SHANKABOOT EPISODE 23

Please check the address or use the links below to access the requested content. However, the movement is only just beginning, and we will have to prove that there is potential for the long-term survival of the local transmedia productions and new storytelling genres up against the traditional mentality of the entertainment and media industry. New forms of web communication, from community sharing The debate on women and the adherence to particular faiths, addressed by Web users on the Shankaboot Facebook page, reveals the existence of many stereotypes, and the consequent urgency of promoting respect for religious and cultural diversity and creating conditions conducive to greater dialogue. Would you like to add or correct something? Contact the editorial staff. Nevertheless, it is often circumvented, as was the case in the recent uprisings in the region, based partly on the use of social networks, mainly Facebook and Twitter.

Dreamland video , or even Girl Number Nine. One of the fans of the series commented on Facebook: T he project aims at fostering freedom of expression and human rights and encouraging young people to use new technologies and the Internet to promote their world view and peaceful practices. To know the ethical rules and procedures for disclaimer, see our charter. They make use of a specific camera style, close-ups or frequent direct-in-the-face shots. They are growing in importance with the dissemination of video blogs, or vlogs, on Youtube and other platforms like Dailymotion and Kewego.

As a result, the sluggishness of the Internet connection in Lebanonfor example, does not allow for the development of episodes lasting more than five minutes each. From Algiers to Damascus, it could be the next big thing on the Arab-language Web. Please check the address or use the links below to access the requested content. New forms of web communication, from community sharing Being a Web series, Shankaboot was freed from the usual limitations applied to TV programs but had to conform to the formatting needs of the Internet.

In these terms, the project aims at fostering freedom of expression and human rights, and encouraging young people to use new technologies, and the Internet in particular, to promote their world view and peaceful practices.

The stories of several other characters revolve around him, including those of Roueida, a young woman with whom he falls in love, and Chadi, an enigmatic character who is somehow responsible for allowing Sleimane to work.

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The official launch of Shankaboot will shankaobot place on June 12 in Beirut, and a large concert with many Lebanese artists has been planned for the occasion. From the same author.

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Shankaboot – Episode 23: Showdown at the Sugar Factory

This page is not available. This is particularly what the Shankaboot project, the first Web drama series in the Arab world, has to offer.

They make use of a specific camera style, close-ups or frequent direct-in-the-face shots. This series was launched in March and portrays the daily life of young Beirut residents like Sleimane, a year-old courier who roams Beirut and its suburbs on his scooter, called Shankaboot; Roueida, a young woman who fled a violent husband and is trying to become a singing star; Chadi, her best friend with a shady background, etc.

Fiction — in competition with high quality multimedia productions from the UK, the Netherlands and Brazil. Digital Tech How to shankaboott traditional publishing and e-publishing?

Contact the editorial staff. The project won the prize for best online content in the Arab world in the entertainment and games category of the World Summit Awardan initiative of the United Nations.

Shankaboot – Episode Showdown at the Sugar Factory

Accordingly, Shankaboot forms part of the xhankaboot network movement like Facebook, Twitter, YouTube, etc. Nevertheless, it is often circumvented, as was the case in the recent uprisings in the region, based partly on the use of social networks, mainly Facebook and Twitter. Writing reports no ethical problem to be brought to the attention of users on this article.

The question of financing independent local productions remains unsolved. The production house bore in mind the unsatisfactory Internet connections currently available in Lebanon for quick and effective downloading of the episodes. Some Internet surfers already have to wait more than half an shankaboor to download one episode. As for censorship, it is still practised by several governments in the Arab world and the Middle East. It has more than 10 years experience in supporting independent media including television shankabot, radio programmes and training in journalism.

Consequently, what is to be feared is a loss of values in terms of narrative innovation and editorial input, as is the case with digital storytelling when produced by brands whose primary objective is to serve their own interests — unless they are not the shankqboot of the creative process, but associate their image with the transmedia experience proposed to the public.

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T he project aims at fostering freedom of expression and human rights and encouraging young people to use new wpisode and the Internet to promote their world view and peaceful practices.

Furthermore, imagination, even creativity, constitute — according to the producers of Shankaboot and many other young Lebanese and Arabs up to speed on digital storytelling — a major challenge to the Turkish and South American programmes for which the cost of dubbing into Arabic remains below that of a local quality production. Shankaboot is an interactive video series on the Web or a Web series filmed in Beirut, the Lebanese capital.

The audience imagines the story and appreciates being both a witness to the characters and the events described as well as being an actor, unlike traditional theatre or film.

However, the movement is only just beginning, and we will have to prove that there is potential for the long-term survival of the local transmedia productions and new storytelling genres up against the traditional mentality of the entertainment and media industry. Bringing together millions of internet users in record time These have been dynamically edited with a realistic screenplay and music composed by various young Lebanese artists like Rayess BekMashrou3 LeilaZeid Hamdaneand Tania Saleh.

Despite the technical challenges, the Web has many advantages, say its makers. Each episode is accompanied by a short comedy show, Waheed El-Boozwhich presents the twists and turns in the life of a Beiruti electrician named Booz.

Shankaboot, or the Unprecedented Success of a Web drama in the Arab World

Digital interactive storytelling commonly encourages the listener or user to become a joint creator via amateur contribution to enrich the narrative universe, beyond simply pasting on comments and photos. Leading actor of the series, Assan Akil Suleiman. Shankaboot is the first Web episodf project that it has financed.

The most popular has been viewed over 60, times.