Media Production jan / Feb 2010 by Ali Sultan

Issue #06 Jan - Feb 2010 25 AED, 2 KD

=B:CFA5H=CB 98I75H=CB :FCA H<9 A=88@9 95GH :CF H<9 A=88@9 95GH Registered at International Media Production Zone

"Don't think. Thinking is the enemy of creativity. It's self-conscious, and anything self-conscious is lousy. You can't try to do things. You simply must do things." – Ray Douglas Bradbury

CALLING ALL CREATIVES "A hunch is creativity trying to tell you something." – Frank Capra

"The most original authors are not so because they advance what is new, but because they put what they have to say as if it had never been said before." – Johann Wolfgang von Goethe

"There are two ways of being creative. One can sing and dance. Or one can create an environment in which singers and dancers ﬂourish." – Warren G. Bennis

"Life is a continuous exercise in creative problem solving." – Michael J. Gelb

TO REPORT FOR DUTY "Man's mind, once stretched by a new idea, never regains its original dimensions." – Oliver Wendell Holmes

Visit www.thecreativehq.com for more information.

calling all content creators create opportunities The Arab world has an estimated 300 million people looking for quality content. twofour54, based in Abu Dhabi, is the region’s premier centre for Arabic content creation in the media and entertainment sector across media platforms including television, radio, ﬁlm, publishing, online, mobile, music, gaming and animation and we can help you reach them.

Create skills

twofour54 tadreeb is developing and enhancing the skills of media professionals enabling them to deliver immediate success to their business.

Create ideas

twofour54 ibtikar provides media and entertainment industry funding and support for start-up and early stage businesses and individuals with creative ideas for Arabic content and a passion for success.

Create content

twofour54 intaj leads the Arab world with fully equipped HD production studios, the latest post-production technologies, media management, digital archiving, playout and uplink services.

Working in partnership with some of the world’s major content creation companies, twofour54 provides your business with the right opportunities to grow in the Arab world.

ﬁnd us. join us. create with us. destination Abu Dhabi +971 2 401 2454. twofour54.com

CONTENTS 8

Welcome

Editorial

KNOW WHO Dr. Amina Al Rustamani

10 18

NEWS Media In Production

A visit to Cinescape Kuwait

KNOW WHO

Interview with Dr. Amina Al Rustamani

in order to avoid brand cannibalization. Each TECOM brand was created to meet the niche requirements of a certain industry segment, or in some cases a sub-segment, not ﬁlled by another brand. A clearly deﬁned (and communicated) brand positioning is key to avoid the blurring of the lines in the minds of stakeholders. This is obviously much easier

BRAND SPEAK

After the establishment of Dubai Internet City (DIC), TECOM Investments grew to become a major corporation that offers a business hub for the local and international media and technology y What needed to be done to industry. zone one cluster incorporate all free z clusterss under mbre mbrella brella rella and still s sti ke the one brand u umbrella keep character o off the branding? th he e indiv iindividual idua idu idual dual all bra br brand bran b anding?

p22 Since its inception, TECOM Investments has consistently sought to build a unique brand

ners. T This his came from outstanding business partners. hat it is not enough enough g forr TECOM TECO TE OM our conviction that te that that ha att w e st ive for for the succ success succes uccess esss o to simply state we strive off esss partners, p par pa arrtn tne ners ers, s, but but we also also needed need eded d to our business dem emo mon onst ons nst sttrat rate rate ate it. it tangibly demonstrate

said than done, and we have seen many large conglomerates fail at differentiating between their various brands.

What initiatives does TECOM have in place to support up and coming local talent?

For a branding strategy to be successful, and for the audience to believe the messages communicated by a brand, it must transcend mere rhetoric and be supported with concrete actions. Any brand can claim to stand for something, but that promise has to be reinforced by deed.

The roots of a strong brand lie in the research that is done in the initial stages of the branding process. Before a brand is launched, it needs to be supported by empirical research that makes the case for why and how your brand will slot in the existing landscape with all the other competing brands. The research stage sets the tone for the entire brand building process as it defines your brand’s strengths and weaknesses vis-à-vis your competitors, determines your target audience’s needs and how your brand will fulfill these needs, and so on. In a nutshell, branding research is of paramount importance in building your brand as these are the preliminary steps that set a strong foundation for the future. Strong brands are also built from the inside out. Once you define your brand and its attributes and promise, and before launching the brand externally, there must be consensus and acceptance of the brand by internal stakeholders. There must be an alignment between the messages your brand communicates to its external and internal stakeholders.

The Ibda’a Student Awards by Dubai Media City is TECOM’s ﬂagship initiative aimed at promoting young talent, especially national talent, in 12 categories of creative media.

What is your advice to our readers on how to build, maintain and market a brand?

>>> mature brands, and maintain the same level of growth. Our most

Our most recent edition of the awards witnessed the highest participation in the awards’ eight-year history with 2,400 entries

mature brands have an occupancy rate topping 90 per cent, and our focus is to sustain this level.

from 20 countries.

Our second objective is to nurture our youngest brands, providing them with the necessary support and strategic direction and

Dubai Studio City has an internship programme that aims to give young, aspiring professionals interested in the ﬁlm industry an opportunity

help position them to achieve the same high standards that are expected of all our brands. Some of our newest brands are active in cutting edge and high-growth industries such as clean energy,

to gain valuable work experience in media production by working alongside the entity

and we are keen to fully capitalize on the expected regional growth of these sectors.

In n mid-2008, mid 2008, TECOM TECO TE T TECOM OM Inv In Inve Investments nvestm estments tments ccreated reated ed TECO TE TEC TECOM ECO COM OM M Bu B Bus Business ussin ine ess Parks, an responsible overseeing umbrella mbrella brella rella lla organization orga o organiz organiza organi organ org ation atio ati tion on respon responsibl e for overseein oversee overse eeing eing ng g the the growth g gro and

and its business partners. This programme has proved to be extremely popular as it has provided an avenue for bridging the gap

As for the parent brand, TECOM Investments, we will be more active in demonstrating the unique value-added proposition for business partners to be located in a TECOM free zone. This USP stems from our cluster beneﬁt, and we intend to continue to aggressively

identityy that differentiates differentiates erentiates us from our competitors com mpetitors petitors and fosters foster ers strong st g rrelationships elationsh elati elation lationship onships ps

Likewi wise se e, our ou ou urr b rand ndi ding din ng g strategy trategy ategy focuses ffoc fo ocu use uses ses Likewise, branding

development evelopment velopment elopment lopment opmen pme of o all alll TECOM br brands bran rands (whic ((which (wh which ich h at the time ti tm me e included iinc in nclu nc clud uded nine encompasses business b usiness siness iness ness ess sss parks, pa parks park butt now e enco enc en nco compas com ompas mpas passes se ses es 1 11, 11 1,, with with the latest lla lat atttes e est stt additions additions

between theoretical classroom knowledge and real-time workplace experience.

promise with with h our our busines businesss pa partn partners partners. ners. rs. Our brand nd prom promis pro p omise mise se e p piv iivo vot ots tss on n the un u iqueness iqueness of being iquene b bein eing g based base ed d in in a pivots uniqueness T ECO ECO COM ffree ree ee zone zon – a uniqueness niqueness that that at stems from from TECOM

as socia attin ng w ng ith it h other othe oth ther er leading leading brands bra bra rands nd dss on ass associating with ccrea creatte e platforms platfo platfo la atforrms rm mss for fo fo orr interaction interact interac ion on n and and to create etworking. tworkin T objective obje ctive ve behind behin this this his is is networking. The objective

being Healthcare b eing ng g Dubai Heal Hea He H thcare hcare City Cityy and an nd d Duba Dubai aii Industrial In Ind Ind du du ust sstr tri ria al City). City C tyy). We We were w wer ere e very ccognizant ognizant nizant izant zant ant of the th challe cha challen len eng nge ge e fac ffacing fa acing us s: le eve veragiing on on tthe he combined combined challenge us: leveraging sy yne nergies gies ess of the th brands brand whi w wh while hile ep preserv rvin ing ng g tthe he he d dis istinct inc id de den en nttit ity o synergies preserving distinct identity off each.

What are the future plans for the TECOM brand?

We will also be making a greater effort to ensure that our business

tthe he b enefits fits offe off red d by by our o cluster clust clu er er mo m mode mod odel del. benefits offered model.

to again gain n highlight highlig hi ht ourr brand’s unique ht uni uniq iqu que ue e value vval alu alue ue to pro pro rop rop po pos osit ition of being a community commun muni nity ity tyy that tth tha hat att boasts b bo oa oasts proposition

We W e to ttook o ook ok ok a strate str gic i deci decision d cision at th the he e ti ttim ime me e tto o devo ev lvve ve all all ll o perations strategic time devolve operations tthat ha ha att directly d dire irrec ectly impact on a stakeholder’s stak take keh eh hol old lde der’s er’s r’ss brand d ex e pe per pe eri rie ence to the enc experience

At the moment, we have 11 brands under our management ranging from a broad industry

partners are better able to interact with other business partners across our 11 free zones. We believe many collaboration opportunities exist

F or a branding randing ndi strategy str tra rat ateg ate teg egy gyy to be successful, su succce cce cess cess ssf sfu fu ull, a ul, and nd For ffor or the he e audienc audience aud audien audie o believe the th messages me m e ess sssa sag ges to

othe ot he err strong str trong brands who o can ca an work w wo wor ork rk k together to t other for mutual mutual beneﬁt. for

rre resp res espe esp e pec pect ctiv tive brand, while comb com ombin mbinin mbini binin nin in ng back-office ack-office ck-office op ope o ratio ratio rat ra ation ons ns into one respective combining operations ccentral cent cen entr entral ral source handled ed byy TECOM T TECO TEC TE ECOM ECO COM OM M Business usiness Pa Parks. Parks Par ks. s.

spectrum. Our primary focus in the near future is two-fold. The ﬁrst is to nurture our

for our business partners in various industries and thus we intend to double our efforts to realize those opportunities.

communicate this aspect to our existing and potential customers.

Ibda’a Awards Winners KNOW WHO Ibda’a Winners 2009

KNOW HOW

Competitive Advertising

KNOW HOW

But is it Branding - Deira Local Brands

20 November, 2009 – Dubai Media City (DMC), the region’s leading media hub Investments, and a member of TECOM Investments hosted the eighth Ibda’a Student Awards at a gala ceremony, honouring the winners of 12 categories from over 2,400 submissions, including over 170 from the UAE.

KNOW HOW

Online Product Launches

Ibda’a Awards Winners 2009

KNOW HOW

Animation Sanjay Jangir

TV Advertising Thabit Al Mawaly

Following is the list of winners

bdullatif AlMulla, Group CEO of TECOM Investments, Abdulhamid

We are optimistic they will lead the industry to scale new peaks in professionalism.”

The winners received attractive prizes including internships from leading global

Journalism (non-news) - Stacey Pinto, UAE Radio feature - Serman August Serra, Philippines

Juma, Chairman, Dubai International Film Festival, and Mohammad Abdullah, Coordinator General of Ibda’a

An elite panel of judges from the International Advertising Association – UAE Chapter (IAA-UAE) selected the winners of

media organisations.

