BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//Center for International and Regional Studies - ECPv6.15.15//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
X-ORIGINAL-URL:https://cirs.qatar.georgetown.edu
X-WR-CALDESC:Events for Center for International and Regional Studies
REFRESH-INTERVAL;VALUE=DURATION:PT1H
X-Robots-Tag:noindex
X-PUBLISHED-TTL:PT1H
BEGIN:VTIMEZONE
TZID:Asia/Qatar
BEGIN:STANDARD
TZOFFSETFROM:+0300
TZOFFSETTO:+0300
TZNAME:+03
DTSTART:20240101T000000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;TZID=Asia/Qatar:20251021T180000
DTEND;TZID=Asia/Qatar:20251021T190000
DTSTAMP:20260418T072759
CREATED:20251009T093108Z
LAST-MODIFIED:20251103T063749Z
UID:10001586-1761069600-1761073200@cirs.qatar.georgetown.edu
SUMMARY:Book Talk: Remittance as Belonging
DESCRIPTION:The Center for International and Regional Studies (CIRS) hosted a thought-provoking book talk with Professor Hasan Mahmud\, author of Remittance as Belonging: Global Migration\, Transnationalism\, and the Quest for Home (Rutgers University Press). Moderated by Zahra Babar and Professor Amanda Garrett\, the conversation delved into the moral\, social\, and emotional dimensions of remittances\, reimagining them as acts of care\, obligation\, and identity that link migrants to their homes across borders. Drawing from ethnographic research with Bangladeshi migrants in Los Angeles and Tokyo\, Professor Mahmud explored how remittance practices challenge conventional understandings of integration\, citizenship\, and belonging\, revealing the deeply human stories behind economic exchange and migration. \n\n\n\n\n\nOpening remarks introduced the book’s core proposition: remittances are not simply economic transfers. Rather\, they are social acts grounded in obligation\, care\, and identity. The event also formed part of a broader CIRS research initiative on migration from the Global South. Drawing on three and a half years of ethnographic fieldwork with Bangladeshi migrants in Los Angeles and Tokyo\, Professor Mahmud advanced a multidimensional conception of “home” as locational\, relational\, and aspirational. He showed how migrants enacted belonging across borders through financial support\, investments\, and gifts\, and he challenged economic models that reduced remittances to altruism versus self interest. Instead\, he located remitting in enduring social relationships and cultural expectations that shaped who sent money\, to whom\, and why. \n\nProfessor Mahmud contrasted incorporation contexts. In Japan\, restrictive legal pathways and persistent social exclusion encouraged migrants to imagine their stays as temporary; remittances there tended to be frequent and oriented toward return\, including investments in land and housing. In the United States\, even with opportunities for settlement\, citizenship\, and family reunification\, migrants continued to remit\, although motives shifted over time: early transfers sustained relatives\, later transfers helped restore status through property investments\, and established professionals often turned to philanthropic giving in home communities. Across both sites\, Bangladesh remained an anchor of belonging. \n\nAudience questions highlighted the emotional labor that underwrote remittances on both sides of the border\, including gendered obligations and intra family negotiations. Participants also raised the phenomenon of reverse remittances\, when families in Bangladesh temporarily supported migrants during periods of precarity abroad. These dynamics complicated policy narratives that instrumentalized remittances as development finance and underscored the limitations of treating money in motion as a simple economic variable. \n\nArticle by Maryam Daud\, Administrative Assistant at CIRS. \n\nSpeakers:\n\n\nHasan Mahmud is assistant professor in residence at Northwestern University in Qatar. He has a PhD in sociology from the University of California Los Angeles\, an MA in global studies from Sophia University in Tokyo\, and an MSS and a BSS in sociology from the University of Dhaka in Bangladesh. He was a visiting faculty member in the Department of Sociology at Ball State University prior to coming to NU-Q. His teaching and research interests include sociological theories\, globalization\, international migration and development\, identity politics\, and global ethnography. His research has appeared in such publications as Current Sociology\, Migration & Development\, Contemporary Justice Review\, and Journal of Socio-economic Research and Development. \n\n\n\nAmanda Garrett is Assistant Professor of Comparative and International Politics at Georgetown University in Qatar. Her research focuses on migration and ethnic diversity in advanced democracies\, including immigration and integration\, ethnic violence\, minority political incorporation\, and Islam in Western societies. Her current book project\, developed from her Harvard PhD dissertation When Cities Fight Back\, examines when religious or ethnic minorities use violence as political expression in France\, the United Kingdom\, the Netherlands\, and the United States. She has held appointments at Harvard University\, New York University\, Sciences Po\, and the German Bundestag\, and received the 2014 APSA Ernst B. Haas Best Dissertation Award. \n\n\n\nZahra Babar is the Executive Director at CIRS at Georgetown University in Qatar. Previously\, she has served with the International Labor Organization and the United Nations Development Program. Her current research interests include rural development\, migration and labor policies\, and citizenship in the Persian Gulf states.
