AESTHETICS OF MEMORIALIZATION: THE SABRA AND SHATILA GENOCIDE IN THE WORK OF SAMI MOHAMMAD, JEAN GENET, AND JUNE JORDAN

On this point, the study argues that the works discussed in it, above all, contest three media aspects: the rapid tempo of the televisual image sequence when the documentary footage is broadcast, the monofocality of the photojournalistic picture, and the auxiliary status of both. [...] the study maintains that in order to effect a layering of perception, which the accelerated tempo of the televisual and the monofocality of the photojournalistic dissipate, the texts, on the one hand, harbor a propensity for generic transference and, on the other, a predilection for decelerated tempos of image sequencing - Mohammad's sculpture incorporates narrative elements, and since it is of a single fettered figure, and since space and form are the most important of its plastic elements, the sculpted climactic moment is tantamount to frozen time.