SUBORDINATE PEOPLE IN MIDDLE EASTERN ALTERNATIVE DOCUMENTARY FILM Master in Communication (Screen Studies) March 2009
SUBORDINATE PEOPLE IN MIDDLE EASTERN ALTERNATIVE DOCUMENTARY FILM: EYAD AL DAOUD’S DEIR YASSIN..THE AGONY (1999) A Thesis, Presented to School of Communication in Universiti Sains Malaysia in Partial Fulfillment of the Requirement for the Degree of Master in Communication (Screen Studies) March 2009
By: Khaldoun H. Shami Supervisor: Dr. Rohani Hashim اﻟﺸﺨﺼﻴﺔ اﻻﺟﺘﻤﺎﻋﻴﺔ اﻟﺜﺎﻧﻮﻳﺔ راوﻳﺎ وﺑﻄﻼ رﺋﻴﺴﺎ ﻓﻲ اﻟﻔﻴﻠﻢ اﻟﻮﺛﺎﺋﻘﻲ اﻟﺒﺪﻳﻞ )ﺣﺎﻟﺔ اﻟﺸﺮق اﻷوﺳﻂ ( ﻓﻴﻠﻢ اﻟﻤﺨﺮج اﻳﺎد اﻟﺪاود "دﻳﺮ ﻳﺎﺳﻴﻦ ...اﻟﻮﺟﻊ" ) (1999ﻧﻤﻮذﺟﺎ دراﺳﺔ أآﺎدﻳﻤﻴﺔ ﻣﻘﺪﻣﺔ ﻟﻜﻠﻴﺔ اﻻﻋﻼم )اﻻﺗﺼﺎل( ،ﺟﺎﻣﻌﺔ اﻟﻌﻠﻮم اﻟﻤــﺎﻟﻴﺰﻳﺔ ﻟﻨﻴﻞ درﺟﺔ اﻟﻤﺎﺟﺴﺘﻴﺮ ﻓﻲ دراﺳﺎت اﻻﻋﻼم اﻟﻤﺮﺋﻲ .ﺑﻴﻨـﺎﻧﻎ – ﻣﺎرس 2009 اﻟﺒﺎﺣﺚ :ﺧﻠﺪون اﻟﺸﺎﻣﻲ اﻟﻤﺸﺮف اﻻآﺎدﻳﻤﻲ :د .روﺣﺎﻧﻲ هـﺎﺷﻢ ﻧﺎﺋﺐ ﻋﻤﻴﺪ آﻠﻴﺔ اﻻﻋﻼم )اﻻﺗﺼﺎل( ﺟﺎﻣﻌﺔ اﻟﻌﻠﻮم اﻟﻤﺎﻟﻴﺰﻳﺔ
إﺷﺎرة :اﻟﺪراﺳﺔ ﺑﺎﻟﻠﻐﺔ اﻻﻧﺠﻠﻴﺰﻳﺔ واﻟﺘﺮﺟﻤﺔ ﻓﻘﻂ ﻟﻤﻠﺨﺺ اﻟﺪراﺳﺔ واﻟﻔﺼﻞ اﻻﺧﻴﺮ ،ﻳﺘﺒﻊ اﻟﻨﺺ اﻷﺻﻠﻲ ﺑﺎﻟﻠﻐﺔ اﻻﻧﺠﻠﻴﺰﻳﺔ ﺗﺮﺟﻤﺔ اﺟﻤﺎﻟﻴﺔ اﻟﻰ اﻟﻠﻐﺔ اﻟﻌﺮﺑﻴﺔ .ﻟﺬا اﻗﺘﻀﻰ اﻟﺘﻨﻮﻳﻪ.
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SUBORDINATE PEOPLE IN MIDDLE EASTERN ALTERNATIVE DOCUMENTARY FILM Master in Communication (Screen Studies) March 2009
ABSTRACT This thesis attempts to explore the value of the subordinate people in the documentary film as in Eyad Al Daoud’s Deir Yassin..The Agony (1999), exploring the reasons why subordinate people are crucial in Middle Eastern documentary films. And it will discuss if the adoption of subordinate people as a hero in the film provide more information on the reality of Middle East society and the political events. In this study the researcher focuses on “ordinary people” who is the protagonist and the main character of the documentary, through the use of cinema reality theories, Vertov (Film‐Eye) theory and cinema verite, by analyzing The Agony and using other independent documentary films as cross references. The researcher aims to highlight the importance of alternative documentary films in supporting the reality by portraying subordinate people. In this study, reader can observe the value of the subordinate people in films, and their abilities to present the events they witnessed and lived. The subordinate people as well present the society’s reality and relations and give their personal perspective and comment on the events. Reader can also observe the importance of the director’s support to the humanitarian side in documentary films, and the importance of presenting realistic and true images for humans, societies, and events, taking into consideration presenting personal details of those people, and upraising their value, basing on cinema reality elements and techniques.
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SUBORDINATE PEOPLE IN MIDDLE EASTERN ALTERNATIVE DOCUMENTARY FILM Master in Communication (Screen Studies) March 2009
ﻣﻠﺨﺺ ﺗﻤﻬﻴﺪي ﺣﻮل اﻟﺪراﺳﺔ هﺬﻩ اﻟﺪراﺳﺔ اﻻآﺎدﻳﻤﺔ هﻲ ﻣﺤﺎوﻟﺔ ﻻﺳﺘﻜﺸﺎف دور اﻻﺷﺨﺎص اﻟﺜﺎﻧﻮﻳﻮن )اﻟﻌﺎدﻳﻮن( واﻟﺒﺴﻄﺎء ﻓﻲ اﻟﻔﻴﻠﻢ اﻟﻮﺛﺎﺋﻘﻲ، ﺣﻴﺚ ﺗﺘﻮﻗﻒ اﻟﺪراﺳﺔ ﺑﺎﻟﺘﺤﻠﻴﻞ وﺑﺸﻜﻞ رﺋﻴﺴﻲ ﻣﻊ ﻓﻴﻠﻢ اﻳﺎد اﻟﺪاود "دﻳﺮ ﻳﺎﺳﻴﻦ ..اﻟﻮﺟﻊ" .1999وﺗﺘﺴﺎءل اﻟﺪراﺳﺔ ﻋﻦ أهﻤﻴﺔ اﻻﺷﺨﺎص اﻟﺒﺴﻄﺎء ﻓﻲ اﻟﻔﻴﻠﻢ اﻟﻮﺛﺎﺋﻘﻲ اﻟﺒﺪﻳﻞ ﻓﻲ ﻣﻨﻄﻘﺔ اﻟﺸﺮق اﻷوﺳﻂ ،وﻣﺎ اذا آﺎﻧﻮا ﻳﻘﺪﻣﻮن دﻋﻤﺎ اﺿﺎﻓﻴﺎ ﻷﻓﻼم اﻟﺤﻘﻴﻘﺔ واﻟﻮاﻗﻊ ﻓﻲ هﺬﻩ اﻟﻤﻨﻄﻘﺔ وﻣﻌﻠﻮﻣﺎت ﺣﻮل اﻟﻤﺠﺘﻤﻊ واﻟﺘﺎرﻳﺦ ،ﺳﻴﺎﺳﻴﺎ او اﺟﺘﻤﺎﻋﻴﺎ. ﻓﻲ هﺬﻩ اﻟﺪراﺳﺔ ،ﻳﺮآﺰ اﻟﺒﺎﺣﺚ ﻋﻠﻰ اﻻﻧﺴﺎن اﻟﻌﺎدي واﻟﺒﺴﻴﻂ إﺟﺘﻤﺎﻋﻴﺎ ﻋﻨﺪﻣﺎ ﻳﻜﻮن ﺷﺨﺼﻴﺔ رﺋﻴﺴﺔ وراوﻳﺎ اﺳﺎﺳﻴﺎ وﺑﻄﻼ ﻓﻲ اﻟﻔﻴﻠﻢ اﻟﻮﺛﺎﺋﻘﻲ اﻟﺒﺪﻳﻞ ،ﻣﻦ ﺧﻼل اﺳﺘﺨﺪام ﻧﻈﺮﻳﺎت ﺳﻴﻨﻤﺎ اﻟﺤﻘﻴﻘﺔ ،وﺑﺸﻜﻞ ﺧﺎص ﻧﻈﺮﻳﺔ اﻟﻤﺨﺮج اﻟﺮوﺳﻲ دﻳﺰﻳﻐﺎ ﻓﻴﺮﺗﻮف ) (Film-Eyeواﻟﻨﻈﺮﻳﺔ اﻟﻔﺮﻧﺴﻴﺔ .cinema veriteوﻣﻦ ﺧﻼل ﺗﺤﻠﻴﻞ ﻓﻴﻠﻢ "اﻟﻮﺟﻊ" ﻟـ إﻳﺎد اﻟﺪاود، اﺿﺎﻓﺔ اﻟﻰ ﻓﻴﻠﻢ "ﺿﺎﺋﻊ ﻓﻲ آﻮﺳﺘﺎرﻳﻜﺎ" ﻟـ هﺎﻟﺔ ﻟﻄﻔﻲ و ﻓﻴﻠﻢ "ﻣﻮﻃﻨﻲ ،ﻣﻮﻃﻨﻲ" ﻟـ ﻻورا ﺑﻮﺗﺮاس .ان هﺪف اﻟﺒﺎﺣﺚ هﻮ اﻟﻘﺎء اﻟﻀﻮء ﻋﻠﻰ اهﻤﻴﺔ ﺗﻌﺰﻳﺰ اﻟﻔﻴﻠﻢ اﻟﻮﺛﺎﺋﻘﻲ اﻟﺒﺪﻳﻞ )اﻟﻤﺴﺘﻘﻞ( ﻟﻠﺤﻘﻴﻘﺔ واﻟﻮاﻗﻊ ﻓﻲ ﻣﻨﻄﻘﺔ اﻟﺸﺮق اﻻوﺳﻂ ﻣﻦ ﺧﻼل ﺗﻘﺪﻳﻢ اﻷﺷﺨﺎص اﻟﻌﺎدﻳﻮن ﻓﻲ اﻟﻤﺠﺘﻤﻊ ﻷﺑﻄﺎل ﻟﻸﻓﻼم اﻟﻮﺛﺎﺋﻘﻴﺔ واﻻﻋﺘﻨﺎء ﺑﺮواﻳﺘﻬﻢ ووﺟﻬﺔ ﻧﻈﺮهﻢ ﺣﻮل اﻟﻮاﻗﻊ واﻷﺣﺪاث اﻟﻤﺨﺘﻠﻔﺔ. ﻓﻲ هﺬﻩ اﻟﺪراﺳﺔ ﻳﺴﺘﻄﻴﻊ اﻟﻘﺎرئ ان ﻳﻄﻠﻊ ﻋﻠﻰ ﻣﻜﺎﻧﺔ اﻟﺸﺨﺺ اﻟﺒﺴﻴﻂ ﻓﻲ اﻟﻔﻴﻠﻢ اﻟﻮﺛﺎﺋﻘﻲ ،وﻗﺪرﺗﻪ ﻋﻠﻰ ﺗﻘﺪﻳﻢ ﺷﻬﺎدة واﺳﻌﺔ ﺣﻮل اﻷﺣﺪاث اﻟﺘﻲ ﻋﺎﺻﺮهﺎ آﻤﺎ ﻋﻦ واﻗﻊ اﻟﻤﺠﺘﻤﻊ وﻋﻼﻗﺎﺗﻪ ،وﺗﻘﺪﻳﻢ وﺟﻬﺔ ﻧﻈﺮﻩ اﻟﺸﺨﺼﻴﺔ وﺗﻌﻠﻴﻘﻪ ﻋﻠﻰ هﺬﻩ اﻻﺣﺪاث .آﻤﺎ ﺑﺎﻣﻜﺎن اﻟﻘﺎرئ ان ﻳﻄﻠﻊ ﻋﻠﻰ ﻣﻘﺪار اهﻤﻴﺔ دﻋﻢ اﻟﺠﺎﻧﺐ اﻻﻧﺴﺎﻧﻲ ﻣﻦ ﻗﺒﻞ ﻣﺨﺮج اﻟﻔﻴﻠﻢ اﻟﻮﺛﺎﺋﻘﻲ ﻣﻦ ﺧﻼل اﻟﺤﺮص ﻋﻠﻰ ﺗﻘﺪﻳﻢ اﻟﺘﻔﺎﺻﻴﻞ اﻟﺸﺨﺼﻴﺔ ﻟﻬﺆﻻء اﻟﻨﺎس وﺗﻠﻘﺎﺋﻴﺘﻬﻢ ورﻓﻊ ﺷﺄﻧﻬﻢ .وﺑﺎﻟﻄﺒﻊ اﺳﺘﻨﺎدا اﻟﻰ ﻋﻨﺎﺻﺮ واﺳﺎﻟﻴﺐ ﻧﻈﺮﻳﺎت ﺳﻴﻨﻤﺎ اﻟﺤﻘﻴﻘﺔ. ﻳﺴﺘﺨﺪم اﻟﺒﺎﺣﺚ ﻓﻲ هﺬﻩ اﻟﺪراﺳﺔ ﻋﺪدا ﻣﻦ اﻟﻤﺮاﺟﻊ واﻟﻤﻘﺎﻻت اﻟﻌﺮﺑﻴﺔ واﻷﺟﻨﺒﻴﺔ اﻟﺘﻲ ﺗﺪﻋﻢ اﻟﻤﻮﺿﻮع ،آﻤﺎ اﻧﻪ ﻳﺴﺘﻌﻴﻦ ﺑﻌﺪد ﻣﻦ اﻷﻓﻼم اﻟﺘﻲ ﻗﺪﻣﺖ أﺷﺨﺎﺻﺎ ﻣﻦ واﻗﻊ اﻟﻤﺠﺘﻤﻊ وذﻟﻚ ﻷﻏﺮاض اﻟﺘﺤﻠﻴﻞ واﻟﻤﻘﺎرﻧﺔ اﻻآﺎدﻳﻤﻴﺔ .وهﺬﻩ اﻷﻓﻼم هﻲ: "اﻟﻮﺟﻊ ..دﻳﺮ ﻳﺎﺳﻴﻦ"" ، 1999اﻟﻘﺪس وﻋﺪ اﻟﺴﻤﺎء" " ،1997ﻓﻦ اﻟﺤﻴﺎة" 2003ﻟـ إﻳـﺎد اﻟﺪاود " ،ﺿﺎﺋﻊ ﻓﻲ آﻮﺳﺘﺎرﻳﻜﺎ" 2006ﻟـ هﺎﻟﺔ ﻟﻄﻔﻲ" ،ﻓﻲ ﺷﺒﺎك اﻟﻌﻨﻜﺒﻮت" 2004ﻟـ ﺣﻨـﺎ ﻣﺼﻄﺢ" ،ﻣﻮﻃﻨﻲ ،ﻣﻮﻃﻨﻲ" 2004ﻟـ ﻻورا ﺑﻮﻳﺘﺮاس و "رﺟﻞ ﻣﻊ آﺎﻣﻴﺮا" ﻟـ دﻳﺰﻳﻐﺎ ﻓﻴﺮﺗﻮف.