URL:https://cirs.qatar.georgetown.edu/event/book-talk-remittance-as-belonging/
CATEGORIES:Dialogue Series
ATTACH;FMTTYPE=image/jpeg:https://cirs.qatar.georgetown.edu/wp-content/uploads/sites/3/2025/10/CIRS_Book-Talk_Hasan_Mahmud_Venu-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Qatar:20251027T130000
DTEND;TZID=Asia/Qatar:20251027T140000
DTSTAMP:20260418T072759
CREATED:20251109T122341Z
LAST-MODIFIED:20251120T125513Z
UID:10001589-1761570000-1761573600@cirs.qatar.georgetown.edu
SUMMARY:CURA Research Presentations
DESCRIPTION:“The Anticipation Gap: South Asian Students in Georgia and the Intersecting Burdens of Discrimination and Aspiration” and “Echoes of Martial Law: Memory\, Politics\, and the Marcos Restoration in the Philippines” \n\nOn October 27\, 2025\, two student researchers who received Georgetown University in Qatar research grants presented their research findings and methodologies as part of CURA Research Presentation series.  \n\nHaala Qamar\, a senior majoring in International Economics with a minor in Arabic and a Student Research Assistant at CIRS\, presented her research titled The Anticipation Gap: South Asian Students in Georgia & the Intersecting Burdens of Discrimination & Aspiration. Haala examined how South Asian international students in Georgia balanced high educational aspirations with perceived and experienced discrimination. Using a mixed method design\, she discussed how anticipation of bias informed academic choices\, employment expectations\, and coping strategies. She highlighted both emotional and structural dimensions of the anticipation gap and showed how discrimination\, whether real or expected\, intersected with ambition\, identity\, and belonging. \n\nJazmaine Simbulan\, an International Politics major with an independent minor in Environmental Humanities and a Research Assistant for both CIRS and the Energy Humanities Department\, presented her research titled Echoes of Martial Law: Memory\, Politics\, and the Marcos Restoration in the Philippines. Simbulan investigated narratives that invoked memory of the Martial Law period and the Marcos regime and explained how those narratives enabled political legitimacy and the subsequent restoration of the Marcos family in government. She situated contemporary discourse within practices of remembrance and forgetting and analyzed how memory shaped national narratives and political outcomes. Through observational analysis Jazmaine noted how museums in Ilocos Norte and Manilla have been sites of sites of political power and historical revisionism. She also reflected on the methodological challenges of working with politicized memory and fragmented archives in the context of state surveillance and authoritarian control in the Philippines.  \n\nThe session concluded with questions from students\, faculty\, and staff that focused on research design\, ethical considerations\, and future directions. \n\nArticle by Maryam Daud\, CIRS Admin Assistant
URL:https://cirs.qatar.georgetown.edu/event/cura-research-presentation-the-anticipation-gap-south-asian-students-in-georgia-and-the-intersecting-burdens-of-discrimination-and-aspiration/
CATEGORIES:Student Engagement
ATTACH;FMTTYPE=image/jpeg:https://cirs.qatar.georgetown.edu/wp-content/uploads/sites/3/2025/11/cura-research-2-1-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Qatar:20251030T080000
DTEND;TZID=Asia/Qatar:20251101T170000
DTSTAMP:20260418T072759
CREATED:20251124T064414Z
LAST-MODIFIED:20260114T085115Z
UID:10001591-1761811200-1762016400@cirs.qatar.georgetown.edu
SUMMARY:Sudan in the Picture: Research on Sudanese Cinema Workshop I
