Egypt Independent: Culture-Main news en Graffiti exhibition at Darb 1718 <img src="" alt="" title="" class="imagecache imagecache-media_thumbnail" width="152" height="114" /><p><span style="line-height: normal;">The &lsquo;Love Culture&rsquo; project is holding an exhibition of works of graffiti titled &lsquo;Without Barriers,&rsquo; depicting issues of love, marriage and sexual health for young people from 22 October to 3 November at the Darb 1718 center for culture and contemporary art in Old Cairo.</span></p><div>On the sidelines of the exhibition, there will be a concert and open discussions of issues pertaining to young people.&nbsp;</div><div>&nbsp;</div><div>The &lsquo;Love Culture&rsquo; project has an Arabic version on the global &lsquo;Love Matters&rsquo; site that comes in several languages and addresses young people in India, Mexico, Venezuela, Kenya, China and the Arab world.</div><div>&nbsp;</div><div>&nbsp;</div><div><em>Edited translation from Al-Masry Al-Youm</em></div><div>&nbsp;</div> Mon, 20 Oct 2014 15:30:00 +0000 Al-Masry Al-Youm 2439047 at sites/default/files/photo/2012/09/09/54605/zabaleen.jpg The burning of Paris and the memory of Alexandria <img src="" alt="" title="" class="imagecache imagecache-media_thumbnail" width="152" height="114" /><p dir="ltr">There was a story about the city where what mattered most was the human crisis, disregarding the danger that threatened the structure. It was the story about Paris&rsquo;s destiny by the end of the German colonization, when Hitler ordered to ruin the city before pulling out.</p><p dir="ltr">But the general assigned to the task declined to obey the leader&rsquo;s orders!</p><p dir="ltr">In a book published in 1951, Dietrich Hugo Hermann von Choltitz, claims that his fondness of the city was the thing that motivated him to disobey his commander, saying he thought Hitler had gone insane. However, in a recent movie by German director Volker Schlöndorff , the rescue of Paris is credited to Swedish consul Raoul Nordling who, according to the movie, convinces the general to go back on that plan, telling him that it was not the way he wants to go down in history.</p><p dir="ltr">In his critique about movie, published in the New York Review, influential Dutch writer Ian Buruma said the German general neither thought Hitler was crazy, nor was convinced of the Swedish consul&rsquo;s advice, nor did he do it out of love for Paris. In fact, says Buruma, Choltitz believed that saving Paris would be in his favor during any post-war trial.</p><p dir="ltr">Most probably, the truth is a mixture of the aforementioned interpretations. Obviously, the aristocratic general who took part into the burning of central Rotterdam in 1940, did not view Paris the same way he did the city of Warsaw in Poland, which Nazis had demolished on a wide scale before their withdrawal. At that time, Paris was the capital of world civilization. The structures meant for demolishing were not merely beautiful architectures and delightful boulevards, but also a materialization of cultural and intellectual accumulation. In those buildings, museums and libraries resided the the intellects who shaped the culture the general was directed to liquidate. He had the feeling that history-and judges- would never have pardoned him had he burned Paris.</p><p dir="ltr">But is that to suggest that the destruction of &nbsp;the ancient city of Warsaw was acceptable? absolutely not. The point is that what saved Paris amid highly exceptional, demagogical circumstances was not only its beauty, but also the inherent, accumulated intellect that was reflected in its structures and obsessed the living humans whose trials Choltitz feared.</p><p dir="ltr">Intellectual productivity continues even with the collapse of the relevant material structure. But if thought vanishes, historic monuments lose the context that links us to them, and become irrelevant to our contemporary interests. This is what makes the burning of the Bibliotheca Alexandrina immortal to the mind; the Alexandrian culture influences contemporary civilization, whilst physically existent civilizations lack the influence.</p><p dir="ltr">The intellectual language is the most significant tool linking generations. Even when catastrophes do happen, future generations never pardon those who denied them the clue to what the ancestors innovated.