Lebanon

Elements area

Taxonomy

Code

Scope note(s)

    Source note(s)

      Display note(s)

        Hierarchical terms

        Lebanon

          Equivalent terms

          Lebanon

            Associated terms

            Lebanon

              8 Archival description results for Lebanon

              8 results directly related Exclude narrower terms
              ES ES-OVNI CTX-S012-SS006-0007 · Item · 2005
              Part of Non-Identified Video Observatory (OVNI)

              A military helicopter circles in the sky like an evil wasp. Chaos on the ground after the attack. A fast-paced sequence - bleeding people, burning cars and confused soldiers. Subheading: From Beirut - with Love. A cinematic postcard-greeting, so bitter and cynical, it can only come from a city at war with itself. The only dialogue in the film reveals a surprising connotation: Beirut is Paris, or Madrid, or any other metropolis. The scene is set: youth without a future, bomb attacks, drugs, arms, soldiers. The postcard has arrived.

              Untitled
              ES ES-OVNI CTX-S010-SS006-0008 · Item · 1995
              Part of Non-Identified Video Observatory (OVNI)

              Registers the withdrawal of tradition past a surpassing disaster (the fifteen-year Lebanese war); produces completed crossword puzzles with subsisting blank spaces in a country of shattered shop signs; exhibits the rise in 1992-Beirut of a sublime architecture of bricks in a period where it appears Arabs are being driven to the Stone Age (Palestinians throwing stones at the Israeli army in the Occupied Territories, etc) and uses fiction to document the eruption of psychotic effects in and outside mental hospitals.

              Untitled
              July Trip
              ES ES-OVNI CTX-S012-SS005-0007 · Item · 2006
              Part of Non-Identified Video Observatory (OVNI)

              Beirut, July 2006. Israeli bombings strike the city. While Beirut is still on fire, the filmmaker starts a journey across his native land. The film is not a documentary - although the images are burningly real - but an essay. Using two complementary techniques, 16 mm film and HDV, the artist questions the deep foundations of the documentary genre. The eye of the cameras goes through a country in a state of terror, it records the immediate effects of war when it touches civilians.

              Untitled
              ES ES-OVNI CTX-S012-SS007-0029 · Item · 2006
              Part of Non-Identified Video Observatory (OVNI)

              A journey through Beirut's devastated neighbourhoods and some villages in southern Lebanon. The ordinary stories of ordinary people. Women, children and men face the challenge of remaking their lives in the midst of the devastation. 34 days of bombing by Israel have left indelible marks. Hundreds of families have lost their loved ones, a million displaced people return to their devastated houses. The Lebanese people wake from the nightmare full of rage and sorrow. Bombs are heavy, peace has no weight.

              Untitled
              Nightfall
              ES ES-OVNI CTX-S009-SS002-0025 · Item · 2000
              Part of Non-Identified Video Observatory (OVNI)

              In 1975, a group of young Lebanese men were affiliated with the Palestinian Resistance Organization "Fateh". Some of them sacrified their life in the course of the Civil War. Now that the war has gone, a bunch of those fighters are considered survivors, but they keep themselves alive by nursing their souls with alcohols, poetry and laughter.

              ES ES-OVNI RSC-1350 · Item · 2001
              Part of Non-Identified Video Observatory (OVNI)

              An intimate dialogue with Soha Bechara, ex-Lebanese National Resistance fighter, in her Paris dorm room. The interview was taped during the last year of the Israeli occupation, one year after her release from captivity in El-Khiam torture and interrogation center (South Lebanon) where she had been detained for 10 years—six in isolation. Revising notions of resistance, survival, and will, the overexposed image of the survivor speaks quietly and directly to the camera—not speaking of the torture, but of separation amd loss; of what is left behind and what remains.

              Untitled