DESCRIPTION:From October 30 to November 1\, 2025\, the Center for International and Regional Studies (CIRS) at Georgetown University in Qatar (GUQ) hosted a workshop under its research initiative\, Sudan in the Picture: Research on Sudanese Cinema. The gathering brought together a diverse group of scholars\, academics\, artists\, filmmakers\, and practitioners from across the globe to deliberate on the historical trajectory of Sudanese cinema\, as well as emerging cinematic trends amidst the ongoing conflict. \n\nThe workshop commenced with a discussion led by Khalid Ali\, titled “The Wedding of Zein: A Case Study for Remembering the Past\, Informing the Present\, and Shaping the Future of Sudanese Cinema.” He explored the collaborative effort between Sudanese author Tayeb Salih and Kuwaiti filmmaker Khalid Al Siddiq in adapting “The Wedding of Zein” into a 1976 film. He underscored this as a groundbreaking Arab-African artistic partnership\, fusing literature and cinema to portray Sudan’s multi-ethnic cultural heritage. The film centers on Zein’s wedding as a micro-narrative reflecting Sudanese village life\, illustrating the transformations and complexities following Sudan’s 1956 independence\, and engaging with themes such as postcolonial evolution\, feminism\, religion\, and cultural diversity. Despite its critical acclaim and international recognition\, the film’s external directorship sparked debates regarding cultural authenticity; nevertheless\, it remains significant for its role in globally promoting Sudanese culture. His paper aims to connect this film to contemporary Sudanese cinematic works\, emphasizing ongoing efforts to restore and analyze its legacy\, and advocating for cinema as a catalyst for cultural dialogue and peaceful coexistence in modern Sudan. \n\nSamar Abdelrahman then presented “Repairing the Audiovisual Archive: Hussein Shariffe\,” which is rooted in a multidisciplinary project. This initiative focuses on developing practice-based approaches to African audiovisual heritage restitution through transnational collaborations among partners from Sudan\, Egypt\, Germany\, and the UK. She highlighted the severe threats confronting Africa’s cinematic heritage due to historical\, political\, and infrastructural challenges\, particularly in Sudan. She posited a redefinition of restitution as “archival repair\,” characterizing it as a participatory\, justice-oriented process that prioritizes preservation\, creative access\, and the empowerment of affected communities over the mere repatriation of physical artifacts. Utilizing the Hussein Shariffe archive as a central case study\, her work seeks to demonstrate how archival survival is intricately linked to issues of displacement\, diasporic memory\, and intergenerational cultural transmission. The project challenges conventional models of restitution\, instead advocating for innovative forms of access\, engagement\, and collaboration that address current crises while fostering opportunities for Sudanese cinema’s creative future and intergenerational dialogue. \n\nFollowing this\, Abdelrahman Elbashir presented “Sudanese Cinema: A Retrospective Archaeology\,” which investigates Sudanese cinema as a crucial cultural and urban phenomenon that shaped social life and collective identity throughout the 20th century. He emphasized cinema theaters as distinctive architectural forms and civic spaces\, integral to Sudan’s urban fabric and modernist aspirations\, particularly through open-air\, climate-adapted designs. His work documents the decline of this cinematic culture due to political instability\, censorship\, and neglect\, leaving behind deteriorating theaters and fragmented archives that serve as potent cultural artifacts. Methodologically framed as retrospective archaeology\, the paper incorporates photographic surveys\, spatial analyses\, and a 3D digital reconstruction of a pivotal theater to reinterpret these remnants. He underscored the imperative for preserving and critically analyzing cinema heritage within Sudan’s broader cultural history and urbanism\, also stressing the leveraging of this heritage in post-conflict urban restoration\, fostering interdisciplinary dialogue on cinema as urban infrastructure\, architecture as cultural memory\, and the potential role of cultural preservation in rebuilding Sudanese society. \n\nFrédérique Cifuentes presented “Cinema in Sudan and Its Legacy\,” a multimedia project exploring Sudan’s cinematic history through outdoor cinema houses\, pioneering filmmakers like Gadalla Gubara\, and the Sudanese Film Group. Her work\, originating from photographic research of Khartoum’s