Narrativity in the Representation of Reality’, he writes: ‘Narrative might well be considered a solution to a problem of general human concern, namely, the problem of how to translate knowing into telling, the problem of fashioning human experience into a form assimilable to structures of meaning that are generally human rather than culture-specific’. White explains how narrativity and storytelling help us to understand culture, however exotic. It leads one to ask the question: When an artwork utilises the telling of narratives to convey a very specific and complex history, how can information be conveyed and new knowledge produced?

 

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