The anthropology of cinema has been instrumental in describing the ‘unseen’ labour invested in making films. What has been less explored is film workers’ erasure of each other's concrete effort in a similar manner. This process is what I call ‘reification’. Extending Georg Lukács's reflections, I argue that the relations of production throughout the film-making process seem to be transformed into relations between things (images and sounds) in a recurring pattern. In Egypt, this transformation impacts every juncture in commercial film production, and film workers manage its continuous impact via conventional means of recognition towards their concrete work. The overarching project is to understand, on the one hand, how the serial erasure of concrete work contributes to creating the film as a commodity and, on the other hand, how workers find value in their work under conditions where their effort is consumed by the things that they produce.

中文翻译：

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埃及电影制作中具体工作的具体化

电影人类学在描述电影制作中所投入的“看不见的”劳动方面发挥了重要作用。较少探讨的是电影工作者以类似的方式抹去彼此的具体努力。这个过程就是我所说的“物化”。延伸格奥尔格·卢卡奇的反思，我认为整个电影制作过程中的生产关系似乎以反复出现的模式转化为事物（图像和声音）之间的关系。在埃及，这种转变影响了商业电影制作的每一个环节，电影工作者通过对他们具体工作的传统认可方式来管理其持续影响。总体项目一方面是了解具体作品的连续擦除如何有助于将电影创作为商品，另一方面，