Radical Closure, Program 2: War/The Visible Signs

Radical Closure, Program 2: War/The Visible Signs

This program presents different approaches to looking at war, and to using images of war. My Friend Imad and the Taxi is an unfinished work from two amateur filmmakers, both passionate about film, who lived in Beirut in the eighties when the city looked like the set from a war film. Samir’s work looks at the intersection between (H)istory and (h)is story as lived at home. While Farocki’s piece looks subversively at war from the point of view of the industrial machinery used to collect images-–almost a scientific approach--Salhab’s video presents us with a poetic portrait of a people and a city full of scars.

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In 1985, Hassan Zbib and Olga Nakkas separately started to develop film scenarios based on simple narratives, and would shoot them on Super 8, which was still possible to develop in Beirut…

Collections: Single Titles
Tags: Experimental Film, Middle East, Music


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Right after the first Iraq war, the filmmaker visits his family in Iraq.  He tries to reconstruct the war from different points of view, all depicted on the same screen at the same time: U.…

Collections: Single Titles
Tags: Family, Middle East

“The third part of the Eye/Machine cycle structures the material around the concept of the operational image. These are images which do not portray a process, but are themselves part of a process.…

Collections: Single Titles
Tags: European Film/Video, Future, Media Analysis, Photography, Politics, Surveillance

Following on from the 2006 Israeli aggression on Lebanon, the filmmaker tries to film the destruction of Beirut. We witness a city deserted by life, and ghostly characters who, featured in…

Collections: Single Titles
Tags: Middle East

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