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SUBORDINATE PEOPLE IN MIDDLE EASTERN ALTERNATIVE DOCUMENTARY FILM Master in Communication (Screen Studies) March 2009
CHAPTER FIVE SUMMARY AND CONCLUSION 5.1 Introduction This chapter will present the summary of this study and the conclusions about subordinate people in the alternative documentary film, and it will answer the study’s questions mentioned in the first chapter, before moving to the limitations that faced the researcher and some suggestions of new possible topics and sides for future researches in the same framework of this study.
5.2 Conclusion This study analyzed and made comparisons with a group of documentary films, like The Agony for the director Eyad Al Daoud, in attempt to understand the importance of the ordinary people in the alternative documentary film in the Middle East, and how the director presented subordinate people in the film.
It became obvious from the previous chapters that the importance of the
subordinate people relies in representing the reality and speaking spontaneously and clearly about the community problems, and the different social and political details, which emphasizes the film makers desire to present the full image of the Middle Eastern societies as it is. The difficulty was in the lack of freedom levels in the Middle East, and
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SUBORDINATE PEOPLE IN MIDDLE EASTERN ALTERNATIVE DOCUMENTARY FILM Master in Communication (Screen Studies) March 2009
the governments’ control of television broadcasting. The appearance of the satellite stations gave the documentary film a chance to be presented to the audience and that was followed by the emergence of private production companies and the independent documentary films. The alternative film makers considered the ordinary people who speaks spontaneously about himself as an important witness of the different events, and the reality of deep problems in an area which is ‐internally and externally‐ full of political, economical, social and intellectual struggles. Specially that journalists and film makers in the Middle East always sought to make the event’s image by themselves and to transfer and comment on the reality “in Arab Eyes” from their point of view, after the long time it was covered by other foreigner media and film makers. Ordinary people are always closer to real life; this is what makes them important and main elements to enrich the documentary film with real story, real faces and real places. That supports the reality which is one of the most important basics in a documentary film. According to the English director Paul Rotha, the documentary depends on the idea instead of the story plot, and on a realistic events and characters instead of imagined ones, as it focuses on the world around us (Baghdadi, 2009). In a private interview with the director Eyad Al Daoud, he says about ordinary people in the documentary film:
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SUBORDINATE PEOPLE IN MIDDLE EASTERN ALTERNATIVE DOCUMENTARY FILM Master in Communication (Screen Studies) March 2009
The most important value in a documentary film is the humanitarian side that support people, and give them the chance to tell their experiences which is full of joy and sorrow, and success and failure, also to introduce them to what is going around, and develop their awareness; therefore its natural for a documentary film to become more concerned about humanitarian issues. The best documentaries are those which present humans’ problems, priorities, and fears (Al Daoud, 2009).
