This article discusses examples of transgressive artistic production in Syria with a focus on moving images. During the 2000s, a young generation of artists began to experiment with digital video and rethink the role of the artist in society. They sought to develop new aesthetic languages and modes of representation. By examining this production in relation to critical and committed works by earlier generations of artists and filmmakers in Syria, I discuss the possibilities and limits of critical art production in the context of the authoritarian Syrian state.



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