cinema architecture\, aims to preserve this distinctive cultural heritage. The presentation delved into the colonial origins of photography and cinema in Sudan\, highlighting their role in documenting and shaping national identity\, and underscoring the fragility of these historical archives. She detailed Gubara’s impactful career\, from photographer to a pivotal figure in Sudanese cinema\, whose work transitioned from government roles to independent productions. \n\nHatim Eujayl then discussed “The Mother\, The Farmer\, and the Sheikh: Cinematic Portrayals of Rural Central Sudan\,” which analyzes how four films—The Tomb (1977)\, You Will Die at Twenty (2019)\, Al-Sit (2020)\, and Cotton Queen (2025)—depict life in agricultural villages along the Blue Nile. The paper aims to explore how these films utilize cinematic techniques to construct ideas of regional and national identity through portrayals of gender\, religion\, economy\, and tradition. Eujayl argued that rural central Sudan is frequently presented as the archetype of Sudanese authenticity\, simultaneously idyllic and patriarchal\, where young protagonists challenge entrenched social norms. By examining production contexts\, filmmaker perspectives\, and ideological messaging\, he seeks to uncover how depictions of this region reflect broader political and cultural narratives. Ultimately\, the work aims to establish a framework for analyzing regional representation in Sudanese cinema\, advancing understanding beyond national generalizations toward nuanced regional study. \n\nDanya Elmalik explored “Sudanese Cinema and the Archive of Tomorrow\,” which investigated the fragile relationship between Sudanese cinema and archival preservation\, focusing on the erasure\, loss\, and revival of Sudan’s film heritage. Utilizing Suhaib Gasmelbari’s Talking About Trees (2019) and Sudan’s Forgotten Films (2017) as case studies\, the paper aims to examine how films themselves become archives in the absence of formal preservation systems. Drawing on theories such as Schwartz and Cook’s concept of “archives and power” and Marie-Aude Fouéré’s idea of “film as archive\,” she contended that Sudanese films now function as cultural records and memory keepers amidst political and economic instability. The paper will highlight the importance of access and digitization\, referencing Caroline Frick’s notion of “access as preservation\,” to counteract the marginalization of Sudanese history. Ultimately\, she frames this work as part of a broader endeavor to safeguard and reimagine Sudan’s cinematic and cultural memory—the “archive of tomorrow.” \n\nUmloda Ibrahim’s presentation\, “Return of Sudanese Cinema and its Aesthetics of Resistance\,” traced the historical evolution and political dimensions of Sudanese filmmaking\, from its colonial introduction to its post-independence growth\, decline\, and present-day revival. She elucidated how contemporary Sudanese and diasporic filmmakers express resistance and identity through cinema. Analyzing Our Beloved Sudan (2012)\, Al-Sit (2020)\, and You Will Die at Twenty (2019)\, she argued that diasporic filmmakers employ the concept of “homeplace” as a radical political space\, shaped by displacement\, exile\, and hybrid identity. Drawing on Hamid Naficy’s theory of “accented cinema” and bell hooks’ idea of the home as a site of resistance\, the paper aims to explore how gender\, colonialism\, and cultural memory intersect within Sudanese cinematic narratives. \n\nMamoun Eltlib subsequently traced the rise and decline of Sudanese cinema with his presentation\, “Sudanese Cinema: Intersections of Politics and the Dream of the City.” Using personal interviews and historical research\, he explained how political events such as socialist-nationalist shifts\, Sharia law enforcement\, and suppression under the National Islamic Front\, profoundly shaped film culture and institutions in Sudan. His work will illustrate the distinct histories of El-Obeid and Atbara\, highlighting the cultural vibrancy and civic role of their cinemas before state interventions and censorship began eroding the industry in the 