1 2 3 4

Animation - Sanjay Jangir, India Graphic design - Purva Bakalkar, India

Student Awards presented the awards to winners at the event that was held at the

the Ibda’a Student Awards that is presented by Ziad Galadari Group.

sponsored by Arabian Automobiles, Dubai Media Incorporated (DMI), AMG, OMD,

5 6 7

Analogue photography - Mohamad Amin Davaei, Iran Digital photography - Reza Milani, Iran Print advertising - Neha Katkar, India

DMC Amphitheatre. Senior government ofﬁcials and representatives of leading media organisations and academic institutions, were

The Digital Design category received a number of entries despite being a new

Dreamdays and Grand Midwest Hotel. While Emirates Integrated Telecommunications Company - ‘du’ was the communications

8 9

TV advertising - Thabit Al Mawaly, UAE Film TV feature - Rangoli Agarwal, India

among those that attended the event.

addition in Ibda’a Student Awards 2009. However a shortlist of ﬁnalists did not

partner, Amrita TV, BBC World, Brash FZ LLC, CNBC Arabia, Motivate Publishing, Showtime,

Q1: The Ibda’a awards can be seen as a catalyst for promoting emerging media

10 TV documentary - Amir Masoud Hosseini, Iran 11 Mobile ﬁlm - Naeema Amjad, Pakistan

Mohammad Abdulla, Coordinator General of Ibda’a Student Awards, said: “One of the important initiatives initia of Dubai Media City is the

emerge as none of the entries matched all the set criteria.

Think Tank, Xische, Wolf Productions, Zee TV and Zee Aﬂam supported the event as the media partners.

talents. I can imagine that many young creatives use these awards to promote their work. How many entries did you have

media students but for creatives in general, did you have a “wow moment” when viewing the entries?

The award for the ‘Best UAE Project’ from submissions of the UAE-based university students was presented

Ibda’a Student Awards has established ards that t d itself as an important platform interaction import orm for interact action

Over Over the years, the Ibda’a bda’a Student Awards have of entries ve attracted a multitude m entries from

this year and where were they from? ARN, CNN, CNBC Arabia, Brash, Leo Burnett,

Q6: What is the extra mile that ﬁnalists needed to go to win their category?

to Afra Bin Dhaher for her outstanding entry in Digital Photography category.

between students student and nd industry i y professionals. professio p ssionals.

“We We are proud pro to say th the ccreative reative entries ent ntries es

countries and an beyond. beyo Its success s the GCC countries Its has been marked by an exponential expo xponen ential rise se in the been er of entrie entries and participating partici cipattiing countries. cou untries. number

International Media and Production Zone (IMPZ), Dubai International Academic City (DIAC), Xische, MBC, Motivate Publishing,

Q2: How did the cultural background reﬂect on the entries? Can you say for example that creatives in the UAE are more into ﬁlmmaking

we received around eceive this year from m aro round the e world w worl orld were truly o outstanding. works also outs standing. SSuch uch ch wor work ks a lso

edition, the submissions s missionss were subm For the 2009 edition, rec ived from over over 20 countries including including ﬁrst received

Nikon, Team Y&R and Zee Aﬂam gave away the awards to the winners.

ou confi confide ence in the capab apabiilitie es of raise our confidence capabilities the next ext generation gene erattion of media med professionals. professio onals.

ti Chi Lith thuania, time entries from China, Libya, Lithuania, Malaysia, ysia Norway, Norway, Singapore Singa Tha hailand. Malaysia, and Thailand.

than audio production? Or are the media preferences equally distributed in all entries from the different cultural backgrounds?

in the respective categories:

p26 Additionally, Brash FZ LLC awarded an internship to Fatima Obaid from the UAE for her creative submission.

This year’s edition of Ibda’a Awards was co-

Questions to the Judges

Q7: What are you looking forward to in the next edition of Ibda’a awards? Q8: Do you have a piece of advice for young creatives anticipating to participate in the Ibda’a awards?

>>>

Branding - An Inside Job

KNOW WHO

Wissam Shawkat

KNOW WHO

Fudda Bujbara

KNOW WHO

Doa’a Sabbagh

KNOW HOW Leo Burnett

Competitive Advertising Using comparisons to win favour has been around ever since the serpent convinced Eve the apples on his tree were better than the apples on any other, thereby introducing sin into the world.

forever told us that we had better not leave

market can also bring about connotations

home, and certainly not the country, without your ‘Amex’. Sure Visa was handy down at the local store but American Express was the

of modesty providing your motivations and purpose still transpire through the idea. Avis launched a campaign a few years back

card you needed. Then Visa hit with “It’s everywhere you want to be” campaign. It

that ran the tagline; “We’re number 2 so we try harder”. Not only did it suggest that

featured a quaint little restaurant in Boston at which contented-looking guests were dining, and then there was the restaurant

the market leader might be resting on their laurels but it also created a gap between Avis and Hertz who were considered number

owner, with four cooks at her side, having an end-of-the-night toast. At which point the

three in the market.

narrator urged guests to “bring a big appetite and your Visa card.’ The closing line: “At Rosalie’s they don’t take no for an answer.

This idea might never have seen the light of day had David Ogilvy not rescued this line from the trash can of one of his art directors,

And they don’t take American Express.”

proving that comparative advertising is a form that deserves to be considered.

At the time American Express was known for cutting rates to merchants and restaurants if they only accepted American Express,

So we have to move out of our comfort zone by creating purpose-centered approaches,

but the advert began what was known as the “Boston Fee Party” (in reference to the

which seek out differentiators and exploit them in order to connect with people and

elieve that or not, comparisons are being made every day and in advertising the quest for a

However, if comparative advertising is fun, charming or otherwise entertaining it can be an extremely strong and convincing piece of

“Boston Tea Party”). Owners began to revolt and switch to Visa or MasterCard and soon 250 restaurants across Boston and indeed

inspire them to change their behavior independent of the effect this has on the competition. After all, the brand owes it to

competitive message is nothing new. For decades fellow advertisers have searched for a comparison that would turn heads and draw

advertising. Here in the UAE, understanding the potential power of humor led to the creation of two characters, Hiroshi and Osamu

improve the product and blow the demonstration away.

other cities began making the switch. The campaign made Visa a legitimate travel and

In this instance Chevrolet was able to illustrate honest comparisons

for Chevrolet. The integrated campaign centers on a Japanese car manufacturer

that were relevant to people in the market to buy a car (namely petrol consumption, safety, air conditioning etc.) but all too often

dining card almost overnight, proving that in this case naming the competition was the right thing to do because the information

its stakeholders to communicate its beneﬁts and where its serves them better than others. This is not a sin – it’s just business!

cash away from the competition. American Express versus Visa in the seventies, Pepsi versus Coca Cola in the nineties or Apple versus PC just last month, for example. But in the UAE it seems we are all too courteous

which sends the two hapless characters to the Middle East on a mission to ﬁnd out why more people are choosing Chevrolet instead

comparisons are also made that may seem important to the brand but are irrelevant for the people.

was relevant, bold, unexpected and honest! Admitting your position of number two in the

to our competitors and there is a cultural tendency not to take a risk by drawing

of their cars. Hilarity ensues whilst drawing comparisons, making the campaign engaging,

For example, our global research department once showed consumers a concept that compared our brand’s fresh ingredient to

comparisons with competing products.

relevant and motivating. Best of all it puts

the competitions dry ingredient. Consumers found the comparison entirely irrelevant because the ingredients have little or nothing

So I want to take this opportunity to explain why competitive advertising is a form of marketing that deserves to be considered

to do with how they made their brand choice. In fact one user of the competitive brand reasoned: “I never knew that my brand used dry ingredients. That must mean I like the taste of dry ingredients

and illustrate how, if done with enough ﬂair and creativity, can pay dividends.

better.” So obviously our comparison was not going to change her brand preference!

Probably the worst indictment leveled by consumers against comparative advertising is

Perhaps another reason for the lack of comparative advertising in the region is the assumption that the competing brand has to be named.

that it is generally not perceived as being much fun to watch. In fact, they think most of it is deadly dull and it’s probably justiﬁed because

But this is not true and indeed there are even legal considerations in the UAE that prevent this. Comparative advertising does not need to directly name or reference a competing brand. Indeed many people

p30 advertisers feel that in order to be perceived as making real, credible claims the execution

might consider it ‘foul play’ especially if the brand is a market leader. So how can you do it wit without hout eliciting negative negative reactions?

must be delivered in a somber and serious tone. The problem with such an approach is that there are very few issues which are that

Almost always the e answer answ wer er is i to be be sure re the t difference di difference is meaningful and made with cha charm c arm ch arm m much much mu h like e the the Chevrolet Chevrole Chevro Ch Chev vrolet olet et campaign. camp cam ca ampaign.

serious. Maybe drug abuse, disease or war but ds! So if we tak take e an o overly nott consumer goo goods!

On the and you he other oth hand ha h han an nd when w en your brand wh brand is number numbe err two ttw wo o or or worse, wo you do and meaningful o have ve a real rea re r l a nd d meanin meaning mean gful ful ul product product uct ct difference differe differenc differen over o ove ver ver the the leader, leader,

earnest approach pp to o the th he comparis p on it do doe doesn doesn’t sn’t earnest comparison le end d credibility but rather ra rath ather it’ it een n a as d du dull, dull ull, l lend credibility,, but it’ss seen bo bor ori ring rin ng g and self se important. important. import boring

naming aming ming ing ng th the co com ccompetition omp mp pe ion petitio on n can can n get ge you you u both bo both th h attention attent attention and a an nd motivation. nd mo motivation . Take example Visa ake ke e for e exa ex examp exam ple pl e the classic ccl cla la assi ass ssic icc duel d due ue u l between bet be etw tw wee wee een en American A Americ merican Express E Ex xp pre res resss and V isa that hat att began bega further ffu urt ur rth ther back back than tha tha han I care re to o admit. admit. American Am Ame erric ican an Express Express has has

By Kamal Dimachkie, Managing Director for Leo Burnett Dubai, Kuwait and the Lower Gulf

Here in the UAE, understanding the potential power of humour led to the creation of two characters, Hiroshi and Osamu for Chevrolet.

KNOW WHO

Doa’a Sabbagh

Faisal Al Duwaisan

Doa’a Sabbagh

Symbol Design and Corporate Identity for the Australian Embassy, Kuwait Interview with competition winner Miss Doa’a Sabbagh.

As for my team, most of them are my friends and we help each other

student at Box Hill College one to illustrate digitally. I used illustrator Kuwait. She recently won the Australian to create my logo, which was the kangaroo Embassy design competition in Kuwait.

a lot in creating our ﬁlms by taking different roles as crew members. As for the cast, I started searching for boxers that would be willing

I love the Futura font family and Mrs. Eaves. Well I like working with colors but I prefer black and yellow because I feel these are both very strong.

iss Doa’a Mustafa Sabbagh is sketching and research. I sketched so many a second year Graphic Design ideas then ﬁnalized four of them; I chose

with the Kuwaiti Towers.

The competition called for a design solution MP: Do you have favorite fonts or colors? How

to assist in the choreography and physical skill required when boxing. I am truly grateful to the people that helped me because I could not have done such a job without them.. >>>

for a new logo to be used by the Australian do you go about choosing the right ones? Embassy in Kuwait. Students were asked to DS: I love the Futura font family and Mrs. present a design solution that communicates Eaves. Well I like working with colors but I

The major challenges were really about making the boxing realistic...I was very lucky to have a great boxing coach there to advise and choreograph.

Faisal Al-Duwaisan

a clear message about the relationship prefer black and yellow because I feel these between the two countries by incorporating are both very strong. Choosing the right symbolic visual references that suggest some colors and fonts or typeface, it depends on of the Australian and Kuwaiti characteristics. the design and the concept which I am dealing with. For the Australian Embassy logo design That symbol/logo is now being applied solution I followed the “less is more” rule. to a range of stationery and promotional products as the new corporate identity for MP: What software do you work with? the Australian Embassy in Kuwait. DS: Mainly InDesign, Adobe Photoshop and Adobe Illustrator. MP: First off, can you tell us a bit about yourself and how you became interested MP: Where does your inspiration come from?

