The anonymous Syrian film collective Abounaddara has posted a new short video on Vimeo and distributed it via social media every Friday since April 2011, the beginning of the Syrian popular uprising. Working with limited equipment, no regular funding, and under very dangerous conditions, Abounaddara has termed its work ‘emergency cinema’, recalling one of the group’s vital influences, Walter Benjamin, who envisioned artistic collectives as potentially effective responses to political violence. This article demonstrates how Abounaddara’s work subverts international and national media coverage of the Syrian conflict by consciously employing what Benjamin described as an artisanal form of storytelling. The author illustrates how and why Abounaddara’s concept of ‘the right to the image’ is politically vital and ethically complex, arguing for its relevance within the broader context of global digital images of state and police violence rousing debates about representation, media ethics, and the circulation of graphic images.

中文翻译：

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Abounaddara 和“图像权”的全球视觉政治

自 2011 年 4 月叙利亚民众起义开始以来，匿名的叙利亚电影团体 Abounaddara 在 Vimeo 上发布了一个新的短片，并在每周五通过社交媒体分发。Abounaddara 使用有限的设备、没有定期资金和在非常危险的条件下工作，将其工作称为“紧急电影”，回顾了该组织的重要影响之一，沃尔特·本杰明，他设想艺术团体是对政治暴力的潜在有效回应。本文展示了阿布纳达拉 (Abounaddara) 的作品如何通过有意识地采用本杰明 (Benjamin) 所说的手工叙事形式，颠覆了国际和国内媒体对叙利亚冲突的报道。作者阐述了阿布纳达拉的“形象权”概念如何以及为何在政治上至关重要且在伦理上是复杂的，