1970s. Interviewees identified the nationalization of film distribution as the onset of cinema’s collapse\, exacerbated by a lack of institutional support and creative freedom. The enduring appeal of Indian popular films offered solace to marginalized groups as local production diminished. The paper will consider how the Sudanese “Dream of the City”—reflected in the symbolic place of cinema—can only be fully realized in a true democracy and remains central to Sudan’s collective aspirations for cultural renewal. \n\nIn a subsequent session\, Raga Makawi and Abubakr Omer analyzed Sudanese image-making in film with their presentation\, “Literal Death or Symbolism\, the Liberalization of Political Meaning-Making in Sudanese Films.” They highlighted the historically obscure and politically charged nature of Sudanese cinema\, examining the sociopolitical context of the 1970s when cultural productivity was dominated by poetry and music\, with film largely absent as a medium for reflecting Sudanese history and future. Since the political opening following the 2005 Peace Agreement\, Sudanese filmmaking has expanded\, particularly in Khartoum\, primarily fueled by donor-funded projects aligned with liberal narratives focusing on conflict and resistance. Using the 2019 film You Will Die at 20 as a case study\, they scrutinized the tension between local meaning-making and international reception\, suggesting that Sudanese filmmakers adapt narratives to conform to dominant global liberal discourses\, often resulting in simplified or orientalized interpretations. The paper proposes the development of oral mapping tools to recover richer local epistemologies in Sudanese cinema\, aiming to balance external influences with authentic cultural expression and political storytelling. The research is scheduled to proceed through workshops\, literature reviews\, and data collection through early 2026. \n\nRoman Deckert investigated Sudanese cinema from the perspective of German-language sources with “Sudanese Cinema Behind the German Language Barrier\,” which highlighted Germany’s historically significant yet often overlooked role in Sudanese cultural relations. His work aims to overcome the “German language barrier” by systematically researching archival materials in Germany\, Austria\, and Switzerland pertaining to Sudanese cinema\, including Cold War-era cultural exchanges between the Federal Republic of Germany (FRG) and the German Democratic Republic (GDR) that involved Sudan. Key foci include the biography of Mahjub bin Adam Mohamed\, an early Sudanese actor in German films\, and the influence of controversial figures such as Leni Riefenstahl on Sudanese film. The paper will also explore German contributions\, such as the establishment of television in Sudan and film education. Additionally\, it will review private archives and rarely seen film footage\, revealing complex layers of Sudanese cinematic history connected to German-speaking countries. \n\nSarra Idris’s presentation\, “Double Vision: From Imperial Gaze to Intimate Knowing in Sudanese Cinema\,” explored how Sudan’s cinematic representation has evolved from colonial distortion to self-authored storytelling. She traced early depictions\, such as Khartoum (1966)\, which glorified British imperialism while dehumanizing Sudanese characters through caricature and erasure. Even later humanitarian films like The Good Lie (2014) perpetuated the “white savior” trope\, centering Western emotional narratives. In contrast\, contemporary Sudanese filmmakers reclaim their image\, crafting works rooted in memory\, resistance\, and authenticity despite censorship and resource constraints. Framed through W.E.B. Du Bois’s concept of “double consciousness\,” she introduced “double vision”—the tension between Western portrayals and her own lived knowledge as a Sudanese raised partly in the West. Her paper aims to bridge academic analysis and personal reflection\, interrogating how film shapes cultural self-perception and exploring cinema as both a site of historical trauma and reclamation. \n\nRoopa Gogineni’s session\, “Politics of Collective Filmmaking and