Interview with Kuwaiti ﬁlmmaker and photographer

in design? DS: My inspiration comes from reading books, DS: I was born in Lebanon 1989, I’ve lived in and see other designers work online or going Kuwait since I was two years old. I’m patient to exhibitions. and I work hard…I decided to study graphic design to be able to express my creativity MP: What are your favorite design resources and my passion for art. MP: What was the last book you read? DS: ‘Dream of the Water’ by Nada Jarrar.

and where can we ﬁnd them? DS: I have a lot of design resources like CMYK magazine, Computer Arts Magazine and

p50

Media Production Magazine. I also love AVA Academia books. You can ﬁnd them online:

MP: What was the last movie that www.avabooks.ch moved you? www.cmykmag.com DS: ‘UP’ (Directed by Pete Docter and www.computerarts.co.uk

For the Australian Embassy logo design solution I followed the “less is more” rule.

Bob Peterson), I love the animation, the www.mp-mag.com characters are amazing, I felt everything MP: Where do you see yourself a few years down the line? MP: How long did it take for you to design DS: I still have a lot to learn, so I will keep with them.

the Australian Embassy competition logo? studying and hope that will take me further DS: Four Weeks. I spent the ﬁrst week with into design as a profession.

MP: Whilst researching creative talent to interview in the Middle East your name just kept cropping up! As a successful

MP: When and why did you start writing and producing movies? FD: I started producing movies in 2005. My

you had to have created a ﬁlm to be able to attend but that is simply not the case. Audience members are very welcome to

ﬁlmmaker and photographer can you explain to our readers how this particular

decision was based on a void in my life that I knew would only be ﬁlled if I fulﬁlled my

view the screenings and all efforts at ﬁlm making are considered. To win, however, is

combination has worked so well for you? Film and photography have a lot in common. They are both involved in telling a story

passion for creating ﬁlm and being part of the magic that is cinema.

a total other story and not quite so easy!

by using light and composition, capturing a moment or by creating a moment then

MP: What was your experience at ﬁlm festivals and how important do you think

at the festival was a great combination of people all with the shared interest and

capturing it, the only difference is that there is no sound in photography and there is no portrait in ﬁlm, other than that the

they are for exposing talent and creativity? FD: Before my movie Hosha (Fight) was screened at the Gulf Film Festival in Dubai,

passion for making ﬁlms. It felt wonderful to be part of that community. Not forgetting that you also get to view ﬁlms and the

emotions, the characters, the locations and even the props are the same.

I had very little experience in ﬁlm festivals. I was always under the impression that

progress that cinematography around the world today.

p70

One of the great things that I discovered

is making

KNOW WHO

Nawaf Al-Janahi

Raja Amari

Interview with ﬁlmmaker

Nawaf Al-Janahi

reveals some e of the e secrets of her collaboration longtime coll laborattion with fellow

come - before obtaining a degree in French Literature from Tunis University.

immersed herself in the intensive screenwriting programme that the distinguished French school there offered.

Exposed to French New Wave cinema and the ﬁlms of Truffaut and Pasolini, Amari

And while she was not involved much in the actual production aspects of ﬁlmmaking during this period, the time gained away from

Raja Amari

was enthusiastic about pursuing a career in ﬁlm but unsure of where to turn after

the hubbub of production was valuable for her in so much as it gave her the necessary mental space to think about what she had to say

French-speaking writer-director write er-direcctor Raja Amari the “dynamique became enthralled with w t teenager joining the du cinéma” as a teen nager after a

graduating in her early twenties. Although opportunities to study ﬁlmmaking do now exist in Tunisia, there was not much on offer

as a writer and as an artist.

cinema club at an all-girl’s alll-girl’s school she was where she attending in the 1980’s 1980 0’s – a place p

for her as a would-be ﬁlmmaker at the time. So, after some discussion with her family,

On her early shorts, Amari sought to remain connected to her Tunisian roots - exploring female relations with respect to family and society

fondly remembers herr professor profe essor being “très passionelle” about the cinematic arts. Later she would go on to train as a dancer at the

Amari opted to head to France to study at La Fémis – the acclaimed Parisian ﬁlm academy situated in the historic grounds of the old

through ﬁlms like One Evening in July (2000) – a portrait of a ﬂeeting and anxiety-ridden exchange between a young bride-to-be and her wedding day make-up artist. Collaborating with Amari on this production (as

Conservatoire de Tunis – a form which would

Pathé ﬁlm studios. At La Fémis – a school

well as on another of her ﬁrst shorts Avril (April) in 1998) was Dora Bouchoucha - one of Tunisia’s foremost ﬁlm producers.

3 months, while the Iran-Iraq war raged overhead. During this time, Wissam was constantly practising his new-found passion for calligraphy, to ﬁll the long hours.

with his commercial work. This is really just the tip of the iceberg in terms of his

He feels that more than anything, in order to become really great at this art form,

extensive portfolio. Aside from being a graphic designer, Wissam

or as it were, a master calligrapher, one needs patience and a lot of it. Wissam, who has taught many courses for young

also does ﬁne art calligraphy commissions in classical and contemporary styles, gives

people, notes that although there is a lot of interest amongst the younger generation

lectures and talks and his work has appeared in publications, both in the Middle East and well as abroad in Europe and the USA.

to learn the art of calligraphy, the patience is often lacking. Young people belong to the instant generation of everything being

As a calligrapher, Wissam is largely self-taught.

available and accessible right here and right now, often at the touch of a button

In 1984, at the age of 10, he realized that he had found his path in life, when he received his ﬁrst calligraphy lesson from an inspirational

on a computer. Calligraphy falls into a category which can only be learnt by going the long way around.

The longstanding relationship between Bouchoucha and Amari – which began when the two worked together on these ﬁrst short ﬁlms

ﬁlms I have made so far (four short ﬁlms and

– eventually led to the duo collaborating on two ﬁction feature ﬁlms: Satin Rouge (Red Satin) in 2001 and Dowaha (Buried Secrets) in 2009. While Bouchoucha’s Tunis-based production company Nomadis Images

one feature), but now I am preparing for three new ﬁlms (two features and one short), none

has also produced features by other directors such as Djamila Sahraoui and Mohamed Ben Smail, one gets the feeling that the relationship

of which I have written. I like that because it is important to share different points of view with other creatives. And of course focusing on

between Amari and Bouchoucha is as unique for its longevity as the projects are for their thematic consistency.

directing gives you the space and energy to be better on what you do best.

Satin Rouge (Red Satin)

MP: What is your creative background and what motivated you to

What triggered the transition from being involved in every aspect of ﬁlmmaking to

pursue a career in directing? I started acting at the age of seven with my late father (who was one of the pioneer actors/directors in the region). Acting was very

being specialized in directing? When I first started out it was difficult to find the right people who shared similar views and

MP: Cinematography and photography are two disciplines that overlap at certain

Satin Rouge, was a Tunisian-French co-production shot on 35mm that won Amari the New Director’s Showcase Award at the Seattle International Film Festival in the United States. In it, a widowed

exciting and I loved it very much but as time moved on I became more interested in how stories were told visually and the way ﬁlms

the same passion as me to work with me on my ﬁlms. But as the years passed you get to

points, like framing and lighting. Looking at your movies we get the photographic,

mother suspicious of her daughter’s relationship with a local cabaret musician unexpectedly ends up immersing herself in the Tunisian

were made. I used to watch so many ﬁlms daily and I was always trying to ﬁnd out how things were done. My passion for telling stories, using the camera, increased inside me, and, at the tender age of 14,

know more people and new blood joined the movement. For instance, I wrote all of the

almost poetic picture impression. Do you

Bouchoucha and Amari’s ﬁrst full-length drama project together,

nightclub scene in an attempt to uncover her daughter’s furtive

>>>

I decided that cinema would be my path, career and life. MP: Every creative has their own style that makes them unique and one can actually link the style to their name. What would you say is your style and what do you want people to associate with

My passion for telling stories, using the camera, increased inside me, and, at the tender age of 14, I decided that cinema would be my path, career and life.

Synopsis: Dowaha (Buried Secrets)

Femmes/Films

p74 Tension Te en ens nsio ns sion ion on n builds bui build lds as the h mother and nd ol old o older lde de er ssister er ister Radia a at a att attempt tttem em empt mpt pt to t kkeep ee ep p their tthe h heir eir existence hidden hidden n from their the heir eir new new neighbors. neighbo bor ors. ors rs. s. Aicha Aic ich cha ha a is les le ess sss cautious cau cautio cautio utious however howeve and d becomes become becom s increasingly in incr ncreasing creasinglyy cur curi cu ccurious urio riou iou ous ou uss a bout less about the he e newcome newcomers ne rs an and tth the eir lifestyle. ei lifestyle ifestyle festyle t . their Eventually, ntually the yo youn un nge ger sister’s sister’s er’s gro g row row wing desire wing re e to to cco con onn onnect ect with w h younger growing connect the world outside e and an nd d to o break brea a aw way ay from her prison-like prris pris pri riso ison-lik son-lik on-like on-lik e home hom ho me away invites dan in ger into in nto to o all all off their al the th lives. lives live liv ives es.. danger

KNOW WHO

Wissam Shawkat

At the time he started ted designing Arabic and

nearby and explains what a localized logo

localized logos, he was still drawing each logo by hand ﬁrst and d only then scanning it in and creating the digital ital artwork. He ascribes his perfectionism and nd attention to detail to his background as a civil engineer. He used

should not look like. Even to my untrained eye I can see that the Arabic version does not do justice to the English logo. He stresses that the single most important point is to not just take an English font and chop it up to

to draw technical drawings by hand in the days when AutoCAD D wasn’t even a blip on the horizon yet.

convert it into an Arabic version of the logo. This is what happens most often and the feel of the English logo is lost. Wissam studies and

course there are certain limitations which are imposed on creatives here, which one might not necessarily encounter in Europe.

for both his art and d his commercial work. In time, he has also lso developed his own calligraphic style, which is more modern,

researches the brand to get a sense of it and then creates the Arabic logo from scratch, paying careful attention to the stroke width, the ascenders and descenders, descenders the delicate balance of the spaces in between letters and

When I ask him how he ﬁnds the balance between creating calligraphy as art versus calligraphy, he smiles and says says, ‘I commercial calligraphy treat design as an art’. Any design project is as

but based on traditional styles. This style of calligraphy is created with the same tools

recreates the character of the original brand. He very rarely uses Arabic fonts to create a

important as a piece of art to him. A logo should be able to live on and be something that one

but there’s a more contemporary feel to the shape of the letters. As he says, ‘What are we adding to the art of calligraphy if we do

logo. Which is probably what sets him apart from the competition and would explain why his name is known in all the major agencies

is proud of having created. It’s part of one’s legacy, which is why he always adds something unique and distinctive in all his work.

not express our own style?’ This freedom of expression is what will pave the way for the

across Dubai.

evolution and survival of this thousand yearold art form.

Does he think the design landscape has changed since he started working in Dubai? He feels that the brand experience in Dubai

someone who really loves what they do can be content. If you look at how far he’s come from being a little kid with a big dream, you

When asked if he would offer some advice on localizing an English logo, he points to a shop

is better than in some of the surrounding countries in the Middle East, that there’s

can easily understand why.

Wissam works in a variety ariety of different styles

Sisters Aicha and Radia live secretly with their mother in the underground servant’s quarters of a deserted mansion. One day a young y g couple p une xpectedly p ym oves into the main house unexpectedly moves above bove ve th them.