And about what the alternative documentary film presented Al Daoud adds:
It presented the real Middle East; the human being, the place, the time frame and the ancient culture which tried to be wiped out, and the facts tried to be counterfeited. It presented us as an active people who love life and fight for our rights and freedom (Al Daoud, 2009).
The filmmakers raised the subordinate people’s value in the alternative documentary film by making it the main character and the star. They were concerned about the story and the narration of the event; also they took care of the feelings, relations and personal details, they gave it time and wide space of artistic modification in the films context. The alternative documentary film presents the subordinate people in its real community and surrounding nature, and respects its witness, vision and point of view
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SUBORDINATE PEOPLE IN MIDDLE EASTERN ALTERNATIVE DOCUMENTARY FILM Master in Communication (Screen Studies) March 2009
even in the important political and historical deep cases. It presents the subordinate people as a strong character which have a lot of facts to be presented to the viewer and it uses cinematic techniques to praise the characters’ value. It centralizes the subordinate people in film’s scenes and makes it the dominator in the frame angles while expressing himself and talking to the camera. In The Agony the subordinate people remained strong from the beginning of the film until the last scene, the viewer can find this obvious in the moment he looks to the film’s poster which has Zainab strong and dominator in the center, looking strongly to the horizon, pointing with her finger as she is making the event and reforming it, where the Palestine map appears in the background, as it abbreviate the long‐lasting Palestinian agony in the subordinate people.
Even in the moment Al Daoud’s camera filmed the subordinate people crying and complaining her weakness because of loosing her family and village’s people in the massacre; the director presented her character strong with the sacrifice and the ability to tell the event in details. Al Daoud supported her story in the editing, by using the old historical scenes of the massacre, which supported the truth of the character’s tale in the film, and made her the hero.
In the alternative documentary film – which mainly depends on cinema reality theories‐ the director presents the subordinate people as a star by showing his
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SUBORDINATE PEOPLE IN MIDDLE EASTERN ALTERNATIVE DOCUMENTARY FILM Master in Communication (Screen Studies) March 2009
