{"title":"消失的档案","authors":"Yasmin Desouki","doi":"10.1525/fmh.2022.8.2.70","DOIUrl":null,"url":null,"abstract":"Documentarian and writer Atteyat al-Abnoudy was a fierce proponent of Egypt’s working class and marginalized communities. She carved indelible, haunting images onto the national psyche through her work, which is more prescient than ever. This essay explores the ways in which it is possible to understand and interpret Al Abnoudy’s work processes and filmic legacy within the context of Egypt’s lack of archival practices. The larger context of Egyptian documentary filmmaking and the impact of post-colonial practices on the arts and culture sphere also inform the article.","PeriodicalId":36892,"journal":{"name":"Feminist Media Histories","volume":"1 1","pages":""},"PeriodicalIF":0.7000,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"The Vanishing Archive\",\"authors\":\"Yasmin Desouki\",\"doi\":\"10.1525/fmh.2022.8.2.70\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Documentarian and writer Atteyat al-Abnoudy was a fierce proponent of Egypt’s working class and marginalized communities. She carved indelible, haunting images onto the national psyche through her work, which is more prescient than ever. This essay explores the ways in which it is possible to understand and interpret Al Abnoudy’s work processes and filmic legacy within the context of Egypt’s lack of archival practices. The larger context of Egyptian documentary filmmaking and the impact of post-colonial practices on the arts and culture sphere also inform the article.\",\"PeriodicalId\":36892,\"journal\":{\"name\":\"Feminist Media Histories\",\"volume\":\"1 1\",\"pages\":\"\"},\"PeriodicalIF\":0.7000,\"publicationDate\":\"2022-01-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Feminist Media Histories\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1525/fmh.2022.8.2.70\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"Q3\",\"JCRName\":\"COMMUNICATION\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Feminist Media Histories","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1525/fmh.2022.8.2.70","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q3","JCRName":"COMMUNICATION","Score":null,"Total":0}
Documentarian and writer Atteyat al-Abnoudy was a fierce proponent of Egypt’s working class and marginalized communities. She carved indelible, haunting images onto the national psyche through her work, which is more prescient than ever. This essay explores the ways in which it is possible to understand and interpret Al Abnoudy’s work processes and filmic legacy within the context of Egypt’s lack of archival practices. The larger context of Egyptian documentary filmmaking and the impact of post-colonial practices on the arts and culture sphere also inform the article.
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