Interview with ﬁlmmaker Raja Amari

Wissam is content in a way that only

teacher in Basrah, Iraq. The abstract shapes of the Arabic letters and the beauty of what could

Wissam says that for him it has become a form

be created by the movement of one’s hand across the page with ink and a calligraphic pen, awakened a passion in him, which you can still

of meditation. The many hours of practicing and creating the perfect composition and the ﬂuidity of the pen strokes, brings silence and

see in his art today.

focus to his work. When he’s working on the ﬁnal art piece, after months of preparation, there are no mistakes.

Shortly thereafter, the citizens of Basrah were

Collaboration

MP: We have been introduced to you as a ﬁlm director and producer but you used to be involved in script writing and editing.

p66

Taxi and Dubai Metro, or even the environmental graphics which were on display in DIFC, then you’re already familiar

whose alumni have won prizes at Cannes, Venice and Berlin - Amari

feature ﬁlm you just spend more time and

ncepts, whereas whereas in a feature feature ﬁlm you hav have mainly on ideas and con concepts, tio on to tell ell a deeper p story, build characters and a d more space and duration we ever, the the execution execution process proc is the same; in a develop the plot. However,

f you’ve seen the Dubai Aquarium logo, the family of RTA logo’s such as Dubai

inspire her as a ﬁlmmaker in the years to

more money.

Nothing really in terms ms of execution. They are two wo different worlds wor short ﬁlm you have to be brief and focus in terms of structure.. In a sh

Amari

with my own personal ﬁlms that I have made outside the ﬁlm school. Of course you do part of that academically but I needed to go further and deeper.

MP: What is the difference erence between directing a short movie as opposed to a feature ﬁlm?

Wissam Shawkat is probably what one would call a veteran in the ﬁeld of graphic design in Dubai. He has both designed and localized scores of typographic and calligraphic icons and logos in Arabic.

Raja

books on film, watching and analyzing films, gaining experience by working with other filmmakers on their films, plus experimenting

our ﬁlms? you when they see your I leave that to the people. ople. My role is to make the ﬁlms.

Strokes of genius

ﬁlm ﬁlmmaker mmakerr

Tunisian ﬁlm producerr Dora Bouchoucha and shares her thoughts on why wh hy femmes and ﬁlms can court controversy contro oversy back home.

unisian

conﬁned to underground shelters for almost

As he says, ‘what are we adding to the art of calligraphy, if we do not express our own style?’ This freedom of expression is what will pave the way for the evolution and survival of this thousand year-old art form.

1 & 2 Environmental Wall Graphics Design for DIFC (Dubai International Financial Center). Calligraphy by Wissam Shawkat. Design by Wissam Shawkat and Diana Hawatmeh 3 Calligraphy design engraved on the stone on the façade of the cultural and Scientiﬁc Association Building in Dubai, UAE 4 Basmala, Wissam Modern Style, Ink on treated handmade paper, Private Collection, HE Mr. Juma’a Al Majid, Dubai, UAE 5 Basmala, Wissam Modern Style, Ink on treated handmade paper, Personal Collection of the artist

p42

1 RTA, © The Brand Union, ion, Wissam Shawkat 2 Park Hyatt, © The Brand Union, Wissam Shawkat 3 B&O, © Bates Pang Pangulf, ngulf ulf, lf, Wissam Shawkat Shawkat 4 Barclays KSA, © Modul M Modulex odulex ulex ex Signs, S gns, Wissam Wissam Shawkat Shawka wkatt

or Bayt Nanay Restaurant,© Z Com, Wissam Shawkat 6 Calligraphy design option for Dubai Cult Culture ture, ure, re, e, © Leo eo Bu Burnett, rnett, Wissa rnett, rnett Wissam Wi W Wissam m Shaw SShawkat kat 7 Call Calligr lligrap igraphy graphy aphy phy hyy design desig des d ign n option for Dubai Dub b i 5 Logo design option for Culture, Calligraphy

Islamic Bank, © Bates Pangulf, Wissam Shawkat 8 Dubai Bank, © Grey WW, Wissam Shawkat 9 Personal logo des design, Wissam 10 Dubai Aquarium, esiign, ign n,, © Sidd SSiddiqi Sid iddiq ddiqi diqi qi & SSons, ons,, W ons Wi Wis iss ssa sa am SShawkat ha awkat 1 0 Du Duba Dub bai aii Aqu Aqua A Aq quari uarium arium, ium,, © Brash Branding, nding, g Wissam Shawkat 11 Edmonton monton Elm, © Pink House Production, Wissam Shawkat 12 Dubai Culture and Art Authority Autho hori ritty DCAA, DCA DCA CAA,, © DCAA Landor La Lando Land Associates Associates ociates ciates ates tes Dubai, Dub Dubai Wissam W Wis issa iss ssa sam am m Shawkat Sh hawkat

Basmala - Jaly Diwani Style, Ink on treated paper, Private Collection – The Farjam Collection

CONTENTS 52

KNOW HOW

Alice Ad - Photoshop

KNOW WHO DTFF Doha Report

KNOW HOW

KNOW WHO

DTFF - Doha Report

and offerings in relation to one another in the coming years, the growth of the regional ﬁlm

added to the impression that Doha was aiming high for its ﬁrst foray into the ﬁlm

New York’s Tribeca Film Festival earlier in the year.

fest circuit should be seen as a cinematic cause célèbre for all those who love cinema and seek to support the growth of the cinematic

festival circuit – at least where quality is concerned.

During one panel on “Producing and Distributing Independent Films in the Global Market”, an otherwise humourful Hany Abu-Assad (the self-described airplane engineer-turned-writer/director of Rana’s

The Programme With just upwards of 30 ﬁlms being screened,

Wedding) lamented that too much emphasis was now being focused on making ﬁnancial returns on investment rather than supporting the

this was not aiming to be the biggest of the GCC fests by any means. However, the carefully curated selection of ﬁlms was

craft of storytelling as such, stating simply: ”This kind of movie-making – where everyone is trying to make money and thinking about that in advance - is dangerous and a reﬂection of an increased inﬂuence of

Philharmonic Orchestra at the front end– with its stunning renditions of movie-music classics – followed by a dazzling ﬁreworks

both intriguing and regionally relevant showcasing several examples of recent Arab and Iranian cinema such as Egyptian

the American ﬁlmmaking culture.” In contrast, ﬁlmmakers based in Europe (or working with European partners) can more readily access writing/development grants and government production subsidies in

display as a festival ﬁnale. Really the only thing missing in between the opening and

ﬁlmmaker Yousry Nasrallah’s impassioned ﬁction feature Ehky ya Scheherazade

support of their craft than if applying in (or trying to work in) the States. In this way, independent and auteur-driven ﬁlms by Arabs

closing nights was more time to see more movies as the programming blitz was fast and furious, spanning the equivalent of

(Scheherazade: Tell Me a Story), Iranian Asghar Farhadi’s tense ensemble drama 2 Darbareye Elly (About Elly) and Palestinian

have better chances of ﬁnding their feet with French, German or Dutch partners than in the USA.

a long weekend with much to see and not quite enough time to get to it all in between

writer-director Najwa Najjar’s Al Mor wa al Rumman (Pomegranates and Myrrh) – the

Along this line, one might hope that ﬁlm-speciﬁc grant initiatives in the Gulf - like the recently announced Abu Dhabi Film Commission’s

shaped fonts, the sinuous Doha Tribeca Film Festival moniker marked a welcome Qatari sign-

the many events on offer.

latter winning the $50,000 Audience Award for Best Arab Film.

Aﬂam Qaseera - will help mature the regional environment for the establishment of additional ﬁlmmaking grants elsewhere in the Middle East and the development of government subsidy programs in GCC

post to the now bustling GCC ﬁlm festival circuit which already includes: Dubai’s DIFF

For the inaugural DTFF event, aviation seemed to be a recurring theme - due in

On Halloween night, a special screening of Egyptian ﬁlmmaker Shadi Abdel Salam’s

countries like Kuwait, Bahrain and Oman. With comparatively little or no local government-supported mechanisms to speak of in those

(Dubai International Film Festival), Abu Dhabi’s MEIFF (Middle East International Film Festival) and the comparatively smaller

no small part to the spectacular outdoor screening of Amelia on the opening night – director Mira Nair’s take on the life and loves

restored 1969 classic Al Momia (The Mummy) was screened in the Souq Waqif for 1,500 hyped-up moviegoers – a labor of love

GCC countries, the development of independent ﬁlmmaking and the screenwriting and directing crafts – not to mention the development of distribution networks and exhibition platforms for independent

- but not less well deﬁned - GFF (Gulf Film Festival). On the pure documentary side

of the celebrated American aviator Amelia Earhart (played by Hilary Swank). As if it

preservation project supported by Martin 3 Scorsese and the World Cinema Foundation

ﬁlm – remain weak.

of things there also exists the Aljazeera International Documentary Film Festival which will see its 6th edition in Qatar in 2010.

was all pre-planned by festival organizers and the Qatar Civil Aviation Authority, a steady stream of jetliners paraded across

for which he acts as Chairman. Scorsese - along with British actor Sir Ben Kingsley, Palestinian director Elia Suleiman and

Now with the addition of the DTFF, local ﬁlm

the starry-lit, night sky right the way through the screening of the ﬁlm.

Egyptian actors Adel Imam and Yousry - were just a few of the artists and celebrities

Enjoying this singular cinematic event were several thousand spectators – all of whom

walking the (electronic) red carpet at DTFF 2009 and underscoring the fest’s international appeal.

ith

trendy-looking

noodle-

fans and regional ﬁlmmakers can eagerly look forward to a GCC ﬁlm festival season that stretches from October through April

Flying High

Films, F Fans a s an an and nd Fire Fi re ewo w rk rks s Fireworks

p62

KNOW WHO

Interview with Nawaf Al-Janahi

Framing the four-day DTFF extravaganza were the inspirational sounds of the Qatari

could be found lounging comfortably in lawn chairs set up on the grass and grounds of the chic I.M. Pei-designed Museum of Islamic Art (MIA). Nair’s presence at the ﬁlm’s screening

arts and its enterprises in the region as a cultural, social and economic phenomenon.

Designing a Logotype - Illustrator It was exciting to see Qatar join the ranks of GCC countries with significantly funded and well-promoted film festivals that screen both fiction and documentary ﬁlms last October 2009.

each year and which one hopes will continue to ﬂourish and function far into the future. Assuming that each of these fests can successfully deﬁne their particular outlooks

DOHA OHA HA TR TRIBECA TRIBEC IBE ECA EC CA A FILM FILM LM M FESTIVAL FES FE F FESTIVA TIV VAL (October VAL (Octob Octobe tobe obe ber err 29 29 - November November ovembe er 1, er 1, 2009) 200 20 9) 9)

KNOW WHO

Toronto-based

ﬁlmmaker

Ruba

>>>

Nadda’s

lyrical and elegantly ﬁlmed “Cairo Time” closed the festival programme in the same way that it began – outdoors and beneath a starry night.

Doha Talks In addition to the screenings, there were numerous quality industry panels held at the Four Seasons hotel and the Museum of Islamic Art under the banner of Doha Talks. These included ”Financing from Hollywood 4 to Qatar” moderated by Cassian Elwes – a 1 Film still from ‘Amelia’ - directed by Mira Nair 2 ‘Cairo Time’ movie poster 3 Cairo Time’s Toronto-based ﬁlmmaker, Ruba Nadda prominent international distribution and 4 Production still from ‘Captain Abu Raed’

Interview with Faisal Al Duwaisan

KNOW HOW Rigging Cloth Using Maya

Maya Tutorial

KNOW WHO

Interview with Raja Amari

Based on more than 10 years of 3D rigging experience, I would say that nothing can make an animator more excited than providing him with a fast (real-time, if possible) interactive rig. Moreover, nothing would make the rigging artist more proud than watching his rig come alive.