spontaneous and real details in daily life scenes. This is the best way to present the subordinate people as a hero, and to use his details to make special stories for documentary films. Overstating in using Hollywood cinema techniques, and depending on camera angles (low angle for example) and lighting to raise the character value and make it as a hero; makes the documentary film loses the value of showing the real situation, and drives it away from cinema reality style.
Considering to show ordinary people and their stories of the events and reality in a documentary film, presents a lot of details and facts, and clarifies a lot of images about the past and today. The details and facts ‐mentioned by the subordinate people not only in the political and conflicts issues but even more in the social structure and the problems reality‐ present alive image about the society’s nature, the family, the neighborhood, and the relation’s development. Subordinate people in documentary film are not scared to present the information, which politicians, leaders and specialists can not handle, and would present it briefly without the humanistic sense and the personal story. Subordinate people in the alternative documentary film presented an image of the absent facts in the Middle East, the societies, and the conflicts. He presented deeply and in a special way the human and his emotions, family, daily life, and how he sees himself and the surrounding world. He also contributed well in documenting the memory and the oral history, as in presenting the absent opinion. The subordinate
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SUBORDINATE PEOPLE IN MIDDLE EASTERN ALTERNATIVE DOCUMENTARY FILM Master in Communication (Screen Studies) March 2009
people supported and raised the documentary film’s value in the Middle East, as well as the film makers raised the humans’ value and supported the truth and the reality in presenting the subordinate people as a hero and main character in the film. 5.3 Limitation of Research This study faced some limitations which affected the analysis process; the reality cinema theories used in the study to analyze the documentary film, are concerned in methods which supports the reality and the actuality rather than the Hollywood and drama cinema techniques and its overstating in making stars through the camera, the lighting, and the decoration. The alternative documentary film makers do not seem interested that much in such techniques, their attention was focused on the real story, the real people, and in filming the reality in a simple and special way. In the interviews made with directors of Middle Eastern documentary films