Distribution in Sudan\,” explored how Sudanese filmmakers utilize collective labor and mutual aid (nafeer) to produce and distribute films amidst censorship\, displacement\, and war. Drawing on her experience as a documentary filmmaker and coordinator of a mobile cinema network\, she employed practice-based research combining oral histories\, film analysis\, and field observation. She highlighted grassroots initiatives\, such as the Kiryandongo Refugee Settlement’s mobile cinema club\, which screens films for large refugee audiences and fosters collaborative production. These community-driven practices transform filmmaking into a political and pedagogical act\, creating shared spaces for dialogue and cultural resistance. By comparing Sudanese collectives with similar movements in Nigeria\, Syria\, Brazil\, and India\, she situated them within global traditions of Third Cinema and activist filmmaking. Her work aims to reframe cinema as a collective infrastructure for social movements\, emphasizing collaboration\, mobility\, and cultural self-determination beyond state and market control. \n\nIn the subsequent session\, Leena Habiballa discussed “Gendered Representations in Sudanese Cinema\,” examining how portrayals of gender and the subaltern in Sudanese films from the 1970s to the present mirror the nation’s shifting social and political realities. Early cinema\, exemplified by Gadalla Gubara’s Tajouje (1977)\, reinforced patriarchal ideals of stoic masculinity. In contrast\, recent films such as You Will Die at Twenty (2019) and Goodbye Julia (2023) challenge these norms by presenting emotionally complex male characters grappling with social change and instability. The rise of women filmmakers\, notably Marwa Zein with Khartoum Offside (2019)\, has further transformed representation\, foregrounding agency\, solidarity\, and resistance by subaltern groups against patriarchal and state oppression. She argued that these evolving depictions signify a critical reimagining of gender and the subaltern in Sudanese cinema\, where the voices of these groups increasingly shape national narratives and redefine cultural understandings of identity\, power\, and belonging. \n\nNext\, Taghreed Elsanhouri presented “Our Beloved Sudan: Reflexive Ethnographic Enquiry on the Filming of Sudan’s Partition.” She addressed her ethnographically inspired approach to documenting Sudan’s partition through her film Our Beloved Sudan. The project explores how the 2011 South Sudanese self-determination referendum redefined conceptualizations of Sudan as a nation\, intertwining public and private narratives by engaging political figures and an ordinary mixed-race family experiencing national division. She emphasized a dialogic process\, treating filmic inquiry as an ethnographic encounter\, examining how Sudanese people articulate nationhood\, memory\, and identity at a historical crossroads. Drawing on theoretical frameworks from Edward Said and Bakhtin\, she investigated how different voices\, both dominant and marginalized\, participate in constructing or challenging national identity\, emphasizing situated\, often contradictory\, perspectives. \n\nMohanad Hashim explored the historical and contemporary challenges facing Sudanese cinema with his presentation\, “The Quest for a Sudanese Cinema.” He highlighted the scarcity of archives and resources\, exacerbated by the impact of the 2023 war. Historically\, Sudanese cinema experienced brief state support in the 1970s and a recent resurgence led by young diaspora and local artists. Early film culture\, dating back to 1911 with screenings in El-Obied and flourishing in Khartoum and Omdurman by the 1940s\, featured cinema as both entertainment and a political instrument\, notably during World War II when colonial authorities used film for mobilization. He stressed the dearth of research on Sudanese audiences\, their viewing habits\, taste formation\, and socio-political influences. He proposes to investigate cinema appreciation and consumption through archival newspapers\, magazines\, and other sources\, aiming to understand how Sudanese cinephiles navigated