KNOW HOW

3D Rigging Maya

Keeping in mind that “an undefined problem has an infinite number of solutions,” our first

This tutorial is for intermediate to advanced users but it is also suitable for beginners

The tutorial presentation is divided into 2 parts:

approach will be to deﬁne the problem and then discuss some of its solutions.

who would like to learn Maya nodes, the connection editor, automate steps using MEL scripting and explore ways that one can

Part I - is a list of questions and answers (thoughts); its identifying down the

I am going to take you through the rigging process in a commercial for AbuDhabi Sports

customize and extend Maya tools to serve the desired tasks at hand.

problem(s) and choosing the most efﬁcient approach to solving them.

TV. The target is to rig a cloth jersey that will be animated on a screen in several shots throughout the commercial.

Topics covered include: constrain transform nodes to nurb curves, tangent constrains

Part II –executing the steps.

Avoiding

using up vector and converting nurb curves into a working hair system.

I added automation MEL codes for to avoid repeating steps.

the

step-by-step,

how-to-cook

On new scene, Let’s import a low poly model but with enough edge loops to represent the jersey.

tutorial, I will explain my reasons and justify my decisions that led me to my goal.

Part I: What is the target? Rigging the jersey for animation, giving the animator full control on the main movement, having convincing cloth movements, being

The downside on this is that I need to create a dummy character body to achieve collision, but its time consuming to setup,

long hair behavior I thought I could borrow it to solve my jersey behavior. A hair Follicle drives the joints chain which then drives a

able to duplicate the jersey with its setup and plan a simple workﬂow for catching the

especially for the fast movements and it doesn’t give the animator the power to

smooth skinjersey.

dynamic movement.

precisely control the behavior of the cloth.. Its basically physical simulation that is not necessary in this thi case.

Why hair curve and not softbody curve with goal? Which one is more suitable?

p78 The ﬁrst approach for solving ving a cloth task good is to use Maya nucleus.. It’s goo ood d as a

KNOW HOW

ﬁrst thought, solving a ccloth loth rig rig is to use Maya ncloth. It’s perfe ect forr ch haracter perfect character cloth simulation, ion, t-shirts, dresse ses and nd any dresses cloth oth types type that require uire self-collision self-co s llision ion and behavio vior. accurate behavior.

Sonic Branding

the type of ﬂexibility needed in the jersey’s animation

But, which way to go?

We started with this concept design: This image gives us an idea of

Part II Executing the steps

About this Tutorial

My second thought is Maya hair system. Although it’s designed to solve characters long hair behavior I thought I could borrow it to solve my jersey behavior.

Rigging Jersey Cloth Using The Maya Hair System

KNOW HOW

So, solution So I thought of another dynamic dy where I avoid nc ncloth loth but at the he same time me get a realistic dynamic beha behavior. avior or.

Hair curve has more attributes attribu tributes to control, like stiffness and and pointLock. po k. Plus Plus it has great ﬂexibility for ca caching. With caching hing. Wi th h big hopes let’s jump to the next part pa

My second thought seco th thought is Maya Ma a hair system. systtem. Although characters h it’ss designed d to t solve so cha araccters

Create a vertical line, from top to bottom, with 5 cv’s, this will represent the jersey spine. Rename the curve “spinecurve”.

Now before creating the joints and to ensure that we are moving in the right direction, we need

to convert the curve to a hair system by selecting the spine curve, then open the

Producing a Radio Spot

“Make selected Curve Dynamic” options, and uncheck “attach curve to selected surface” (because we don’t have a surface to attach the hair to).

KNOW HOW Recording a Radio Spot

‫ﻣﻘﺎﺑﻠﺔ ﻣﻊ ﻓﻴﺼﻞ اﻟﺪوﻳﺴﺎن‬

to creating a sand Tsunami or a football falling from space. BKP has a vast library of sound effects which can be searched through in a matter of seconds!

‫اﻓﻼم و ﻣﻌﺠﺒﻮن‬ ‫و اﻟﻌﺎب ﻧﺎرﻳﺔ‬

I also instantly really liked the idea. The script is all about being in the desert and suddenly a huge tidal wave of sand comes

your way and what is the best way to tackle this situation? Get inside the new Hummer

Producing a Radio Spot Bringing a radio script to life using Pro Tools LE 7.4

I usually start with a blank pro tools session, import my radio session data template (this includes all my ‘ready to use’ voiceover, music and sfx tracks, my favorite plug-ins, auxiliary set ups etc) I then begin to map out the spot. spot Obviously there has never

switched on and revved to a roar ends the spot as its ready to ride the sand wave. I like to be almost 90% ﬁnished with the spot before my client comes into the studio. After 5 years experience of producing radio spots in Dubai, 9/10 times the client will love what I present, and will request no further changes. However, this depends on their speciﬁc ideas, their clients wishes, their experience and, of course,….ego!. Leo Burnett are probably one of the most professional, creative and friendly agencies I have worked with – they loved what I presented and requested no changes! They chose a guy called Chris Kent for the voiceover for the spot, he is very famous within the industry, chosen for his deep gravelly voice. voice Hummer is all about

Whilst we were dialed in via ISDN, I played Chris the sound effects which he would

Hummer of course!

speak over and this helped him get in the mood of the sand storm. He would shout and

So I began to go through our sound effect library for sounds which I could layer up and make sound like it could be a huge

project his voice, so it was believable that he was in the storm. Being very professional, Leo Burnett directed Chris very well with

SFX: NARRATOR:

SFX:

wave of sand. I found a range of nice sound effects including earthquakes, rumbles, avalanches, desert wind sounds, I also

me on how to deliver his lines, and after a few takes, we had it.

Music – In radio spots, music is usually used as

spot is about, who it is for and what action to make to ﬁnd out more.

a foundation; it stabilizes and provides extra information and support for the emotion

mixed in some sounds of sea waves to give a crashing effect. I then found the sound of

I added lots of bass to his voice and compressed it quite a lot, I also added a

the voiceover expresses. exp Just as a voice has inﬁnite possibilities, music is i also remarkably powerful. It can can span and create creat ate any emotion

a hummer door being closed and the engine starting up and revving.

slap delay and a small reverb to create the impression of him outside, for extra added value, I asked him to be off mic for this.

and every language a nd d every e age throughout thr ut at anytime the world. We can rec record d anyone a anyti ytime

imaginable, maginable, and then the some. some ome.

most Voiceover – For me this is the m ost important impo mportant ant most element of a radio radio spot. The voice vo iss tthe m ost infinite possibilities versatile instrument with infinit infi e po possib ibilities expressed and that may be exp expr essed in words w s an nd / or

ISDN anywhere where iin the world d remotely rem r motely using g ISD DN telephone (dedicated cated high quality te elep phone lines) line nes) and and professional (voice dedicated edicated pro profes sional IP software softw so ware (vo oice over

are Sound Effects/Design Effects/De Effects sign – Sound Soun und effects ef are used highlight to hi ight events. eve e nts. Never-ending Never-endin Never-en ng possibilities posssibilities can be created again ca again ain with sound sou design, design gn, from

I ﬁrst added the sound of a calm desert wind at the beginning of the spot and then slowly faded in the wave of sand sound (many tracks of rumble, earthquakes and avalanches.) This gave the impression of

Whatever emotions. Whate Whatev er the spot, a vvoiceover oiceover oi

Internet ternet line).

telephone th simple the imple telep ne ring or knock kno k ck at the th he door,

something coming from afar and slowly

p88

One of the better radio spots I worked on this year. The ﬁnal piece can be played at, www.chrisatkinsonline.com/hummer_radio.mp3 By Chris Atkins – Sound Engineer, BKP Music

You’re out in the desert. Standing at the base of an enormous sand dune – the biggest you’ve ever seen seen. Suddenly it starts to move.

of the way and live to tell the tale, or sell the sound effect! – Unless he had the new

There are 1000 1000’ss of professional voiceover and BKP hass a artists around the world, worl pool database containing contain the best est talent t ool from

ultimately describes to the listener what the

NARRATOR:

masculinity and power and Chris’ voice has this in the bucket loads.

engineer to bring life to each radio script that is given to me, using only sound.

like to think that it’s my job as an audio

Example Radio 30 second Script – 2010 H3 V8 Hummer – Agency - Leo Burnett Dubai

been a tsunami of sand, and if there was, no sound engineer would ever have the time to get a level take, record it, get out

The basic core elements of a radio spot are voiceover, music and sound effects. Spots ts may have all these elements, or just the e one. on

‫ ﻛﺎﻣﺘﺪاد ﻟﻠﺼﻨﺎﻋﺔ‬98 ‫اﻟﺮﻗﻤﻴﺔ ﻟﻠﻤﺎرﻛﺎت‬ ‫ أﺳﺌﻠﺔ وأﺟﻮﺑﺔ‬100 ‫ﻟﻠﺪﻛﺘﻮرة أﻣﻨﻴﺔ اﻟﺮﺳﺘﻤﺎﻧﻲ‬

and ride the wave!

Whilst we were dialed in via ISDN, I played Chris the sound effects which he would speak over and this helped him get in the mood of the sand storm. He would shout and project his voice, so it was believable that he was in the storm.

RUMBLING STARTS BUILDING. CONTINUES THROUGHOUT.

NARRATOR:

Now the entire dune is shifting. Flowing. Forming an enormous wave of sand that starts crashing towards you. RUMBLING IS NOW LOUD All you have is a set of keys. And the 365 horsepower of the new HUMMER H3 V8.

SFX: NARRATOR:

DOOR CLOSING. ENGINE STARTING. Surf’s up…

SFX:

RUMBLING PEAKS WITH CRASH OF A WAVE.

MVO:

The 2010 H3 V8. Call 800 LIBERTY today.

WELCOME Dear Creative Readers, Welcome to 2010! What an excellent year it is going to be. Well that is how I would like to brand myself if I had the option. It’s truthful, it’s creative and it should work well in the long run! If you want to learn how to brand yourself for the New Year then get inspired by our collection of articles that show you how to avoid the pitfalls and how to embrace a new form of creativity – create a new you, create a new company or just create a new feeling that makes you feel good! After a very successful year for film festivals throughout the region, it is my sincere wish that now more talent can prevail from all over the GCC ready for this year’s, already much anticipated, showdowns. You can be sure that MP Magazine will be there to report on all the latest movers and shakers ensuring that you, our valued readers, are well informed and continually challenged to explore new ways to express yourselves and your creativity. Thank you for your continued support throughout 2009 and as the readership for MP Magazine grows we look forward to receiving many more of your comments, questions and suggestions. Don’t be shy! May we all have a fabulous year!

*Disclaimer: My sincere apologies to ‘Private Government’ for not providing him with the accreditation that he rightfully deserved for his review of Shure Headphones SRH440 and the TC Level Pilot. We wish to publish many more of his reviews in the future.

EDITORIAL CONTRIBUTING WRITERS

Team Managing Partners Hamad Al Saab Ali Sultan Operations Director Arch. Amera Al-Awadhi Project Manager Sylvia Voss Sales and Marketing Hamad Al Saab

ork r W r u Yo ur Cove on Omit your work a.ct om

Content Ali Sultan

Sub -me ktank n i h t @ ofﬁce

Copy Editor (English) Lysa Warren Nada AlShammari

The opinions and views contained in are not necessarily those of the publisher’s. No part of this publication or content, thereof maybe reproduced, stored in a retrieval system or transmitted in any form without the permission of the publishers in writing.