for this study, they do not seem interested about the camera techniques or angles in the way they make their films and the way they present the main character. Their concerns were focused on the story details, and in the subordinate people motion. However, these films were made without a prepared scenario or a story board; which means that the taken shots and scenes were completely spontaneous and matches the main character performance.
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SUBORDINATE PEOPLE IN MIDDLE EASTERN ALTERNATIVE DOCUMENTARY FILM Master in Communication (Screen Studies) March 2009
There is no contradiction between the way of making the alternative documentary film and not concerning the Hollywood cinema techniques (the position of the character in the frame, and the camera angle), however it is considered one of the cinema reality characteristics. Some writers think that any cinema study should use the Hollywood cinema techniques and theories. I should mention here the wide difference between these two genres, where studying documentary film with a Hollywood cinema background is not considered rational or fair. The differences between Hollywood movie techniques and the way of making the documentary film, is the difference between fakeness and reality. 5.4 Suggestion for Future Research The subordinate people in the alternative documentary film could be studied from a different view, which is the Middle Eastern audience’s assessment for the documentary film ‐which presents the subordinate people as a hero‐ and the level of the viewers confidence in the character, and the information and the images presented by him about the political and historical events, as well as their interest to watch this type of production. Other future studies could make comparisons between documentary films which present ordinary people and other films present social and cultural leaders as stars, then compare the audience acceptance, interaction, and how they were affected by the characters and their stories. It is necessary in this kind of studies to contain the Middle
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SUBORDINATE PEOPLE IN MIDDLE EASTERN ALTERNATIVE DOCUMENTARY FILM Master in Communication (Screen Studies) March 2009
Eastern viewers’ opinion by doing questionnaires and private film showing, where the researcher could directly contact the films audience. اﻟﻔﺼﻞ اﻟﺨـﺎﻣﺲ ﻧﺘﺎﺋﺞ وﺧﻼﺻﺎت اﻟﺪراﺳﺔ اﻟﻨﺘﺎﺋﺞ ﺗﻨﺎوﻟﺖ اﻟﺪراﺳﺔ ﺑﺎﻟﺘﺤﻠﻴﻞ واﻟﻤﻘﺎرﻧﺔ ﻣﺠﻤﻮﻋﺔ ﻣﻦ اﻷﻓﻼم اﻟﻮﺛﺎﺋﻘﻴﺔ ﻓﻲ ﻣﻘﺪﻣﺘﻬﺎ ﻓﻴﻠﻢ اﻟﻮﺟﻊ ﻟﻠﻤﺨﺮج اﻳﺎد اﻟﺪاود، ﻓﻲ ﻣﺤﺎوﻟﺔ ﻟﻔﻬﻢ أهﻤﻴﺔ اﻷﺷﺨﺎص اﻟﺒﺴﻄﺎء واﻟﻌﺎدﻳﻮن ﻓﻲ اﻟﻔﻴﻠﻢ اﻟﻮﺛﺎﺋﻘﻲ اﻟﺒﺪﻳﻞ ﻓﻲ ﻣﻨﻄﻘﺔ اﻟﺸﺮق اﻻوﺳﻂ ،وآﻴﻒ ﻗﺪم ﻣﺨﺮج اﻟﻔﻴﻠﻢ اﻟﻮﺛﺎﺋﻘﻲ اﻻﻧﺴﺎن اﻟﺒﺴﻴﻂ ﻓﻲ ﻓﻴﻠﻤﻪ. وﻳﺘﻀﺢ ﻣﻦ ﺧﻼل اﻟﻔﺼﻮل اﻷرﺑﻌﺔ اﻟﺴﺎﺑﻘﺔ أن أهﻤﻴﺔ اﻻﻧﺴﺎن اﻟﺒﺴﻴﻂ ﺗﻜﻤﻦ ﻓﻲ آﻮﻧﻪ ﻳﻤﺜﻞ ﺣﻘﻴﻘﺔ اﻟﻮاﻗﻊ وﻳﺘﺤﺪث ﻋﻦ ﻣﺸﻜﻼت اﻟﻤﺠﺘﻤﻊ وﻋﻦ ﺗﻔﺎﺻﻴﻠﻪ اﻟﻤﺨﺘﻠﻔﺔ اﻟﺴﻴﺎﺳﻴﺔ واﻻﺟﺘﻤﺎﻋﻴﺔ ﺑﺘﻠﻘﺎﺋﻴﺔ ووﺿﻮح ،ﺣﻴﺚ ﻳﻌﺰز ذﻟﻚ رﻏﺒﺔ ﺻﻨﺎع اﻟﻔﻴﻠﻢ ﻓﻲ ﺗﻘﺪﻳﻢ اﻟﺼﻮرة اﻟﻜﺎﻣﻠﺔ واﻟﻤﺠﺘﻤﻊ ﻓﻲ اﻟﺸﺮق اﻷوﺳﻂ آﻤﺎ هﻮ ﻋﻠﻰ ﺣﻘﻴﻘﺘﻪ .