</p><p dir="ltr">So, amid the current obsession with material and technological progress, a question has to be posed: do we have the cultural project-or at least the environment- that history can honor us for? something that can make us expect the progress we seek or make our quest meaningful?. In a broader Arab context, I wonder what would encourage future generations to preserve what is left by today&rsquo;s Cairo, Riyadh or Dubai? Does their physical structure represent something worthy of preservation and revival throughout generations?.</p><p>&nbsp;</p> Sat, 18 Oct 2014 15:32:00 +0000 Amr el-Zant,Al-Masry Al-Youm 2438978 at sites/default/files/photo/2014/10/19/495070/amrelznt.jpg Culture Minister discusses protecting films from piracy <img src="" alt="" title="" class="imagecache imagecache-media_thumbnail" width="152" height="114" /><p><span style="font-size: 1em; line-height: 1.5em;">Minister of Culture Gaber Asfour held a meeting with members of the film industry chamber to discuss the challenges of Egyptian cinema and suggestions to solve them.</span></p><div><p>Solutions included transferring assets of Egyptian cinema from the Holding Company for Cinema and the Ministry of Investment to the Ministry of Culture in accordance with what has been agreed upon in a meeting between filmmakers and Prime Minister&nbsp;Ibrahim Mehleb.</p><p>Attendees discussed the problem of piracy of Egyptian films by some satellite channels and creating a registration office to document movies affiliated with the film industry chamber. They also recommended the return of the films&#39; intellectual property certificates.</p><p>The attendees also discussed archiving copies of films in the film industry chamber through modern technology after the formation of a technical committee to choose the type and style of archiving&nbsp;in a way that facilitates access to the movies.</p><div><div>At the end of the meeting, Asfour issued a number of ministerial decisions necessary to protect the creativity against piracy, as well as the representation of the film industry chamber in all areas of study concerned with the development of cinema industry and carried out by the Ministry of Culture.</div><div>&nbsp;</div><div><em>Edited translation from&nbsp;Al-Masry Al-Youm</em></div></div></div><p>&nbsp;</p> Fri, 17 Oct 2014 15:00:00 +0000 Al-Masry Al-Youm 2438965 at sites/default/files/photo/2014/09/09/39/gaber_asfour.jpeg Abu Dhabi Film Festival to be held 23 October <img src="" alt="" title="" class="imagecache imagecache-media_thumbnail" width="152" height="114" /><div>Abu Dhabi Film Festival announced the schedule for the program &quot;Dialogues in the Cinema&quot; for this year, which will be held from October 23 to November 1.</div><div>&nbsp;</div><div>The schedule includes a series of seminars about archiving movies, collective funding campaigns, global acting techniques, film industry in the Arab diaspora, in addition to the joint global productions, and marketing of short films.</div><div>&nbsp;</div><div>The session held on 26 October will be on taking Arab films to international levels by studying different methods of acting in Arab cinema and its impact on the internationalization of Arab films.</div><div>&nbsp;</div><div>This session will be followed by a workshop entitled &quot;Preserving the Future&quot; run by representatives of the project &quot;World&#39;s Cinema&quot; for director Martin Scorsese.</div><div>&nbsp;</div><div>&quot;Creating links between local filmmaking talents and industry leaders from around the world is an essential part of our work,&quot; said director of Abu Dhabi Film Festival Ali al-Gabry.</div><div>&nbsp;</div><div>The program &quot;Dialogues in the Cinema&quot; gives art enthusiasts, students and directors a rare opportunity to get in touch with senior directors and actors through a range of issues and topics that cover various aspects of the world of cinema.</div><div>&nbsp;</div><div>These sessions which are open to the public provide behind-the-scenes details and reveal the secrets of the film industry as well as the business side to movie making.</div><div>&nbsp;</div><div>&nbsp;</div><div><em>Edited translation from Al-Masry Al-Youm</em></div> Thu, 16 Oct 2014 15:32:00 +0000 Al-Masry Al-Youm 2438948 at sites/default/files/photo/2014/10/16/484151/film_festival.jpg