COVER ART WORK Issue #06 Jan - Feb 2010 25 AED, 2 KD

aka NADAA is a multi-media artist and lecturer in visual communication, space design & use. She is currently working to create and sustain spaces for creativity while researching multimedia narratives of Silence, Identity & Being.

Copy Editor (Arabic) Hamad Al Saab PR and Client Relations Hamad Al Saab Creative Director Ali Sultan

Talal Al Muhanna Talal Al-Muhanna is a Kuwait-based ﬁlmmaker and media/arts producer. He holds both a BA and MA in Film & Moving Image Production from Leeds Metropolitan University in the U.K.

Creative Designer Lezanne Swart Publishing and Advertising ThinkTank Publishing & Creative House FZ-LLC UAE OFFICE

Line Maria le Fevre Line Maria le Fevre is located in Dubai where she works as freelance graphic designer for local companies as well as international clients. She has design and branding experience from ﬁve countries and is currently working on a Personal Branding project for a spiritual teacher in Canada. Her online portfolio can be viewed at www.linelefevre.com

Dubai Media City Building No. 5 - Ofﬁce G14 Dubai, UAE Voice: +971 4 4347683 Fax: +971 4 4343926 Email: ofﬁce@thinktank-me.com www.mp-mag.com

Kuwait Ofﬁce =B:CFA5H=CB 98I75H=CB :FCA H<9 A=88@9 95GH :CF H<9 A=88@9 95GH Registered at International Media Production Zone

Yousef Al-Shallal Email: yousef@mp-mag.com ofﬁce-kwt@thinktank-me.com

PR Consultant Kuwait Ibtesam Sultan Ibtesam@mp-mag.com By Media Production Cover Material and execution by Emirates Printing Press

Printed at Emirates Printing Press, Dubai Distributed by Abu Dhabi Media Company

NEWS ART DUBAI 2010 ANNOUNCEMENT OF DATES 17- 20 MARCH, 2010 Art Dubai is pleased to announce the dates for its 2010 fair which will run from 17 – 20 March 2010.

DES 310 Exhibition at AUS The film exhibition is part of a class taken at the School of Architectureand Design (SA+D) called DES 310: Intro to Audio and Video Production.

to accompany themovie. The promotional package included the movie’s poster, exhibitioncards, biography of the film maker and synopsis.

Throughout the whole semester, we learned the basic techniques of filmmakingin terms of framing, lighting, sound, etc. As part of the class requirement,we are required to make a narrative film and also arrange and manage anexhibition to display the movies. The day of our class exhibition was MondayDec 14, 2009 and also there was another section who had their exhibition thefollowing day.

Overall, the exhibition went well. Naturally, the quality of the movies madevaried as some students had better movies than others. The length of themovies also varied ranging from three to nine minutes. The primary languageof the movies was English, however, some were in Arabic (with Englishsubtitles).

Students made their own movies (writing, directing, editing and shooting themovie) in addition to designing a promotional package

The exhibition was attended by the school’s faculty members in addition tostudents (from the department and from various other departments as well)

As a former Film and Television production instructor in the UAE, it was disheartening to see graduating students who showed great promise, move into the corporate world of communication and abandon their filmmaking passion. However, the challenges of working as a professional in the film and television industry here may soon disappear in a wave of opportunity. ADACH’s commitment to develop arts and culture in Abu Dhabi and the region is helping build, support and create a media

Now in its fourth year, Art Dubai has become a defining platform for contemporary art practice across the Middle East region. Highlights of Art Dubai 2010 will include the return of the acclaimed Global Art Forum, the second annual Abraaj Capital Art Prize; “The Poetry of Time”, a prestigious watch exhibition curated by Van Cleef & Arpels; Art Park and Contemparabia 2010. In addition, Art Dubai has invited not-for-profit arts organization Bidoun Projects to curate its programme of special projects highlighting the importance of collaboration in the region. Earlier this year, Art Dubai’s third edition attracted an audience of more than 14,000 visitors from across the Middle East, South Asia and beyond, including leading curators, museum directors, artists, 80 museum groups and more than 300 international journalists. Online video and multimedia content showcasing highlights of Art Dubai’s successful 2009 fair, including the Abraaj Capital Art Prize and key panels of the Global Art Forum are now available for viewing on our website www.artdubai.ae Art Dubai 2010 is held in partnership with private equity group Abraaj Capital and continues to enjoy support from its sponsors Van Cleef & Arpels and Jumeirah Hotels & Resorts. Based at the stunning beachside Madinat Jumeirah Resort, Art Dubai 2010 offers visitors the most extensive programme of contemporary art exhibitions and events to date.

economy and energy. The Sadyaat Island arts community is starting construction. The Abu Dhabi Music and Arts Foundation is as strong as ever. Sixteen (and growing) post secondary campuses across the UAE are teaching media courses, and there are three skills-based film and media training institutions here. A number of larger film production funds are available. Two new TV stations are planning to broadcast in 2010, and they will need content. The Abu Dhabi Film Commission offers the Aflam Qaseera (short film) production fund, Shasha Script Competition, New Voices documentary

and drama production internship schemes, all of which give real opportunities to emerging filmmakers and production companies in the UAE. The UAE has numerous internationally recognized film festivals, and national and regional film and media competitions, all of which have filmmaking awards, grants and opportunities. Studios are being built, stories are being written; films are on the way. Look around, it is indeed an exciting time to be a filmmaker in Abu Dhabi and the UAE.

10 11

NEWS

SAE Institute – a Pioneer in Creative Media Education SAE Institute Dubai, the leading creative media education provider, part of the world renowned SAE Group, has carved out a niche as the region’s pioneer in cutting edge formal programs in audio engineering, digital animation, multimedia, filmmaking and electronic music production. Founded in Australia in 1976 as the School of Audio Engineering, the SAE Group has grown into an international conglomerate of mediabased companies that specialize in education, manufacturing and production, with more than 50 branches in 26 countries. Its worldrenowned brands include AMS-Neve, Studios 301, Qantm and SAE. SAE Institute provides creative media education in four main streams - Filmmaking, Animation, Audio Engineering and Multimedia –covering formal courses such as Digital Film, Games, in addition to fun courses such as Digital DJ, and Photography for approximately 20,000 students worldwide. Continuing on its growth, SAE Institute plans to open several wholly-owned campuses in 2010, in addition to the recent franchise partnerships in the Middle East and Asia. A new SAE International license agreement in Indonesia will complement the existing franchises in Jordan, Malaysia, Thailand and India. Moreover, the 2010/2011 pipeline includes new campuses in Beirut, Cairo, and Tokyo while further expansion is planned in Central Asia, Central America and several South American countries.

More recently, the Istanbul campus opened its doors to an overwhelming response from students and the wider creative media community. Further expansion in other major Turkish cities is currently being discussed. SAE Institute Singapore at the prestigious Riverwalk Galleria recently celebrated 20 years of providing quality creative media education in the region. SAE’s leadership also extends to include its superlative range of Neve professional audio equipment, with the introduction of Neve Genesys Console. Additionally a range of new and classic Neve Outboard equipment into several campuses worldwide only serve to bolster SAE’s commitment to professional training. Recent installations include campuses and facilities in Oxford, London, Byron Bay, San Francisco, Istanbul, Melbourne, Cape Town, Vienna, Amman, Amsterdam, Berlin and Dubai. SAE facilities in Singapore, Jakarta, Beirut, Cairo, Tokyo, Chicago, Seattle, Austin, Mexico City, and Rio Di Janeiro will soon have AMS Neve equipment. Neve continues to set important industry benchmarks in both film and music production. Few brands can boast that an estimated 80 per cent of the world’s leading music artists have recorded on Neve equipment and over 70 per cent of all major Hollywood productions are scored and mixed on the Neve DFCs (Digital Film Consoles). Tom Misner, Founder of the SAE Group, said: “Notwithstanding the very important global demands, the US market in particular continues to represent about 50 per cent of the world’s film and music industry production revenues. SAE is increasingly applying resources and is well-positioned to bring into line future industry and technological demands with an SAE education.” For more than 40 years, Neve has represented the pinnacle of professional audio design and engineering, and is recognized by the most prestigious awards including an Emmy, a Grammy and two Academy Awards. Over 100 world-class analogue and digital designers,

software specialists and audio purists spend their days dedicated to the evolution of its audio products and workflows. The SAE Institute in Dubai underlines the importance and potential of the audio and film industry in the region. With the demand for creative media education on the rise, it was deemed vital to establish an early presence. These students are already filling up positions at Dubai Studio City, Dubai Media City and the creative media industry at large. SAE Dubai has also been a tower of support to some of Dubai’s major entertainment events. Securing ‘Education Partner’ status for the sixth Dubai International Film Festival (DIFF) 2009, dedicating film crews of students and staff to provide constant vision and images of the festival’s new media ambitions to the whole world. A major coup for not only SAE Dubai but indeed SAE internationally. Leveraging SAE’s technological expertise, senior film students and key staff provided cinema lovers around the world access to DIFF ’09 events, seminars, and interviews with celebrity guests, while taking in the glamour of the red carpet, employing ubiquitous social networking portals such as YouTube, Twitter and Facebook. SAE Dubai will also be the first of 52 group campuses to launch the Professional Digital Journalism diploma, following a plethora of new courses such as Creative Kids Camp, Bootcamp Series, first-ever photography course in SAE history, and iPhone course many of which have been adopted by SAE campuses around the world. JVC Professional is a partner for Digital Journalism, which offers students the technical skills of digital reporting as well as photography and the shooting of film footage, editing of sound and video, podcasting and blogging. More importantly, they discover how to create a powerful ‘image’ - the fundamental driving force in visual communication. Today, more than ever before, solid training, careful practice and creative thinking give media practitioners an edge in the competitive media industry. www.dubai.sae.edu

Assisting the development of the Film and TV industry in Abu Dhabi Nurturing of new talent and contributing to the promotion of Arab culture through film and television The Circle Conference Aflam Qaseera Short film Fund New Voices Television and low budget feature funding packages Shasha Grant International Festival and market attendance for emerging Filmmakers Emirates Media Skills Training Council â&#x20AC;&#x201C; linking Television, Film and Media Production with Education Local, Regional and International Co-production opportunities that include training components Broadcast (Documentary and Drama) productions involving mentorships and internships Permits for filming in public locations Support for location filming Script clearances and advice on approvals Initial Scouting for potential locations

10 11

NEWS Mix and Match Computing power for every occasion

The global computer business had evolved in response to the shift in how people view personal computing. Dell is meeting this demand by surprising consumers with a range of innovative products and services that can be personalized to an individual’s taste, sense of fashion and mobile connectivity needs. The Teeny Tiny Computer Dell’s mini-sized Inspiron Zino HD puts desktop computing back on the desk, with its compact size, versatility and Power to Home Computing. With a high definition video media centre and choice of six colours and three pattern choices, this product can be easily personalized to add flair to any room in the home. Starting at AED 2399, the Inspiron Zino HD, includes standard HD-capable integrated graphics, HDMI output and built in networking that make it smart for typical home and student computing activities such as word processing, e-mail, web surfing, as well as organizing photos and music. An economical dynamo, the Inspiron Zino HD, with optional additional memory, hard drive storage, wireless remote control and Microsoft

Windows 7 Media Player, can be configured into a powerful multimedia centre. In that capacity, the Inspiron Zino HD displays high definition content from the internet, and stores and delivers music, videos and photos. Measuring at about 197 millimeters square and 89 millimeters tall, the Inspiron Mini HD combines an ultra small form factor designed to fit almost anywhere with powerful performance, perfect for the whole family.