وهﻮ ﻣﺎ آﺎن ﺻﻌﺒﺎ ﻧﻮﻋﺎ ﻣﺎ ﻧﻈﺮا ﻻﻧﺨﻔﺎض ﻣﺴﺘﻮى اﻟﺤﺮﻳﺎت ﻓﻲ ﻣﻨﻄﻘﺔ اﻟﺸﺮق اﻻوﺳﻂ وﺳﻴﻄﺮة اﻟﺤﻜﻮﻣﺎت ﻋﻠﻰ اﻟﺒﺚ اﻟﺘﻠﻔﺰﻳﻮﻧﻲ ،ﺣﻴﺚ آﺎن ﻟﻠﺘﺤﻮل ﻓﻲ ﻇﻬﻮر اﻟﻘﻨﻮات اﻟﻔﻀﺎﺋﻴﺔ اﻟﺘﻲ ﻣﻨﺤﺖ اﻟﻔﻴﻠﻢ اﻟﻮﺛﺎﺋﻘﻲ ﻓﺮﺻﺔ ﻟﻠﻌﺮض ﻋﻠﻰ اﻟﺠﻤﻬﻮر وﺑﺎﻟﺘﺎﻟﻲ ﻇﻬﻮر اﻻﻧﺘﺎج اﻟﻮﺛﺎﺋﻘﻲ اﻟﻤﺴﺘﻘﻞ وﺷﺮآﺎت اﻻﻧﺘﺎج اﻟﺴﻴﻨﻤﺎﺋﻲ اﻟﺨﺎﺻﺔ. ﻟﻘﺪ وﺟﺪ ﺻﻨﺎع اﻟﻔﻴﻠﻢ اﻟﻮﺛﺎﺋﻘﻲ اﻟﺒﺪﻳﻞ ﻓﻲ اﻻﻧﺴﺎن اﻟﻌﺎدي -اﻟﺬي ﻳﺘﺤﺪث ﺑﺘﻠﻘﺎﺋﻴﺔ ﻋﻦ ﻧﻔﺴﻪ -ﺷﺎهﺪا ﻣﻬﻤﺎ ﻋﻠﻰ اﻷﺣﺪاث اﻟﻤﺨﺘﻠﻔﺔ وﺣﻘﻴﻘﺔ اﻟﻤﺸﻜﻼت اﻟﻌﻤﻴﻘﺔ واﻟﻄﺎرﺋﺔ ﻓﻲ ﻣﻨﻄﻘﺔ ﻣﻤﺘﻠﺌﺔ ﺑﺎﻟﺼﺮاﻋﺎت واﻟﻤﺸﻜﻼت اﻟﺴﻴﺎﺳﻴﺔ واﻻﻗﺘﺼﺎدﻳﺔ واﻻﺟﺘﻤﺎﻋﻴﺔ واﻟﻔﻜﺮﻳﺔ ،اﻟﺪاﺧﻠﻴﺔ ﻣﻨﻬﺎ واﻟﺨﺎرﺟﻴﺔ .ﺧﺎﺻﺔ وأن اﻻﻋﻼﻣﻴﻴﻦ وﺻﻨﺎع اﻟﻔﻴﻠﻢ ﻓﻲ اﻟﺸﺮق اﻷوﺳﻂ آﺎﻧﻮا ﻳﺮﻏﺒﻮن داﺋﻤﺎ ﻓﻲ ﺻﻨﺎﻋﺔ اﻟﺤﺪث وﻧﻘﻞ اﻟﻮاﻗﻊ واﻟﺘﻌﻠﻴﻖ ﻋﻠﻴﻪ ﺑـ "ﻋﻴﻮن ﻋﺮﺑﻴﺔ" ،وﻣﻦ وﺟﻬﺔ ﻧﻈﺮهﻢ آﺎﺑﻨﺎء ﻟﻠﻤﻨﻄﻘﺔ ﺑﻌﺪ أن آﺎﻧﺖ اﺣﺪاث اﻟﻤﻨﻄﻘﺔ ﺗﻨﻘﻞ ﻣﻦ ﻏﻴﺮ اﺑﻨﺎﺋﻬﺎ ﻓﻲ اﺷﺎرة اﻟﻰ وﺳﺎﺋﻞ اﻻﻋﻼم وﺻﻨﺎع اﻻﻓﻼم اﻟﻘﺎدﻣﻴﻦ ﻣﻦ ﺧﺎرج ﻣﻨﻄﻘﺔ اﻟﺸﺮق اﻻوﺳﻂ. اﻻﻧﺴﺎن اﻟﺒﺴﻴﻂ داﺋﻤﺎ اﻗﺮب ﻟﻮاﻗﻊ اﻟﺤﻴﺎة وهﻮ ﻣﺎ ﺟﻌﻠﻪ ﻋﻨﺼﺮا رﺋﻴﺴﻴﺎ وهﺎﻣﺎ ﻷﻏﻨﺎء اﻟﻔﻴﻠﻢ اﻟﻮﺛﺎﺋﻘﻲ ﺑﺎﻟﻘﺼﺔ اﻟﺤﻘﻴﻘﻴﺔ واﻟﻮﺟﻮﻩ اﻟﺤﻘﻴﻘﻴﺔ واﻻﻣﺎآﻦ اﻟﺤﻘﻴﻘﻴﺔ وهﻮ ﻣﺎ ﻳﺪﻋﻢ اﻟﺤﻘﻴﻘﺔ اﻟﺘﻲ هﻲ أهﻢ ﻣﻘﻮم ﻣﻦ ﻣﻘﻮﻣﺎت اﻟﻔﻴﻠﻢ اﻟﻮﺛﺎﺋﻘﻲ ،ﻓﺤﺴﺐ اﻟﻤﺨﺮج اﻻﻧﺠﻠﻴﺰي ﺑﻮل روﺛﺎ ﻓﺎن اﻟﻔﻴﻠﻢ اﻟﻮﺛﺎﺋﻘﻲ ﻳﻌﺘﻤﺪ ﻋﻠﻰ اﻟﻔﻜﺮة ﺑﺪﻻ ﻣﻦ اﻟﺤﺒﻜﺔ اﻟﺮواﺋﻴﺔ ،وﻋﻠﻰ اﻷﺣﺪاث اﻟﻮاﻗﻌﻴﺔ ،واﻟﺸﺨﺼﻴﺎت اﻟﺤﻘﻴﻘﻴﺔ ،ﺑﺪﻻ ﻣﻦ اﻷﺣﺪاث واﻟﺸﺨﺼﻴﺎت اﻟﻤﺘﺨﻴﻠﺔ آﻤﺎ أﻧﻪ ﻳﺮآﺰ ﻋﻠﻰ اﻟﻌﺎﻟﻢ ﻣﻦ ﺣﻮﻟﻨﺎ )ﺑﻐﺪادي.(2009 ، وﺣﻮل اﻟﻨﺎس اﻟﻌﺎدﻳﻮن ﻓﻲ اﻟﻔﻴﻠﻢ اﻟﻮﺛﺎﺋﻘﻲ ﻳﻘﻮل اﻟﻤﺨﺮج اﻳﺎد اﻟﺪاود ) (2009ﻓﻲ ﻣﻘﺎﺑﻠﺔ ﺧﺎﺻﺔ ﻣﻊ اﻟﻤﺆﻟﻒ: أن أهﻢ ﻗﻴﻤﺔ ﻟﻠﻔﻴﻠﻢ اﻟﻮﺛﺎﺋﻘﻲ هﻮ ﺣﺴﻪ اﻹﻧﺴﺎﻧﻲ ،وﻗﻮﻓﻪ ﻣﻊ اﻟﺒﺸﺮ ،ﻣﻨﺤﻬﻢ اﻟﻔﺮﺻﺔ ﻟﻘﻮل آﻠﻤﺘﻬﻢ وﻟﻨﻘﻞ ﺗﺠﺎرﺑﻬﻢ ﺑﻜﻞ ﻣﺎ ﻓﻴﻬﺎ ﻣﻦ ﻓﺮح وﺣﺰن ،ﻧﺠﺎح وﺳﻘﻮط ،إﺿﺎﻓﺔ إﻟﻰ ﺣﺮﺻﻪ ﻋﻠﻰ ﺗﻌﺮﻳﻔﻬﻢ ﺑﻤﺎ ﻳﺪور ﺣﻮﻟﻬﻢ وﺗﻮﻋﻴﺘﻬﻢ وﺗﻄﻮﻳﺮهﻢ وﺗﻨﻤﻴﺘﻬﻢ ،وﻟﺬا اﻷﻧﺴﻨﺔ ﺗﺤﺼﻴﻞ ﻃﺒﻴﻌﻲ ﻷي ﻓﻴﻠﻢ وﺛﺎﺋﻘﻲ .إن أﻓﻀﻞ أﻧﻮاع اﻷﻓﻼم اﻟﻮﺛﺎﺋﻘﻴﺔ هﻮ اﻟﺬي ﻳﻌﺎﻟﺞ هﻤﻮم وأوﻟﻮﻳﺎت وهﻮاﺟﺲ اﻹﻧﺴﺎن )اﻟﺪاود.( 2009 ، وﺣﻮل ﻣﺎ ﻗﺪﻣﻪ اﻟﻔﻴﻠﻢ اﻟﻮﺛﺎﺋﻘﻲ اﻟﺒﺪﻳﻞ ﻳﻀﻴﻒ اﻟﺪاود ):(2009 ﻟﻘﺪ ﻗﺪم اﻟﺸﺮق اﻷوﺳﻂ اﻟﺤﻘﻴﻘﻲ ﺑﻜﻞ ﻣﺎ ﻓﻴﻪ ﻣﻦ زﻣﺎن وﻣﻜﺎن وإﻧﺴﺎن ،وﺑﻜﻞ ﻣﺎ ﻓﻴﻪ ﻣﻦ ﺛﻘﺎﻓﺔ ﻋﺮﻳﻘﺔ ﻳﺮاد ﻃﻤﺴﻬﺎ ،وﻣﻦ ﺣﻘﺎﺋﻖ ﻳﺮاد ﺗﺰﻳﻴﻔﻬﺎ ،ﻗﺪﻣﻨﺎ آﺒﺸﺮ ﻓﺎﻋﻠﻴﻦ ﻧﺤﺐ اﻟﺤﻴﺎة وﻧﻨﺎﺿﻞ ﻣﻦ اﺟﻞ ﺣﻘﻮﻗﻨﺎ وﺣﺮﻳﺘﻨﺎ. ﻟﻘﺪ رﻓﻊ ﺻﻨﺎع اﻟﻔﻴﻠﻢ ﻣﻦ ﻗﻴﻤﺔ وﺷﺄن اﻟﺸﺨﺺ اﻟﺒﺴﻴﻂ ﻓﻲ اﻟﻔﻴﻠﻢ اﻟﻮﺛﺎﺋﻘﻲ اﻟﺒﺪﻳﻞ ﺑﺠﻌﻠﻪ ﺑﻄﻼ ﻟﻠﻔﻴﻠﻢ وﺷﺨﺼﻴﺔ رﺋﻴﺴﺔ ﻓﻴﻪ ،ﺣﻴﺚ اهﺘﻢ ﺑﺤﻜﺎﻳﺘﻪ ورواﻳﺘﻪ ﻟﻠﺤﺪث ،آﻤﺎ ﺗﻌﺎﻣﻠﻮا ﺑﺎهﺘﻤﺎم ﺑﺎﻟﻎ ﻣﻊ ﻣﺸﺎﻋﺮﻩ وﻋﻼﻗﺎﺗﻪ وﺗﻔﺎﺻﻴﻠﻪ اﻟﺸﺨﺼﻴﺔ وﻣﻨﺤﻮهﺎ وﻗﺘﺎ وﻣﻌﺎﻟﺠﺔ ﻓﻨﻴﺔ واﺳﻌﺔ وﻣﻬﻤﺔ ﻓﻲ ﺳﻴﺎق اﻟﻔﻴﻠﻢ.
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SUBORDINATE PEOPLE IN MIDDLE EASTERN ALTERNATIVE DOCUMENTARY FILM Master in Communication (Screen Studies) March 2009