scarcity\, class divides\, urban politics\, and national identity formation amidst structural challenges to the cinema industry. \n\nRazan Idris presented “Sudanese Filmmakers and Egyptian Audiences: From Decolonization to Displacement\,” which examined the often-overlooked history of Sudanese filmmakers working in Egypt throughout the 20th century and their representation of Sudanese identities to Egyptian audiences. She revealed that the well-known Sudanese filmmaker Saeed Hamed directed the 1998 Egyptian film An Upper Egyptian in the American University\, which contains anti-Black stereotypes criticized across the Arab world. Her work seeks to uncover how Sudanese filmmakers\, many of whom studied or lived in Egypt\, have navigated racial\, cultural\, and political dynamics in their films\, both during Sudan’s national struggles and periods of exile. The paper will highlight Sudanese cinema’s diasporic nature\, where displaced filmmakers produce work in Egypt\, engaging with themes of identity\, displacement\, and representation amidst political turmoil. The aim is to excavate lost films and histories\, questioning how Sudanese cinema abroad has shaped perceptions of Sudanese identity and how this legacy can inform future filmmaking practices within and beyond Sudan.In the final session\, Mai Abusalih examined “Khartoum (2025): The City as the Sixth Protagonist\,” portraying it as both a documentary portrait of five residents and an exploration of the city as a “sixth protagonist\,” shaping their experiences amidst political upheaval. Filmed between the 2019 revolution and the 2021 military coup\, the work documents Khartoum’s transition toward intensified militarization and the disruptions that preceded the 2023 war. Through street-level perspectives\, the film employs walking as a narrative method to reveal how spatial hierarchies\, planning politics\, and everyday urban informalities structure life in the capital. Juxtapositions between marginalized peripheries such as Jabarona\, an area historically housing displaced communities\, and central protest sites highlight the city’s entrenched social inequalities and contested notions of citizenship. Constraints imposed by surveillance and censorship shaped the film’s iPhone-based production\, underscoring the tension between public space and state control. She will utilize interviews\, mapping\, and comparative cinematic analysis to interrogate representation\, agency\, and the right to the city. \n\n\nTo view the working group agenda\, click here\n\n\n\nTo read the participants’ biographies\, click here\n\n\n\nRead more about this research initiative\n\n\nParticipants and Discussants:  \n\n\nSamar Abdel-Rahman\, University of Liverpool\n\n\n\nBayan Abubakr\, PhD candidate\,Yale University\n\n\n\nMai Abusalih\, Dcomomo Sudan | Modern Sudan Collective\n\n\n\nKhalid Ali\, Brighton and Sussex Medical School\n\n\n\nZahra Babar\, CIRS\, Georgetown University in Qatar\n\n\n\nMisba Bhatti\, CIRS\, Georgetown University in Qatar\n\n\n\nKhalid Albaih\, Artist in Residence\, Georgetown University in Qatar\n\n\n\nFrédérique Cifuentes-Morgan\n\n\n\nMaryam Daud\, CIRS\, Georgetown University in Qatar\n\n\n\nRoman Deckert\, Media in Cooperation and Transition (MiCT) \n\n\n\nDanya Elmalik\n\n\n\nAbdelrahman Elbashir\, \n\n\n\nTaghreed Elsanhouri\, \n\n\n\nMamoun Eltlib\n\n\n\nHatim Eujayl\n\n\n\nRoopa Gogineni\n\n\n\nLeena Habiballa\n\n\n\nMohanad Hashim\, BBC\n\n\n\nNoor Hussain\, CIRS\, Georgetown University in Qatar\n\n\n\nRazan Idris\, University of Pennsylvania\n\n\n\nSarra Idris\n\n\n\nUmloda Ibrahim\n\n\n\nRaga Makawi\, London School of Economics and Political Science \n\n\n\nSuzi Mirgani\, CIRS\, Georgetown University in Qatar\n\n\n\nAbubakr Omer\n\n\n\nSabreen Taha\, CIRS\, Georgetown University in Qatar\n\n\nArticle by Misba Bhatti\, Research Analyst\, CIRS
URL:https://cirs.qatar.georgetown.edu/event/sudan-in-the-picture-research-on-sudanese-cinema-workshop-i/
CATEGORIES:Sudan
ATTACH;FMTTYPE=image/jpeg:https://cirs.qatar.georgetown.edu/wp-content/uploads/sites/3/2025/11/2025_10_30-CIRS_HR-54-scaled.jpg
END:VEVENT
END:VCALENDAR