Technical Specs The Zino HD will come with the AMD Athlon X2 2850E (1.80Gz, 512Kx2) processor, 4GB DUAL CHANNEL DDR 2 memory, 1TB internal hard disk storage, combo DVD CD-RW drive, an integrated 10/100/1000 networking with wireless option, built in 2.1 high-definition audio and 4-in-1 media card reader. In addition there is an integrated ATI graphics adapter with standard HDMI and VGA video connections four USB ports (2 front/ 2rear) and the device is Energy-Star 5.0 compliant.

Don’t just play games. Play DRUMS! Drum Rocker delivers the most realistic drumming experience available to any gamer, regardless of platform. That’s because it was built by the engineers at Alesis, one of the largest manufacturers of professional electronic drums in the world. As a result, you get a kit that’s designed to take a real beating, with all the positioning flexibility that professional drummers demand. While other drum controllers lock you down to a pre-molded plastic array of pads, Drum Rocker’s professional aluminum drum rack lets you position your snare, tom and cymbal pads wherever you want. When you’re ready to move from playing Rock Band to playing in a rock band, you can swap the game controller module with one of the professional drum brains made by Alesis, and you’re ready to hit the road for real!

NEWS Managing Convergence

Multiplatform Workshop

categories: digital media, media business, journalism duration: 5 days date: 10 January - 14 January language: Arabic, English

categories: broadcast technology duration: 2 days date: 17 January - 18 January, 16 May - 20 May language: English fee: Individual price AED 6,000 per person. Special group prices available.

What You Need To Know About This Course The way the audience consumes content is changing. Mainstream traditional media must find new ways of delivering their core output to multiple outlets/devices to reflect that changing behaviour. Media managers need to serve this new audience need in a way that offers editorial consistency, builds on the brands core strengths, engages the audience in new ways and opens up new revenuegeneration opportunities. The course will look at the importance of convergence for a single medium organisation’s survival, the editorial and content implications of introducing a converged strategy, the technical requirements, the roles and responsibilities of the key players in the content team and the business and revenue-generation opportunities. who it’s for: Senior media managers including CEO-level, editorial heads, IT, business development and sales and marketing, Course Outline: Outline: Delegates will learn through workshops and discussions; All aspects of convergence, including the thinking behind the strategy, workflows, roles and responsibilities Looking at the editorial disciplines needed to deliver content to multiple devices and the business benefits Content being played out across multiple devices including creating a forward planning strategy to strengthen the converged brand Engaging the audience, including using social networking in order to encourage participation and UGC (user-generated content.)

Partner & Instructor what you need to know about this course This introductory course will give delegates a greater awareness of the opportunities that Multiplatform offers broadcasters, hands-on experience of planning a big multiplatform project and a range of creative tools to develop concepts to extend the programme experience beyond Television. who it’s for: Media professionals involved in making or developing multiplatform formats. Outline: Creative Futures – Understanding the new broadcasting world, and what it means for programmes Multiplatform Programme Making – Looking at a range of existing Television brands, and how they start to develop new outlets for their Content Audience participation around programmes Case study of using times of day and devices to create programme output Getting the audience involved Adding Interactivity Visualising Pitches Adding Interactivity Creating On-Demand Experiences – A short guide to the world of on-demand Managing a Multiplatform Project Rights, Technical Builds and Software Management

DIFF Industry Office Awards Kuwaiti Film Producer Kuwaiti filmmaker - and Media Production contributing writer - Talal Al-Muhanna received an award in recognition of his work as a producer during the 6th Dubai International Film Festival (Dec. 9-16, 2009). The special prize – which was announced by the head of the festival’s Industry Office, Jane Williams - commended the Kuwaiti filmmaker for his “strong international perspectives in film producing” and in recognition of his current work on the documentary film project Beit Sha’ar by Egyptian writer-director Iman Kamel. The award itself comes in the form of an accreditation to participate in the prestigious Producers Network of the Cannes Film Festival in France in May 2010 and was given within the context of the Dubai Film Connection 2009 – the fest’s international co-production platform. Shot in Egypt’s Sinai Peninsula, Beit Sha’ar (English title: Nomad’s Home) reveals some of the struggles for equality which the Bedouin women of that region have made – and won. The film – which will be completed using funds provided by the newly-formed U.A.E.-based DEMO Completion Fund – goes into postproduction in Berlin in January 2010. For more information about the Dubai International Film Festival and Dubai Film Connection, go to: www.dubaifilmfest.com For more information about the Cannes Producers Network, go to: https://www.marchedufilm.com/

14 15

ART DU BAI 17 â&#x20AC;&#x201C; 2 0 Ma rch 2010 Under the patronage of His Highness SHEIKH MOHAMMED BIN RASHID AL MAKTOUM Vice-President and Prime Minister of the UAE, Ruler of Dubai

In Partnership With

Exclusive Hotel Partner

www.artdubai.ae

NEWS

Re-launch of ArtintheCity.com Diff Honours Award Winners

The comprehensive guide to arts and culture in the uae

The sixth edition of Dubai International Film Festival concluded on Wednesday night with a glittering award ceremony that honoured the finest acting and cinematic talent from the Arab world, Asia and Africa at the Muhr Arab and Muhr AsiaAfrica awards.

ArtintheCity.com is here to keep you informed and updated with the latest arts news, exhibitions, events, talks, concerts, festivals, art fairs, competitions and much more! It truly is your one-stop resource for the world of visual arts, film, theatre, music, performance, & other cultural events in the UAE.

In all, 28 prizes were distributed for excellence in acting, cinematography, editing, music and scriptwriting in addition to the jury general excellence awards. The entries were from more than 62 nations across Asia, Africa, the Americas, Australia and Europe in three categories -documentaries, short films and feature films. DIFF received more than 900 entries from the Arab world, Asia and Africa for over US$575,000 in prize money, in addition to the acclaim of a prestigious international jury. The Muhr Arab competition, open to directors of Arab nationality or origin, drew around 437 entries, while the Muhr AsiaAfrica competition, currently in its second year, received over 513 entries. DIFF Artistic Director Masoud Amralla Al Ali said the strong participation of films, documentaries and shorts for the Muhr Arab and Muhr AsiaAfrica awards was matched by impressive creativity and technical finesse. “The increased participation and the quality of participating films underscores the fact that DIFF has helped drive regional talent

in cinema, offering filmmakers in the Arab world, Asia and Africa a definitive platform to showcase their creativity.” The winners of ‘Movies in Motion,’ an innovative pan-Arab talent contest for budding filmmakers in the Middle East organised by MBC, were also awarded. The third prize winner was Diab Ghazi; the second prize went to Dani Hasecic and the first prize was won by Mohammed Al Badri. Ouail Mohammed won the People’s Choice Award in the 2-minute movie competition that received 550 entries. DIFF 2009 has partnered with the Human Rights Film Network a partnership of human rights film festivals around the world. Established in Prague in 2004, the Network promotes exchange, communication and collaboration regarding the representation of human rights issues in moving pictures. Merzak Allouache for HARRAGAS (Algeria) won the inaugural DIFF Human Rights Film Network Award, selected from 10 movies that best depicted the human rights themes. www.dubaifilmfest.com

Galleries, cultural venues, heritage sites, arts foundations and societies in the UAE are listed on the website, as well as details of events and exhibitions taking place in the Emirates. There’s even a handy travel guide giving you information on how to get there by metro, bus, car or on foot. There are various search options available on the site; an easy to use calendar lists events by date, you can browse by venue or use the interactive map to help you plan your arts crawl. For those who like to keep their finger on the pulse of the UAE’s art scene, the news section provides articles and features on upcoming art fairs, festivals, competitions, awards, community events and exhibition reviews. If you sign up to the fortnightly Art Alerts, an email will be sent to you linking to a calendar of events and feature news for that fortnight. It has never been easier to keep in the know! Whilst this is the first phase of the website, future developments will include an Arabic version. There will also be increased content, such as listings of arts classifieds, arts jobs, and opportunities for artists like residencies, competitions and commissions. Visitors to the site will also be able to interact with the arts community by leaving exhibition reviews informing our audience of their top pick of art events in the UAE. For more information contact Rachael Brown on 04 3417303 or email rachael@thejamjardubai.com

16 17

Behind the Scenes MP Magazine is going walkabout! Be sure to look out for our latest adventures outside of the ofﬁce as we take our talent to visit your talent. Our bi-monthly reports may just include you and the antics behind the scenes at your ofﬁce so when you hear the ‘knock knock’ at your door be sure to give us a good Khaleeji welcome!

KNOW WHO Media In Production

Q&A talgic for that cinema feeling Are you nostalgic till feel the magic when the or do you still lights dim? Every time I’m in a movie theatre, whether here in Kuwait or abroad, I get excited ted as if it is my ﬁrst time. Not only is it magical but it’s also meditative editative to be inside a cinema theatre.

Where was the ﬁrst cinema? Is it still there? Cinema Sharqia was the ﬁrst National Cinema in Kuwait. AlSharqia cinema opened on November 25th 1955 and no, it’s no longer there.

How many cinemas are in Kuwait? We have 13 locations and 56 screens plus an IMAX DIGITAL 3D theatre.

How much of an impact is ‘digitization’ having on the local cinema? -

It is cutting cost for the producers and for the exhibitors. A better quality of ﬁlm for the audience. A better movie going experience due to crystal clear sounds and images.

What is the main focus of the brand strategy for Cinescape? Our branding strategy is very simple. We aim to be the only movie experience to deliver complete sensory engagement with a world beyond. We try to capture our customer’s intrinsic attitudes in all aspects of their movie going experience. The smell of the popcorn, the comfortable seating, the state of the art sounds system, the up to date technology and the crystal clarity of our digital screens. The Cinescape experience becomes a place where not only our customers escape their daily chores but also it becomes a place where they can become inspired and recharged. Cinescape is not only a form of escapism but it has also become a key social setting. Due to this, we set out to ensure that the vibrancy of Cinescape becomes entrenched into the lives of our audience.

>>> 18 19

KNOW WHO Media In Production

How are you working on achieving it? The most important thing is to achieve a fully integrated brand is assure that the brand essence is consistent and is articulated in all branding communication materials. Anything that has the Cinescape logo and the brand’s visual language strategy should create a vibrant image that is felt throughout the Cinescape experience - from the drink and popcorn containers, to uniforms, signage, our website and digital branding

What role does new media and the Internet play in reaching out to the target audience? New media such as the Internet is considered one of our main sources in communicating with our customers. The Internet certainly gives us another medium to build our brand, but it has to be treated with great care otherwise the brand can easily be lost with a click of a button. Having an interactive website such as Cinescape.com.kw means we are able to reach our target audience and communicate with our customers whenever and wherever they may be. Its unlimited exposure and with endless communication possibilities. For example, we are able to gather valuable consumer information through our online research; we also promote the rest of our products while generating revenues from ticket and advertising sales.

When did you introduce your online presence in combination with online booking and how was it introduced to Cinescapers? Kuwait National Cinema Company introduced their online bookings in 2001 making Cinescape the first in the Middle East to introduce online booking with the option of choosing your seat. Cinescape technological evolution has not ceased to this day. Our movie goers are constantly provided with the latest technology in accessing a variety of services. Online booking was the first of our many technological ventures. We introduced it through a fully integrated marketing campaign and in affiliation with one of the major banks in Kuwait. This ensured security and exposure for the customers, until they were able to trust the online payment method. Currently over 50% of our ticket transactions are through our website.