آﻤﺎ ﻗﺎم اﻟﻔﻴﻠﻢ اﻟﻮﺛﺎﺋﻘﻲ اﻟﺒﺪﻳﻞ آﺬﻟﻚ ﺑﺮﺻﺪ اﻻﻧﺴﺎن اﻟﺒﺴﻴﻂ واﻻﻧﺘﻘﺎل اﻟﻴﻪ ﻓﻲ ﻣﻜﺎﻧﻪ اﻟﺤﻘﻴﻘﻲ وﻣﻊ ﻣﺠﺘﻤﻌﻪ وﻣﺤﻴﻄﻪ اﻟﻄﺒﻴﻌﻲ .اﺣﺘﺮم ﺷﻬﺎدﺗﻪ ورؤﻳﺘﻪ ووﺟﻬﺔ ﻧﻈﺮﻩ ﺣﺘﻰ ﻓﻴﻤﺎ ﻳﺘﻌﻠﻖ ﺑﺎﻟﻘﻀﺎﻳﺎ اﻟﺴﻴﺎﺳﻴﺔ اﻟﻬﺎﻣﺔ واﻟﻌﻤﻴﻘﺔ ﺗﺎرﻳﺨﻴﺎ. آﻤﺎ اﻧﻪ ﻗﺪم اﻻﻧﺴﺎن اﻟﺒﺴﻴﻂ ﺷﺨﺼﻴﺔ ﻗﻮﻳﺔ ﺗﻤﻠﻚ اﻟﻜﺜﻴﺮ ﻣﻦ اﻟﺤﻘﺎﺋﻖ ﻟﺘﻘﺪﻣﻬﺎ ﻟﻠﻤﺸﺎهﺪ واﺳﺘﺨﺪم ﺗﻘﻨﻴﺎت اﻟﺴﻴﻨﻤﺎ ﻓﻲ اﻋﻼء ﺷﺎﻧﻬﺎ .ﻓﺠﻌﻠﻪ ﻣﺮآﺰﻳﺎ ﻓﻲ اﻟﻤﺸﺎهﺪ وﻣﺴﻴﻄﺮا ﻓﻲ زواﻳﺎ اﻟﻜﺎدر ﺧﺎﺻﺔ وهﻮ ﻳﻌﺒﺮ وﻳﺘﺤﺪث وﻳﻮﺟﻪ اﻟﻜﺎﻣﻴﺮا ﺣﻮل ﻗﻀﻴﺔ اﻟﻔﻴﻠﻢ. ﻓﻲ اﻟﻮﺟﻊ ،ﺑﻘﻲ اﻻﻧﺴﺎن اﻟﺒﺴﻴﻂ )زﻳﻨﺐ اﻟﺤﺎج ﻋﻄﻴﺔ( ﻗﻮﻳﺎ ﻣﻦ ﺑﺪاﻳﺔ اﻟﻔﻴﻠﻢ وﺣﺘﻰ اﺧﺮ ﻣﺸﺎهﺪﻩ ،وهﻮ ﻣﺎ ﻳﻤﻜﻦ ان ﻳﺠﺪﻩ اﻟﻤﺸﺎهﺪ ﻣﺨﺘﺼﺮا ﺑﻤﺠﺮد ان ﻳﻨﻈﺮ ﻟﺒﻮﺳﺘﺮ وﻏﻼف اﻟﻔﻴﻠﻢ اﻟﺬي ﻳﻀﻊ زﻳﻨﺐ ﻓﻲ اﻟﻤﺮآﺰ وﺑﺸﻜﻞ ﻗﻮي وﻣﺴﻴﻄﺮ ﺣﻴﺚ ﻳﻘﺪﻣﻬﺎ وهﻲ ﺗﻨﻈﺮ ﻓﻲ اﻻﻓﻖ ﻧﻈﺮة ﻗﻮﻳﺔ وﺗﺸﻴﺮ ﺑﻴﺪهﺎ وآﺎﻧﻬﺎ ﺗﺼﻨﻊ اﻟﺤﺪث وﺗﻌﻴﺪ ﺗﺸﻜﻴﻠﻪ ،آﻤﺎ ﻳﻀﻊ ﻓﻲ ﺧﻠﻔﻴﺘﻬﺎ ﺧﺎرﻃﺔ ﻓﻠﺴﻄﻴﻦ وآﺎﻧﻪ ﻳﺨﺘﺰل وﻳﺨﺘﺼﺮ ﺁﻻم ﻓﻠﺴﻄﻴﻦ اﻟﻄﻮﻳﻠﺔ وﻣﻜﺎﻧﺘﻬﺎ ﻓﻲ اﻻﻧﺴﺎن اﻟﺒﺴﻴﻂ. وﺣﺘﻰ ﻓﻲ ﻇﻞ اﻟﻠﺤﻈﺎت اﻟﺘﻲ رﺻﺪت ﻓﻴﻬﺎ آﺎﻣﻴﺮا اﻟﺪاود اﻟﺸﺨﺺ اﻟﺒﺴﻴﻂ زﻳﻨﺐ وهﻲ ﺗﺒﻜﻲ وﺗﺸﻜﻮ ﺿﻌﻔﻬﺎ ﺑﺴﺒﺐ ﻓﻘﺪهﺎ ﻟﻌﺎﺋﻠﺘﻬﺎ واهﻞ ﻗﺮﻳﺘﻬﺎ ﻧﺘﻴﺠﺔ اﻟﻤﺬﺑﺤﻪ ،ﻓﺎن اﻟﻤﺨﺮج ﻗﺪﻣﻬﺎ ﺷﺨﺼﻴﺔ ﻗﻮﻳﺔ ﺑﺘﻀﺤﻴﺘﻬﺎ وﺑﻘﺪرﺗﻬﺎ ﻋﻠﻰ رواﻳﺔ اﻟﺤﺪث وﺗﺬآﺮ ﺗﻔﺎﺻﻴﻠﻪ .آﻤﺎ اﻧﻪ دﻋﻢ ﻗﻮة رواﻳﺘﻬﺎ ﺑﺎﺳﺘﺨﺪام اﻟﻤﻮﻧﺘﺎج وادﺧﺎل اﻟﻤﺸﺎهﺪ اﻟﺘﺎرﻳﺨﻴﺔ ﻣﻦ اﻟﻤﺬﺑﺤﺔ اﻟﺘﻲ دﻋﻤﺖ ﺻﺪق ﺣﺪﻳﺜﻬﺎ ورواﻳﺘﻬﺎ وﻋﺰزت ﻣﻨﻬﺎ ﺑﻄﻼ ﻟﻠﻔﻴﻠﻢ. ﻓﻲ اﻟﻔﻴﻠﻢ اﻟﻮﺛﺎﺋﻘﻲ اﻟﺒﺪﻳﻞ -اﻟﺬي ﻳﻌﺘﻤﺪ ﺑﺸﻜﻞ اﺳﺎﺳﻲ ﻋﻠﻰ ﻧﻈﺮﻳﺎت ﺳﻴﻨﻤﺎ اﻟﺤﻘﻴﻘﺔ -ﻳﻘﺪم اﻟﻤﺨﺮج اﻻﻧﺴﺎن اﻟﺒﺴﻴﻂ وﻳﺠﻌﻞ ﻣﻨﻪ ﺑﻄﻼ ﺑﺎﻻهﺘﻤﺎم ﺑﺘﻔﺎﺻﻴﻠﻪ اﻟﺤﻘﻴﻘﻴﺔ وﺗﻠﻘﺎﺋﻴﺘﻪ اﻣﺎم اﻟﻜﺎﻣﻴﺮا واﻟﻤﺸﺎهﺪ اﻟﺘﻲ ﺗﺮﺻﺪ ﺣﻴﺎﺗﻪ اﻟﻴﻮﻣﻴﺔ ،وهﻮ أﻓﻀﻞ ﻣﺎ ﻳﻤﻜﻦ أن ﻳﻘﺪم اﻻﻧﺴﺎن اﻟﺒﺴﻴﻂ ﺑﻄﻼ ﻟﻠﻔﻴﻠﻢ ،ﺣﻴﺚ ﻳﻤﻠﻚ اﻻﺷﺨﺎص اﻟﺒﺴﻄﺎء واﻟﻌﺎدﻳﻮن اﻟﻜﺜﻴﺮ ﻣﻦ اﻟﺘﻔﺎﺻﻴﻞ اﻟﺘﻲ ﺗﺠﻌﻞ ﻣﻨﻬﻢ اﺑﻄﺎﻻ وﻗﺼﺼﺎ ﻣﻤﻴﺰة ﻟﻠﻔﻴﻠﻢ اﻟﻮﺛﺎﺋﻘﻲ .أن اﻟﻤﺒﺎﻟﻐﺔ ﻓﻲ اﺳﺘﺨﺪام واﻻهﺘﻤﺎم ﺑﺘﻘﻨﻴﺎت اﻟﻔﻴﻠﻢ اﻟﺮواﺋﻲ وﺳﻴﻨﻤﺎ هﻮﻟﻴﻮد واﻻﻋﺘﻤﺎد ﻋﻠﻰ زاوﻳﺔ اﻟﻜﺎﻣﻴﺮا )آﺎﻟﺰاوﻳﺔ اﻟﻤﻨﺨﻔﻀﺔ ﻣﺜﻼ( واﻻﺿﺎءة ﻓﻲ ﻣﺤﺎوﻟﺔ ﻟﺘﻌﻈﻴﻢ اﻟﺸﺨﺼﻴﺔ وﺟﻌﻠﻬﺎ ﺑﻄﻼ ﺗﻔﻘﺪ اﻟﻔﻴﻠﻢ اﻟﻮﺛﺎﺋﻘﻲ ﻃﺒﻴﻌﺘﻪ وﻗﻴﻤﺘﻪ ﻓﻲ رﺻﺪ اﻟﺤﻘﻴﻘﺔ واﻟﻮاﻗﻊ ،آﻤﺎ ﺗﺠﻌﻠﻪ ﻳﺒﺘﻌﺪ ﻋﻦ ﺳﻴﻨﻤﺎ اﻟﺤﻘﻴﻘﺔ واﺳﻠﻮﺑﻬﺎ. ان اﻻهﺘﻤﺎم ﺑﺘﻘﺪﻳﻢ اﻻﺷﺨﺎص اﻟﻌﺎدﻳﻮن ﻓﻲ اﻟﻔﻴﻠﻢ اﻟﻮﺛﺎﺋﻘﻲ وﺣﻜﺎﻳﺎﺗﻬﻢ ورواﻳﺘﻬﻢ ﻟﻼﺣﺪاث واﻟﻮاﻗﻊ ﻓﻲ اﻟﻤﺠﺘﻤﻊ ﻳﻘﺪم اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﺘﻔﺎﺻﻴﻞ واﻟﺤﻘﺎﺋﻖ اﻟﻤﺨﺘﻠﻔﺔ وﻳﻮﺿﺢ اﻟﻜﺜﻴﺮ ﻣﻦ اﻟﺼﻮر ﻓﻴﻤﺎ ﺣﺪث ﻓﻲ اﻟﻤﺎﺿﻲ وﻣﺎ ﻳﺤﺪث اﻟﻴﻮم، وذﻟﻚ ﻧﻈﺮا ﻟﻠﺘﻔﺎﺻﻴﻞ اﻟﻮاﺳﻌﺔ واﻟﺪﻗﻴﻘﺔ اﻟﺘﻲ ﻳﺸﻴﺮ اﻟﻴﻬﺎ اﻻﻧﺴﺎن اﻟﺒﺴﻴﻂ ﻟﻴﺲ ﻓﻲ ﻗﻀﺎﻳﺎ اﻟﺼﺮاع واﻟﺴﻴﺎﺳﻴﺔ ﻓﻘﻂ ﺑﻞ اآﺜﺮ ﻣﻨﻬﺎ ﻓﻲ اﻟﺒﻨﺎء اﻻﺟﺘﻤﺎﻋﻲ وواﻗﻊ اﻟﻤﺸﻜﻼت ،ﻓﺎﻻﻧﺴﺎن اﻟﺒﺴﻴﻂ ﻳﻘﺪم ﺻﻮرة ﺣﻴﺔ ﻋﻦ ﻃﺒﻴﻌﺔ اﻟﻤﺠﺘﻤﻊ واﻟﻌﺎﺋﻠﺔ واﻟﺠﻮار ،وﺷﻜﻞ اﻟﻌﻼﻗﺎت وﺗﻄﻮرهﺎ .ان اﻻﻧﺴﺎن اﻟﺒﺴﻴﻂ ﻓﻲ اﻟﻔﻴﻠﻢ اﻟﻮﺛﺎﺋﻘﻲ ﻳﻘﺪم وﺑﺸﻜﻞ دﻗﻴﻖ ﻣﻌﻠﻮﻣﺎت ﻻ ﻳﻤﻜﻦ ان ﺗﻘﺪﻣﻬﺎ او ﺗﺘﻨﺎوﻟﻬﺎ اﻟﻨﺨﺐ واﻟﻘﻴﺎدات اﻟﺴﻴﺎﺳﻴﺔ و اﻟﻤﺨﺘﺼﻮن او ﻗﺪ ﻳﺘﻢ ﺗﻨﺎوﻟﻬﺎ ﺑﺸﻜﻞ اﺟﻤﺎﻟﻲ ﻣﻠﺨﺺ ﺧﺎل ﻣﻦ اﻟﻄﺎﺑﻊ اﻻﻧﺴﺎﻧﻲ واﻟﺤﻜﺎﻳﺔ اﻟﺸﺨﺼﻴﺔ اﻟﺘﻲ ﻻ ﻳﺨﺸﻰ اﻟﺸﺨﺺ ﻣﻦ ﺗﻘﺪﻳﻤﻬﺎ واﻟﺤﺪﻳﺚ ﻋﻨﻬﺎ. ﻟﻘﺪ ﻗﺪم اﻟﻔﻴﻠﻢ اﻟﻮﺛﺎﺋﻘﻲ اﻟﺒﺪﻳﻞ ﺻﻮرة ﻋﻦ ﺣﻘﺎﺋﻖ ﻏﺎﺋﺒﺔ ﻋﻦ اﻟﺸﺮق اﻻوﺳﻂ وﻣﺠﺘﻤﻌﺎﺗﻪ واﺷﻜﺎل اﻟﺼﺮاع واﻟﻤﺸﻜﻼت ﻓﻴﻪ ،وﻗﺒﻞ ذﻟﻚ ﻗﺪم ﺑﺸﻜﻞ ﻋﻤﻴﻖ وﻣﻤﻴﺰ ﺻﻮرة ﻟﻼﻧﺴﺎن اﻟﻌﺎدي واﺣﺎﺳﻴﺴﻪ وﻳﻮﻣﻪ وﻋﺎﺋﻠﺘﻪ وآﻴﻒ ﻳﺮى ﻧﻔﺴﻪ واﻟﻌﺎﻟﻢ .آﻤﺎ اﻧﻪ ﺳﺎهﻢ ﺑﺸﻜﻞ آﺒﻴﺮ ﻓﻲ ﺗﻮﺛﻴﻖ اﻟﺬاآﺮة واﻟﺘﺎرﻳﺦ اﻟﺸﻔﻮي وﺗﻘﺪﻳﻢ وﺟﻬﺔ اﻟﻨﻈﺮ اﻟﻐﺎﺋﺒﺔ .