“What does it look like?”: on the use of intermediary images in Egyptian film production
This article examines the use of intermediary images in the process of commercial film production in Egypt. Without being integrally part of the film product, intermediary images play a vital role in mediating interactions in the production process by anchoring the filmmakers’ multiple and sometimes...
| Main Author: | |
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| Format: | Journal article |
| Language: | English |
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Wiley
2016
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| _version_ | 1797095544480333824 |
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| author | El Khachab, C |
| author_facet | El Khachab, C |
| author_sort | El Khachab, C |
| collection | OXFORD |
| description | This article examines the use of intermediary images in the process of commercial film production in Egypt. Without being integrally part of the film product, intermediary images play a vital role in mediating interactions in the production process by anchoring the filmmakers’ multiple and sometimes conflicting representations of “the film” in visual proxies. Focusing on scouting work in two recent Egyptian films, Décor (2014) and Poisonous Roses (in postproduction), I draw attention to the way in which intermediary images allow filmmakers to imagine some aspects of the film‐in‐the‐making while mitigating their mutual misunderstandings. |
| first_indexed | 2024-03-07T04:29:22Z |
| format | Journal article |
| id | oxford-uuid:cdcabb68-6e4e-44d9-bfdc-1cd2ebfebe7f |
| institution | University of Oxford |
| language | English |
| last_indexed | 2024-03-07T04:29:22Z |
| publishDate | 2016 |
| publisher | Wiley |
| record_format | dspace |
| spelling | oxford-uuid:cdcabb68-6e4e-44d9-bfdc-1cd2ebfebe7f2022-03-27T07:31:07Z“What does it look like?”: on the use of intermediary images in Egyptian film productionJournal articlehttp://purl.org/coar/resource_type/c_dcae04bcuuid:cdcabb68-6e4e-44d9-bfdc-1cd2ebfebe7fEnglishSymplectic ElementsWiley2016El Khachab, CThis article examines the use of intermediary images in the process of commercial film production in Egypt. Without being integrally part of the film product, intermediary images play a vital role in mediating interactions in the production process by anchoring the filmmakers’ multiple and sometimes conflicting representations of “the film” in visual proxies. Focusing on scouting work in two recent Egyptian films, Décor (2014) and Poisonous Roses (in postproduction), I draw attention to the way in which intermediary images allow filmmakers to imagine some aspects of the film‐in‐the‐making while mitigating their mutual misunderstandings. |
| spellingShingle | El Khachab, C “What does it look like?”: on the use of intermediary images in Egyptian film production |
| title | “What does it look like?”: on the use of intermediary images in Egyptian film production |
| title_full | “What does it look like?”: on the use of intermediary images in Egyptian film production |
| title_fullStr | “What does it look like?”: on the use of intermediary images in Egyptian film production |
| title_full_unstemmed | “What does it look like?”: on the use of intermediary images in Egyptian film production |
| title_short | “What does it look like?”: on the use of intermediary images in Egyptian film production |
| title_sort | what does it look like on the use of intermediary images in egyptian film production |
| work_keys_str_mv | AT elkhachabc whatdoesitlooklikeontheuseofintermediaryimagesinegyptianfilmproduction |