A journey into a minefield

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Facebook uncovers many issues related to souls, minds, emotions, reflections and records. The contradiction is present, just like the individuality that one makes for himself, even in a public space like this, and like the paralysis that controls the conditions of culture, journalism, arts and information, without forgetting other areas, and this has no place here now. A paralysis appears in the relationships between specific people, so they seem to have had their relationships outside of Facebook come with them. There are many comments, and the follower fully realizes that they are divided into ridicule, insults, humor, analysis, meditation and revelation, without forgetting voyeurism, and some are similar to what cinema does in relation to life and people, sometimes.
Conflicts adjacent to analyzes and discussions. Tension is associated with calm and openness, and if the degrees of all this vary, as the tension is sometimes too lame to be cursed and cursed, it is unintended perhaps, and the calm is worse than raising its compatibility with the severity of its fabrication. Betrayal and accusation of labor are added to a world that is essentially emerging from reality, daily diaries and real details that people realize and live.Some say that “Facebook” is simply “a world that is not ours” (the title of a Palestinian movie, Mahdi Fleifel), so are they comfortable staying outside it? The majority is involved in it, as it is an outlet to the outside, some want it (the outside) to pay attention to it (some). Forced domestic isolation, as a result of a “general mobilization” (Lebanon), raises many questions around it, during the outbreak of the “Corona” virus in the world, which pushes for greater communication with Facebook and its like from different means of communication. This calls for a journey into minefields, and some of these mines can destroy real friendships or destroy different relationships.

However, Facebook has forced benefits in domestic isolation, most notably by alerting those interested to, for example, cinema activities. Many Arabs post on their pages news, stories, translations and comments related to cinema and its workers. Corona virus will not be the only one to overwhelm it, as other issues of interest and controversy, clash, cursing and bashing: an inappropriate movie for a first person’s thinking, for seeing a second one, or for the emotions of a third person, or for the commitment of one of the fourth education, culture, and moods, and when a fifth defends it. The Facebook resurrection is based on it. Pending case, accusation of Woody Allen and Roman Polanski of sexual assault on underage girls, on the occasion of the release of a book for the first, and the winning of “Cesar” prizes for the second (and the consequences of all this continue to this day, despite “Corona”). Criticism directed by one critic to another critic, on the pretext that the second is not concerned with current events, such as the “October 17 Uprising” (Lebanese) uprising, and the spread of the Corona virus in the world. So, in the first place, he takes him away from the daily realities of life, and his full commitment to cinematic issues says The second is the most important for him, without hesitating the second in attacking the first, though in often vulgar language, “in self-defense.”

Cinematic comments on Facebook are countless. Many become critics, and some begin his words by saying “Although I am not a critic and I know nothing about criticism issues”, then his comment is inserted with many notes, some of which can be criticized, so the viewer is critical. Some others touch on the cinema before its criticism and the freedom to say and express critical criticism, as it is viewed and recorded based on moral concepts and prejudices that lead in its observations and records, and this is the worst thing that happens on Facebook, as well as outside it. As for treachery and accusations of labor for media and press institutions affiliated with this Arab system or that (with what such accusation and its consequences mean, in an Arab world that is turned against each other with violence and cruelty), they attend their roles in a cinematic issue, such as their presence in the journals of politics, economics, and media. Everyone is “excluded” from defect, error and employment, and “everyone” suffers from defect, error and employment at the same time, and this is due to the view of each of the first two towards belonging to others.

“It’s a crazy party,” some say. Facebook is an integrated world of tension, nervousness and hatred, at least in Arab geography. Convulsions almost overwhelm the language of reason, logic and debate, as well as humor, sarcasm and flaunting. Serious people, but most of them take seriousness (and become largely false) over his behavior, by rejecting every joke or ridicule, or by his lack of understanding that what was said is a joke or ridicule, because Facebook is open to them as open to everything else. People are cynical, but some of them make his irony a guide of stupidity and flattening, because he is so separated from the beautiful meanings of joke and sarcasm, which are among the finest and most beautiful arts.

Cinema has a presence on Arab “Facebook” (if it is correct to say), and stopping there is away from comments, most of which are valid for “Facebook” as an open space for every saying. There are those who are interested in imparting knowledge or caution, and there are those who publish articles that stimulate a lively debate, and there are those who mention an event, personality or movie, and there are those who refer interested people to a film that he deems worthy to watch, and there are those who publish posters in color and black and white pictures, or a promotional tape for a movie or interview , Or clips from an old or new movie. In Corona’s time, Facebook refers to newly created links and sites that display films in the phase of domestic isolation, giving the isolated people a quiet space of meditation in conditions, emotions, passions, tales and narrations. In Lebanon, Egypt, Tunisia, Algeria, Palestine and Morocco, for example, workers in the Arab cinema industry secure as quiet spaces as possible, giving them Arab products that possess their artistic, cultural, dramatic and aesthetic condition, despite their harsh issues and inciting questions and concerns.

This is happening through Facebook, which turns into a functional cinematic space, which focuses mainly on viewing. This is because directors and producers condone the legal aspects of production and intellectual property rights, and broadcast films of their choice from different years, contributing in one way or another to alleviating domestic isolation. They broadcast their films on a website or platform, and sometimes “Facebook”, without money, for a specific time or for an open time, either individually, or through an official institution. The “Moroccan Film Center” allows viewing Moroccan films on its website, albeit for a short time. This calls for an ancient restoration, which in many places has its place and concern. Beirut DC, an association with independent Arab cinema, creates aflamuna.online to show Arabic films belonging to its cinematic interest, one of which is “A World We Don’t Have” (2012) by Mahdi Fleifel. Others bypass obstacles and pitfalls, make films here and there, and incite – via Facebook, in particular – the interest, follow-up and viewing.

Facebook reports this. It indicates the cinematic vitality needed by those interested in the seventh art. This is also entertaining, and if the question of the future of cinematography and its relationship to sites and platforms remains posed, without a definitive answer, it is too soon for such a “decision”.

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