Urban Sights: Urban History and Visual CultureMain MenuIntroductionConflicting Visions of Renewal in Pittsburgh's Hill District, 1950-1968 by Laura GrantmyreSan Francisco Views: Robert Bechtle and the Reformulation of Urban Vision by Bridget GilmanVisualizing Iraq: Oil, Cinema, and the Modern City by Mona DamlujiFilmic Witness to the 1964 Kitty Genovese Murder by Carrie RentschlerBuses from Nowhere: Television and Anti-busing Activism in 1970s Urban America by Matt DelmontMona Damluji89c6177132ce9094bd19f4e5159eb300a76ef0dfMatthew F. Delmont5676b5682f4c73618365582367c04a35162484d5Bridget Gilman032da9b6b9003c284100547a1d63b1ed9aca49e2Laura Grantmyre8add17c1c26ed9de6b804f44312bd03052f5735eCarrie Rentschlere7ded604f66cae2062fa490f51234edecd44a076
Ageless Iraq - Clip 10
12013-08-28T14:51:13-07:00Mona Damluji89c6177132ce9094bd19f4e5159eb300a76ef0df2551A selected sequence from a documentary produced by the Iraq Petroleum Company about the development of modern Iraq during the 1950s.plain2013-08-28T14:51:13-07:00Critical Commons1954Video2013-08-28T01:37:55ZAgeless IraqMona Damluji89c6177132ce9094bd19f4e5159eb300a76ef0df
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12013-07-06T14:59:07-07:00Modernity Against Tradition8split2013-08-28T15:08:56-07:00The city is framed in a sequence of long views down broad boulevards and intersections. The commentary defines modernity explicitly in terms of the built environment: “The twentieth century has come to Baghdad: steel and concrete, with shining cars and wide streets.” This sequence cuts together scenes of a bustling city street intersection, brightly colored cars, pedestrians and a red bus contrasting against the concrete facades of tall buildings in the background. The camera pans down to introduce us to a small group of well-dressed Iraqi men playing backgammon, reading, and socializing over tea on a balcony overlooking the street.
The camera lingers over the image of modern urban life, and the jumps to a sequence that reproduces visual tropes that are meant to signify traditional aspects of culture. The commentary juxtaposes the two scenes using the following transition: “But the people of Iraq hold on to the best of their old traditions.” Cutting to a scene of a copper craftsman on the ground, molding a sheet of metal into a cone, it goes on, “In the bazaars you can see and hear them, carrying on the art and exquisite craftsmanship that has been their pride for hundreds of years.” The visitor’s perspective returns as the subsequent scene brings us into a small interior space, shopping for rugs alongside a young European couple.
Baghdad is depicted in a sequence of street traffic and the soundtrack of honking horns and car engines. The commentary states, “Today the streets of the city are alive with the bustle of a young people who are taking back from the west the means to a brighter future.” The film then moves to a long montage that focuses on pastoral scenes of Kurdish villagers performing everyday tasks like cleaning, carrying water and agriculture. An underlying theme of the film's depiction of rural livelihoods and space is the timeless relationship between Iraqis and water: the Tigris and Euphrates rivers credited as the source of Iraq's ancient civilization.