Syria is now one of the most important countries in the world for the documentary film industry. Since the 1970s, Syrian cinema masters played a defining role in avant-garde filmmaking and political dissent against authoritarianism. After the outbreak of violence in 2011, an estimated 500,000 video clips were uploaded making it one of the first YouTubed revolutions in history. This book is the first history of documentary filmmaking in Syria. Based on extensive media ethnography and in-depth interviews with Syrian filmmakers in exile, the book offers an archival analysis of the documentary work by masters of Syrian cinema, such as Nabil Maleh, Ossama Mohammed, Mohammed Malas, Hala Al Abdallah, Hanna Ward, Ali Atassi and Omar Amiralay. Joshka Wessels traces how the works of these filmmakers became iconic for a new generation of filmmakers at the beginning of the 21st century and maps the radical change in the documentary landscape after the revolution of 2011. Special attention is paid to the late Syrian filmmaker and pro-democracy activist, Bassel Shehadeh, and the video-resistance from Aleppo and Raqqa against the regime of President Bashar al-Assad and the Islamic State. An essential resource for scholars of Syrian Studies, this book will also be highly relevant to the fields of media & conflict research, anthropology and political science.

Syria has been the country of origin of the largest number of asylum seekers in the EU every year since 2013. Given the long-standing existence of stateless communities in Syria, it is evident that there are stateless refugees among those displaced by the con ict and ending up in Europe. Against this background, this report explores the treatment of stateless refugees from Syria within the European asylum system, outlining the particular challenges they face and discussing related law and policy gaps. Building on existing research about the situation of stateless refugees and those at risk of statelessness in the neighbouring Middle Eastern countries, this study focuses on the ‘Greece corridor’ - the most common route for Syrians coming to Europe - as a framework through which to analyse the experiences of stateless Syrians in the EU. Within this ‘corridor’, the research focuses on two countries – Greece and the Netherlands – where in-depth interviews were conducted with stateless Palestinians and stateless Kurds from Syria who have arrived in Europe within the recent migration ow. eir testimonies help us to better understand the implications of the approach of relevant stakeholders, policies and procedures to the treatment of stateless refugees from Syria.

Historical Dictionary of the Syrian Uprising and Civil War introduces readers to the events and main players that shaped the conflict in Syria since 15 March 2011, as the country entered a new era in its modern history. The “Syrian Revolution,” was part of the Arab Spring that was launched in Tunisia, Egypt, and other countries in the Middle East in late 2010. The Syrian situation turned into a winter, which merits such an all-encompassing book that reveals the complex dynamics of the Syrian civil war. Many of the key players, places, and unfolding events were making headlines for a short period before vanishing from memory, but this book records their emergence and influence. The book traces the political opposition, initially in the form of street-level unrest, targeting the rule of the al-Asad family that ruled for over five decades. The book provides a picture of the fighting groups and their varying agendas, including the Islamic State in Iraq and Syria (ISIS) and other extremist groups. It depicts a picture of a country whose civil war caused one of the biggest crises in the 21st century. It contains a chronology, an introduction, and an extensive bibliography. The dictionary section has more than 200 cross-referenced entries on the major events, places, and actors in the Syrian war. This book is an excellent resource for students, researchers, and anyone wanting to know more about the Syrian uprising.

Based on primary sources as well as personal contacts and interviews, this timely book examines the origin, evolution, and the role of the Communist party in Egypt. The picture painted of Egyptian domestic politics, especially of the differences among communist leaders, is a detailed one. The authors examine the developments of communism in Egypt as a dynamic response to a corrupt political system and to deplorable economic and social conditions that beset most Egyptians. The authors stress that the rise of Egyptian communism, although strongly supported by the Soviet government, actually evolved because of these internal problems, which Egyptian communists continue to focus on. The authors shed light on the relevance of communist theory in addressing these conditions. Because, in their opinion, official government documents are factually questionable and purport the official Soviet party line, the authors chose to base their research on other sources, such as interviews with local communists and the records of the Egyptian Communist party. Thus they provide a unique treatment of the subject at hand. They also discuss Soviet policy toward Egypt and the role played by the Soviet Union in the sponsorship of Egyptian communism and the principal Egyptian personalities and organizations involved in the evolution of the Egyptian communist party. This book should be of interest to scholars, students, and researchers of Middle East politics, communist movements, and the ideologies of developing nations.

Legal precarity, mobility, and the criminalization of migrants complicate the study of forced migration and exile. Traditional methodologies can obscure both the agency of displaced people and hierarchies of power between researchers and research participants. This project critically assesses the ways in which knowledge is co-created and reproduced through narratives in spaces of displacement, advancing a creative, collective, and interdisciplinary approach. Documenting Displacement explores the ethics and methods of research in diverse forced migration contexts and proposes new ways of thinking about and documenting displacement. Each chapter delves into specific ethical and methodological challenges, with particular attention to unequal power relations in the co-creation of knowledge, questions about representation and ownership, and the adaptation of methodological approaches to contexts of mobility. Contributors reflect honestly on what has worked and what has not, providing useful points of discussion for future research by both established and emerging researchers. Innovative in its use of arts-based methods, Documenting Displacement invites researchers to explore new avenues guided not only by the procedural ethics imposed by academic institutions, but also by a relational ethics that more fully considers the position of the researcher and the interests of those who have been displaced.

Highlights the agency of UN mediators in conflicts like Syria and clarifies the challenges and responsibilities of their roles.

In recent years, the Arab world and Iran have been afflicted by cataclysmic events, among them brutal state crackdowns of revolutions. Yet, filmmakers have persisted in their desire to tell their stories, against the odds, in creative acts that attest to their imagination, courage and resilience. In this book, Shohini Chaudhuri examines a broad range of films made during the tumultuous period since 2009, ranging from internationally award-winning festival favourites, such as For Sama (2019), Capernaum (2018) and Taxi Tehran (2015), to lesser-known films from the region. While freedom of expression is often understood through the lens of state censorship, she reveals the different types of obstacles that filmmakers face and their strategies for overcoming them so that those constraints are transformed into creative opportunities. Using her original interviews with filmmakers such as Waad al-Kateab, Yasmin Fedda, Larissa Sansour, Mani Haghighi and Ossama Mohammed, she identifies nine creative strategies for producing work under conditions of crisis. Chaudhuri argues that creativity is indelibly shaped by constraints, whether these are externally imposed by existing materials, funding and socio-political conditions, or self-imposed constraints, through choices of genre or acceptance of rules and responsibilities.She shows that the range of creative strategies emanating from the region is much wider than allegory and becoming ever more direct. She thus opens up new lines of inquiry into cinematic creativity in sites of conflict and crisis in the Middle East and beyond.