#rasha_salti

#Rasha_Salti, l’œil piquant du documentaire sur Arte - Télévision - Télérama.fr

▻http://www.telerama.fr/television/rasha-salti,-loeil-piquant-du-documentaire-sur-arte,n5337742.php

Rasha Salti rules !

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Premiers films, œuvres subversives… A la tête de la Lucarne d’Arte, Rasha Salti entend perpétuer l’audace de la case documentaire, qui fête ses 20 ans. A voir ce lundi 13 novembre, 0h10 : “Mrs. Fang”.

Elle est née à Toronto d’un père palestinien et d’une mère libano-syrienne, a suivi ses études sur la côte Est des Etats-Unis, mène une activité internationale de commissaire d’expositions et de programmatrice de festivals et vit entre Berlin, Beyrouth et Paris, où Arte l’a convaincue de pren­dre en charge la Lucarne, qui fête ses 20 ans en novembre.

‪Les étudiants de pays arabes formés en Union soviétique pendant la Guerre froide (1956-1991)‪ - Cairn.info
▻http://www.cairn.info/article.php?ID_ARTICLE=REMI_322_0013&WT.mc_id=REMI_322

Les étudiants de pays arabes formés en Union soviétique pendant la Guerre froide (1956-1991)‪
par Constantin Katsakioris

Chercheur postdoctorant, Bayreuth Academy of Advanced African Studies, Hugo-Rüdel-Str. 10, 95445 Bayreuth, Allemagne ; konstantinos.katsakioris@uni-bayreuth.de

#monde_arabe #monde_communiste #urss #ex-urss #connaissance #savoir #moscou #rasha_salti

War, art, cinema and what images can do

▻http://us9.campaign-archive1.com/?u=bed63d3ce10ec9adba60ea410&id=d2a9f11242&e=cbdba53a97

https://gallery.mailchimp.com/bed63d3ce10ec9adba60ea410/images/2cc7768a-3981-4384-b12c-9303cfb1a2b4.jpg

Un projet mené par la merveilleuse Rasha Salti

How do art and film respond to atrocity?
Can they disarm the shield of indifference to galvanize empathy, solidarity and action?
Does representation still have the ability to mediate or provoke in our contemporary global culture of visual saturation?
Can art and film clear visibility through the fog of war?

Never before in the history of humanity has the reality of lived experience (ranging from the utterly mundane to the exceptional) been captured by cameras and disseminated worldwide. Thanks to the various platforms of the Internet, citizen journalism has invaded — and sometimes supplanted — the conventional realms of news. It even, at times, challenges fundamental precepts and codes of the profession. Think of how security cameras have pervaded public sites and intruded on private lives to an unprecedented extent.

Arguably, the exponential proliferation of still and moving images has relentlessly pushed against the boundaries of what is deemed provocative, untenable, unacceptable. Today, the global mainstream audience seems numbed with regards to the pain of others and the abominations of war. The filmed (and suspiciously, meticulously art directed) execution videos produced by ISIS are a morbidly glaring symptom of the internalized permissiveness of spectators. These videos enact, in real life, the plot motifs and dramaturgies of video games and war fictions, presented as the “most” horrible, the “most” evil.