ﻟﻘﺪ ﻋﺰز اﻻﻧﺴﺎن اﻟﺒﺴﻴﻂ ورﻓﻊ ﻣﻦ ﻗﻴﻤﺔ اﻟﻔﻴﻠﻢ اﻟﻮﺛﺎﺋﻘﻲ ﻓﻲ اﻟﺸﺮق اﻻوﺳﻂ ،آﻤﺎ ان ﺻﻨﺎع اﻟﻔﻴﻠﻢ آﺬﻟﻚ ﻗﺪ رﻓﻌﻮا ﻣﻦ ﻗﻴﻤﺔ اﻻﻧﺴﺎن وﻋﺰزوا اﻟﺤﻘﻴﻘﺔ واﻟﻮاﻗﻊ ﺑﺘﻘﺪﻳﻤﺔ ﻟﻼﻧﺴﺎن اﻟﺒﺴﻴﻂ ﺑﻄﻼ وﺷﺨﺼﻴﺔ رﺋﻴﺴﻴﺔ ﻟﻠﻔﻴﻠﻢ. ﻣﺤﺪدات اﻟﺪراﺳﺔ هﺬﻩ اﻟﺪراﺳﺔ واﺟﻬﺖ ﺑﻌﺾ اﻟﻤﺤﺪدات اﻟﻨﻈﺮﻳﺔ اﻟﺘﻲ اﺛﺮت ﻓﻲ ﻋﻤﻠﻴﺔ اﻟﺘﺤﻠﻴﻞ ،ﺣﻴﺚ أن ﻧﻈﺮﻳﺎت ﺳﻴﻨﻤﺎ اﻟﺤﻘﻴﻘﺔ اﻟﺘﻲ اﺳﺘﺨﺪﻣﺘﻬﺎ اﻟﺪراﺳﺔ ﻓﻲ ﺗﺤﻠﻴﻞ اﻻﻓﻼم اﻟﻮﺛﺎﺋﻘﻴﺔ ﻧﻈﺮﻳﺎت ﺗﻬﺘﻢ ﺑﺎﺳﺎﻟﻴﺐ ﺗﻌﺰﻳﺰ اﻟﻮاﻗﻊ واﻟﺤﻘﻴﻘﺔ وﻻ ﺗﻠﺘﻔﺖ اﻟﻰ ﺗﻘﻨﻴﺎت اﻟﺴﻴﻨﻤﺎ اﻟﺮواﺋﻴﺔ واﻟﻬﻮﻟﻴﻮدﻳﺔ وﻣﺒﺎﻟﻐﺎﺗﻬﺎ ﻓﻲ "اﻟﺘﺼﻨﻊ" وﺻﻨﺎﻋﺔ اﻟﻨﺠﻮم ﻣﻦ ﺧﻼل اﻟﻜﺎﻣﻴﺮا واﻻﺿﺎءة واﻟﺪﻳﻜﻮر.
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SUBORDINATE PEOPLE IN MIDDLE EASTERN ALTERNATIVE DOCUMENTARY FILM Master in Communication (Screen Studies) March 2009
آﻤﺎ ان ﺻﻨﺎع اﻟﻔﻴﻠﻢ اﻟﻮﺛﺎﺋﻘﻲ اﻟﺒﺪﻳﻞ ﻏﻴﺮ ﻣﻬﺘﻤﻴﻦ ﺑﻬﺬﻩ اﻟﺘﻘﻨﻴﺎت اﻟﻰ درﺟﺔ واﺳﻌﺔ ﺑﻞ ان اهﺘﻤﺎﻣﻬﻢ ﻳﻨﺼﺐ ﻋﻠﻰ اﻟﺤﻜﺎﻳﺔ اﻟﺤﻘﻴﻘﻴﺔ واﻻﺷﺨﺎص اﻟﺤﻘﻴﻘﻴﻮن ورﺻﺪ اﻟﻮاﻗﻊ ﺑﺸﻜﻞ ﺑﺴﻴﻂ وﺗﻘﺪﻳﻤﻪ ﺑﺸﻜﻞ ﻣﻤﻴﺰ .ﻓﻔﻲ اﻟﻤﻘﺎﺑﻼت اﻟﺘﻲ اﺟﺮﻳﺘﻬﺎ ﻣﻊ ﻣﺨﺮﺟﻴﻦ ﻟﻼﻓﻼم اﻟﻮﺛﺎﺋﻘﻴﺔ ﻣﻦ اﻟﺸﺮق اﻻوﺳﻂ ،ﻟﻢ ﻳﻜﻦ اهﺘﻤﺎم اﻟﻤﺨﺮج ﺑﺘﻘﻨﻴﺎت اﻟﻜﺎﻣﻴﺮا وزواﻳﺎهﺎ ﻣﺜﻼ ﺑﻘﺪر اﻻهﺘﻤﺎم ﺑﻤﺘﺎﺑﻌﺔ اﻟﺤﻜﺎﻳﺔ وأﺣﺪاﺛﻬﺎ وﺗﻔﺎﻋﻞ اﻟﺮاوي ﻣﻌﻬﺎ .ﺣﺘﻰ ان هﺬﻩ اﻻﻓﻼم ﺟﺎءت ﻣﻦ ﻏﻴﺮ ﺳﻴﻨﺎرﻳﻮ ﻣﺴﺒﻖ او ،Story boardﻣﻤﺎ ﻳﻌﻨﻲ ان اﻟﻠﻘﻄﺎت ﺟﺎءت ﺑﻌﻔﻮﻳﺔ ﺗﺎﻣﺔ ﺗﺘﻨﺎﺳﺐ ﻣﻊ ﻋﻔﻮﻳﺔ وﺣﺮآﺔ اﻟﺸﺨﺼﻴﺔ اﻟﺮﺋﻴﺴﺔ ورواﻳﺘﻬﺎ. ﻟﻴﺲ ﻣﻦ ﺗﻨﺎﻗﺾ ﺑﻴﻦ ﻋﺪم اﻻهﺘﻤﺎم اﻟﻤﺒﺎﻟﻎ ﻓﻴﻪ ﺑﺘﻘﻨﻴﺎت ﺳﻴﻨﻤﺎ هﻮﻟﻴﻮد )آﺰاوﻳﺔ اﻟﻜﺎﻣﻴﺮا وﻣﻜﺎن اﻟﻌﻨﺎﺻﺮ ﻓﻲ اﻟﻜﺎدر( وﻃﺮﻳﻘﺔ ﺻﻨﺎﻋﺔ اﻟﻔﻴﻠﻢ اﻟﻮﺛﺎﺋﻘﻲ اﻟﺒﺪﻳﻞ ،ﺑﻞ ان ذﻟﻚ ﻳﻌﺘﺒﺮ ﺧﺎﺻﻴﺔ ﻣﻦ ﺧﺼﺎﺋﺺ ﺳﻴﻨﻤﺎ اﻟﺤﻘﻴﻘﺔ .ﻳﻌﺘﻘﺪ ﺑﻌﺾ اﻟﺒﺎﺣﺜﻴﻦ أن دراﺳﺔ ﺣﻮل اﻟﺴﻴﻨﻤﺎ ﻻ ﺑﺪ ﻟﻬﺎ ﻣﻦ ﺣﺪﻳﺚ ﻣﻄﻮل ﺣﻮل ﺗﻘﻨﻴﺎت وﻧﻈﺮﻳﺎت ﺳﻴﻨﻤﺎ هﻮﻟﻴﻮد .وهﻨﺎ ﻻ ﺑﺪ أن اﺷﻴﺮ اﻟﻰ أن اﻻﺧﺘﻼف ﺷﺎﺳﻊ ﺟﺪا ﺑﻴﻦ هﺬﻳﻦ اﻟﻤﺬهﺒﻴﻦ ﻟﺪرﺟﺔ ﻳﻤﻜﻦ اﻟﻘﻮل ﻣﻌﻬﺎ ان دراﺳﺔ اﻟﻔﻴﻠﻢ اﻟﻮﺛﺎﺋﻘﻲ ﻣﻦ ﺧﻠﻔﻴﺔ اﻟﻔﻴﻠﻢ اﻟﺮواﺋﻲ واﻟﻬﻮﻟﻴﻮدي ﻟﻴﺴﺖ ﻣﻨﻄﻘﻴﺔ او ﻋﺎدﻟﺔ ،ذﻟﻚ ان اﻟﻔﺮق ﺑﻴﻦ ﺗﻘﻨﻴﺎت اﻟﻔﻴﻠﻢ اﻟﻬﻮﻟﻴﻮدي وﻃﺮﻳﻘﺔ ﺻﻨﺎﻋﺘﻪ وﺑﻴﻦ اﻟﻔﻴﻠﻢ اﻟﻮﺛﺎﺋﻘﻲ واﺳﻠﻮﺑﻪ هﻲ آﻤﺎ اﻟﻔﺮق ﺑﻴﻦ اﻟﺰﻳﻒ واﻟﺤﻘﻴﻘﺔ. ﻣﻘﺘﺮﺣﺎت ﻷﺑﺤﺎث أآﺎدﻳﻤﻴﺔ ﻣﺴﺘﻘﺒﻠﻴﺔ ان دراﺳﺔ اﻻﻧﺴﺎن اﻟﻌﺎدي واﻟﺒﺴﻴﻂ ﻓﻲ اﻟﻔﻴﻠﻢ اﻟﻮﺛﺎﺋﻘﻲ اﻟﺒﺪﻳﻞ ﻳﻤﻜﻦ أن ﻳﺘﻢ ﺗﻨﺎوﻟﻬﺎ ﻣﻦ اﺗﺠﺎﻩ ﻣﺨﺘﻠﻒ .وهﻮ اﺗﺠﺎﻩ ﺗﻘﻴﻴﻢ اﻟﺠﻤﻬﻮر واﻟﻤﺸﺎهﺪ ﻓﻲ ﻣﻨﻄﻘﺔ اﻟﺸﺮق اﻻوﺳﻂ ﻟﻬﺬا اﻟﻔﻴﻠﻢ ،ودرﺟﺔ ﺗﻔﺎﻋﻠﻪ ﻣﻊ هﺬا اﻟﻨﻮع ﻣﻦ اﻻﻓﻼم اﻟﻮﺛﺎﺋﻘﻴﺔ اﻟﺘﻲ ﺗﻘﺪم اﺷﺨﺎﺻﺎ ﻋﺎدﻳﻮن وﺑﺴﻄﺎء اﺑﻄﺎﻻ وﺷﺨﺼﻴﺎت رﺋﻴﺴﺔ ،ﺗﺘﺤﺪث ﺣﻮل واﻗﻌﻬﺎ وﺗﻔﺎﺻﻴﻞ ﺣﻴﺎﺗﻬﺎ .آﻤﺎ ﻳﻤﻜﻦ دراﺳﺔ درﺟﺔ وﺛﻮق اﻟﻤﺸﺎهﺪ ﺑﻬﺬﻩ اﻟﺸﺨﺼﻴﺔ وﺑﺎﻟﻤﻌﻠﻮﻣﺎت واﻟﺼﻮر اﻟﺘﻲ ﻳﻘﺪﻣﻬﺎ ﺣﻮل اﻻﺣﺪاث اﻟﺘﺎرﻳﺨﻴﺔ واﻟﺴﻴﺎﺳﻴﺔ اﻟﺘﻲ دارت او ﺗﺪور ﺣﺎﻟﻴﺎ ،آﻤﺎ درﺟﺔ اﻗﺒﺎﻟﻪ ﻋﻠﻰ ﻣﺘﺎﺑﻌﺔ هﺬا اﻟﻨﻮع ﻣﻦ اﻻﻧﺘﺎج. آﻤﺎ ان ﺑﺎﻣﻜﺎن دراﺳﺎت ﻣﺴﺘﻘﺒﻠﻴﺔ ان ﺗﻘﻮم ﺑﻤﻘﺎرﻧﺔ اﻓﻼم وﺛﺎﺋﻘﻴﺔ ﺗﻘﺪم اﺷﺨﺎﺻﺎ ﻋﺎدﻳﻴﻦ ﻣﻦ واﻗﻊ اﻟﻤﺠﺘﻤﻊ واﺧﺮى ﺗﻘﺪم ﻗﻴﺎدات اﺟﺘﻤﺎﻋﻴﺔ وﺛﻘﺎﻓﻴﺔ وﺳﻴﺎﺳﻴﺔ آﺒﻄﻞ ﻟﻠﻔﻴﻠﻢ ودرﺟﺔ ﻗﺒﻮل اﻟﺠﻤﻬﻮر واﻗﺒﺎﻟﻪ ﻋﻠﻰ آﻞ ﻣﻨﻬﺎ ،و درﺟﺔ ﺗﺎﺛﺮ اﻟﺠﻤﻬﻮر وﺗﻔﺎﻋﻠﻪ ﻣﻊ آﻼ اﻟﺸﺨﺼﻴﺘﻴﻦ وﻣﺎ ﺗﻘﺪﻣﺎﻧﻪ ﻣﻦ رواﻳﺔ ﺣﻮل اﻟﻮاﻗﻊ .ﺣﻴﺚ ﻳﻠﺰم ﻣﻊ هﺬا اﻟﻨﻮع ﻣﻦ اﻟﺪراﺳﺎت دراﺳﺔ راي اﻟﻤﺸﺎهﺪ ﻓﻲ ﻣﻨﻄﻘﺔ اﻟﺸﺮق اﻻوﺳﻂ ﻋﺒﺮ اﻻﺳﺘﻌﺎﻧﺔ ﺑﺎﻻﺳﺘﺒﺎﻧﺔ وﻋﺮوض اﻻﻓﻼم اﻟﺨﺎﺻﺔ اﻟﺘﻲ ﺗﻤﻜﻦ اﻟﺒﺎﺣﺚ ﺑﻌﺪهﺎ ﻣﻦ اﻟﺘﻮاﺻﻞ ﻣﺒﺎﺷﺮة ﻣﻊ ﺟﻤﻬﻮر اﻟﻔﻴﻠﻢ.
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