Palestinian Films (Finalised)

The second project  is related to the book Dreams of A cinema by Hamid Dabashi. In on of the articles written by Annemarie Jacir, it talks about the difficulty of distributing and creating Palestinian films. Due to the occupied nature of Palestine there are policies that determine the narratives that can be distributed and the funding for the creation of the films.

The Data I collected in regards to the book is simplified into the relationship between the director and the film. I created a table set that has data of the:

-The film.

-the year released.

-the directors nationality.

-the directors current residence.

-the films location.

The table set has been created with a purpose of creating relationships between film and creator in terms of location.

For this data I also included the “coordinates” of a nationality which is interesting as nationality is a concept of identity in relation to location. However the location is not a conclusive data where parameters can start and end as it also been subject of wars. Anyway this is my tableset:

palestinian films 1 – local 2

The result was a network that indicated the relationship of input to these films and the effect of migration the films. The yellow represents the film locations while the pink is the locations of the directors current residence. The blue are the Nationalities location which is not as diverse or apparent due to the accumulation of the film locations recognized as yellow spots .

I was able to attain a network that is a bit more clearer. With the lighter shaded colors representing the residence of the director and the darker shades presenting the film locations. The location that indicate a simple network between two spaces are the relationship of one film director residence and the film location. The most congested relation indicates several films that have similar networks. Tel-Aviv and New York being the most congested indicate several directors residing there. ¬†However in the network appears my mistake as one of the film locations have been simplified as “Palestine” and “Israel” instead of a specific city or area.

My initial goal of this project to provide data that can be interpreted in various form like migrations, public policy and filmmaking or the Palestinian diaspora and redistribution of film content. However I found it difficult to analyze the data myself as for some films did not have all the information I required.

I redid the same project but with node goat in hopes I would have a more detailed result. However the way I formatted the project could not provide me with any networks result. Instead having directors as the type,I chose films. For each film, I inserted the sub-objects that is completely linked to locations.

Location of the film, Location of the director and the country that the directors nationality belongs to. Through that I managed to create a more detailed map,however places that are given as west bank in the data could not be listed because the are was not recognised by node-goat.For west bank I chose to list it as Gaza instead as it relates to the Palestinian territory. However this choice of replacing it with a different space indicates the mis-representation of information for the sake of visualisation.

The first image indicates a zoomed image of the space indicates that it ism mostly blue which represents the film location. In comparison to the red and pink which indicates the directors nationalities and residence. My goal was to visualise the Diaspora nature of the film makers due to the policies of the space and the nature of their work. My project aims to question the reason for the diaspora as whether it was an affect of the film. Another question would be how the films are distributed and released. Is there a way to track the movement of the films itself in terms of distribution and censorship.

My project was really a failure as I chose the wrong information to visualise. Instead of looking at the distribution nature of the film and the source of funding I looked at the directors exact location. It did show the diaspora but does not give any more information than that.

Moreover I wonder if there is an element of violating private information even though they were found public. The nature of their movements could be private and have unique factors that cannot be generalised according to film and public policies.

The author that is I who tries to visualise networks and locations seemed to have thought more about the visualisation. I assumed that the presentation would give me an analysis and questions instead of carefully looking at the data and checking the compatibility of the visualisation with the information.

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