20 21

BRAND SPEAK

Media Production spoke to Dr. Amina Al Rustamani, the Chief Executive Ofﬁcer of TECOM Business Parks about what it takes to create and maintain a successful branding strategy. Being the CEO of the TECOM Business Parks must involve you in the branding process. What is your branding strategy and how does TECOM reach out to new and existing investors and business partners? Since its inception, TECOM Investments has consistently sought to build a unique brand identity that differentiates us from our competitors and fosters strong relationships with our business partners. Our brand promise pivots on the uniqueness of being based in a TECOM free zone – a uniqueness that stems from the beneﬁts offered by our cluster model. For a branding strategy to be successful, and for the audience to believe the messages

communicated by a brand, it must transcend mere rhetoric and be supported with concrete actions. Any brand can claim to stand for something, but that promise has to be reinforced by deed. For example, last year, we launched the Pearl Awards to honour our most outstanding business partners. This came from our conviction that it is not enough for TECOM to simply state that we strive for the success of our business partners, but we also needed to tangibly demonstrate it. Likewise, our branding strategy focuses on associating with other leading brands to create platforms for interaction and networking. The objective behind this is to again highlight our brand’s unique value proposition of being a community that boasts other strong brands who can work together for mutual beneﬁt.

After the establishment of Dubai Internet City (DIC), TECOM Investments grew to become a major corporation that offers a business hub for the local and international media and technology industry. What needed to be done to incorporate all free zone clusters under one brand umbrella and still keep the character of the individual branding? In mid-2008, TECOM Investments created TECOM Business Parks, an umbrella organization responsible for overseeing the growth and development of all TECOM brands (which at the time included nine business parks, but now encompasses 11, with the latest additions being Dubai Healthcare City and Dubai Industrial City). We were very cognizant of the challenge facing us: leveraging on the combined synergies of the brands while preserving the distinct identity of each. We took a strategic decision at the time to devolve all operations that directly impact on a stakeholder’s brand experience to the respective brand, while combining back-ofﬁce operations into one central source handled by TECOM Business Parks.

KNOW WHO Dr. Amina Al Rustamani

Functions such as marketing, sales, customer service, and all contact with business partners are handled by each brand independently. Having a dedicated team for each brand ensures that the brand’s essence, its personality and character, are not jeopardized by having the same individuals perform the same tasks for different brands - a situation that can lead to the commoditization of the brand. We also took great care to ensure that there is clear differentiation among all our brands in order to avoid brand cannibalization. Each TECOM brand was created to meet the niche requirements of a certain industry segment, or in some cases a sub-segment, not ﬁlled by another brand. A clearly deﬁned (and communicated) brand positioning is key to avoid the blurring of the lines in the minds of stakeholders. This is obviously much easier said than done, and we have seen many large conglomerates fail at differentiating between their various brands.

What initiatives does TECOM have in place to support up and coming local talent? The Ibda’a Student Awards by Dubai Media City is TECOM’s ﬂagship initiative aimed at promoting young talent, especially national talent, in 12 categories of creative media. Our most recent edition of the awards witnessed the highest participation in the awards’ eight-year history with 2,400 entries from 20 countries. Dubai Studio City has an internship programme that aims to give young, aspiring professionals interested in the ﬁlm industry an opportunity to gain valuable work experience in media production by working alongside the entity and its business partners. This programme has proved to be extremely popular as it has provided an avenue for bridging the gap between theoretical classroom knowledge and real-time workplace experience.

What are the future plans for the TECOM brand? At the moment, we have 11 brands under our management ranging from a broad industry spectrum. Our primary focus in the near future is two-fold. The ﬁrst is to nurture our

What is your advice to our readers on how to build, maintain and market a brand? The roots of a strong brand lie in the research that is done in the initial stages of the branding process. Before a brand is launched, it needs to be supported by empirical research that makes the case for why and how your brand will slot in the existing landscape with all the other competing brands. The research stage sets the tone for the entire brand building process as it defines your brand’s strengths and weaknesses vis-à-vis your competitors, determines your target audience’s needs and how your brand will fulfill these needs, and so on. In a nutshell, branding research is of paramount importance in building your brand as these are the preliminary steps that set a strong foundation for the future. Strong brands are also built from the inside out. Once you define your brand and its attributes and promise, and before launching the brand externally, there must be consensus and acceptance of the brand by internal stakeholders. There must be an alignment between the messages your brand communicates to its external and internal stakeholders.

>>> mature brands, and maintain the same level of growth. Our most mature brands have an occupancy rate topping 90 per cent, and our focus is to sustain this level. Our second objective is to nurture our youngest brands, providing them with the necessary support and strategic direction and help position them to achieve the same high standards that are expected of all our brands. Some of our newest brands are active in cutting edge and high-growth industries such as clean energy, and we are keen to fully capitalize on the expected regional growth of these sectors. As for the parent brand, TECOM Investments, we will be more active in demonstrating the unique value-added proposition for business partners to be located in a TECOM free zone. This USP stems from our cluster beneﬁt, and we intend to continue to aggressively communicate this aspect to our existing and potential customers. We will also be making a greater effort to ensure that our business partners are better able to interact with other business partners across our 11 free zones. We believe many collaboration opportunities exist for our business partners in various industries and thus we intend to double our efforts to realize those opportunities.

22 23

KNOW WHO Dr. Amina Al Rustamani You cannot communicate a certain attribute to an external audience if the internal audience is not in agreement with it. For example, a brand cannot position itself as ‘open’ and ‘welcoming’, yet the managers in the company are distant from their employees and their ofﬁce doors remain closed. As an example, at TECOM Investments, our customer service philosophy is ‘committed to your success’. This is the promise we make to our business partners. However, if we were a company that had no systems and mechanisms for the growth and success of our own employees, then I do not think we would be successful in communicating this attribute to prospects. This is a fundamental mistake that some organizations commonly make – they try to externally communicate attributes that are not supported internally. Finally, all your brand’s touch points must reinforce your brand’s identity. Brand touch points exist everywhere, not just in your advertising or website, but in the invoices you send your business partners, the way your phone calls are answered in your ofﬁces and the cleanliness (or lack thereof) of your premises. All these aspects are part of the marketing of your brand and you need to ensure that they are all working together to embody your brands attributes. For example, your brand cannot claim a luxury status but have ‘low-cost’ furniture in your reception area. The whole organisation must be infused with your brand’s essence.

What in your opinion is a successful branding campaign, starting from logo to campaign and awareness? Perhaps, I am a little biased because this company was born in TECOM Investments, but I would say one of the best examples of a strong brand campaign is the one that accompanied the launch of du. Since its inception, du has positioned itself as a central part of UAE culture and heritage, and this message is constantly and consistently communicated to its stakeholders. du supports this message by not only featuring UAE nationals in their advertising, but also by launching television spots focusing on the heritage of the UAE as well as having a high number of their senior management composed of UAE nationals. Again, the success in their message is that internally and externally, their messages are aligned with each other and du embodies it in its words and deeds. The du logo is also remarkably unique. While traditional marketing tells you that your logo must be the same all the time, du has proven that you can in fact change some aspects of your logo – in their case the colours - and still have the logo remain true to your brand. Whereas most corporate logos are constrained by strict and rigid brand guidelines, du’s logo is ﬂuid and adaptable.

The du logo is also remarkably unique. While traditional marketing tells you tr that logo must be the same all the that your lo time, du has proven that you can in fact change some aspects of your logo – in their case the colours - and still have the logo remain true to your brand.

But perhaps the most successful aspect of du’s branding campaign is its use of sensory branding, something that is lacking in the regional branding landscape, and is done sparsely globally as well. For the overwhelming majority of companies, their branding focuses primarily on the visual senses (logo, colour schemes, fonts, etc.)and very little attention is paid to the other senses, which play just as big a role in the consumers developing an afﬁnity (or aversion) to certain brands. du has been successful in creating a tune that many individuals, upon hearing, will immediately associate with the company. This is a truly unique and outstanding achievement, and many companies should seek to replicate it if they wish to strengthen their brand equity.

Can you tell us a bit about how TECOM’s logo was developed and how the initial branding strategy was done? TECOM’s logo is an offshoot of Dubai Holding’s logo, the parent company. All of Dubai Holding’s entities have the red ‘check mark’. This is meant to underscore the positive associations of the brand, and underline our commitment to excellence. Our name, TECOM Investments, has its origins in the decree issued by the late Ruler of Dubai Sheikh Maktoum Bin Rashid Al Maktoum, establishing the Dubai technology, electronic commerce, and media free zone in 2000. Our branding strategy at that stage focused primarily on positioning as the driver of these industries. However, over the years, our brand, and consequently, our strategy, has evolved to encompass brands that fall outside of these sectors, such as clean energy and outsourcing. Our strategy now focuses on building our brand reputation as a premier developer of knowledgebased business parks.

With new technologies and the change of information resources, what do you think of alternative marketing to promote a brand further and do you implement any of them? As mentioned earlier, each brand has the autonomy to market their brand depending on their own strategy and target audience. We do not have a single marketing strategy that is passed down to the brands to implement. Therefore, each brand utilizes its own tools, be it social media, traditional media, or guerilla marketing tactics, depending on what best suits them. Certainly, the growing proliferation of technology has meant that now, more than ever, there are much more opportunities and choices that need to be made. In particular, social media is becoming ever more pervasive, and this is the one area we are getting more and more involved in - though this is being done on a brand level and not on a parent company level. Some of our brands have launched their own social media strategies, while others are utilizing it piecemeal. W understand that there is no one-size-ﬁts-all strategy and they are We each e ac progressing according to their own plans.

10 11

Ibda’a Awards Winners 2009 20 November, 2009 – Dubai Media City (DMC), the region’s leading media hub and a member of TECOM Investments, hosted the eighth Ibda’a Student Awards at a gala ceremony, honouring the winners of 12 categories from over 2,400 submissions, including over 170 from the UAE. Following is the list of winners in the respective categories: 1 2 3 4 5 6 7 8 9 10 11

Journalism (non-news) - Stacey Pinto, UAE Radio feature - Serman August Serra, Philippines Animation - Sanjay Jangir, India Graphic design - Purva Bakalkar, India Analogue photography - Mohamad Amin Davaei, Iran Digital photography - Reza Milani, Iran Print advertising - Neha Katkar, India TV advertising - Thabit Al Mawaly, UAE Film TV feature - Rangoli Agarwal, India TV documentary - Amir Masoud Hosseini, Iran Mobile ﬁlm - Naeema Amjad, Pakistan

The award for the ‘Best UAE Project’ from submissions of the UAE-based university students was presented to Afra Bin Dhaher for her outstanding entry in Digital Photography category. Additionally, Brash FZ LLC awarded an internship to Fatima Obaid from the UAE for her creative submission.

bdullatif AlMulla, Group CEO of TECOM Investments, Abdulhamid Juma, Chairman, Dubai International Film Festival, and Mohammad Abdullah, Coordinator General of Ibda’a Student Awards presented the awards to winners at the event that was held at the DMC Amphitheatre. Senior government ofﬁcials and representatives of leading media organisations and academic institutions, were among those that attended the event. Mohammad Abdulla, Coordinator General of Ibda’a Student Awards, said: “One of the important initiatives of Dubai Media City is the Ibda’a Student Awards that has established itself as an important platform for interaction between students and industry professionals. “We are proud to say the creative entries we received this year from around the world were truly outstanding. Such works also raise our conﬁdence in the capabilities of the next generation of media professionals.

We are optimistic they will lead the industry to scale new peaks in professionalism.” An elite panel of judges from the International Advertising Association – UAE Chapter (IAA-UAE) selected the winners of the Ibda’a Student Awards that is presented by Ziad Galadari Group. The Digital Design category received a number of entries despite being a new addition in Ibda’a Student Awards 2009. However a shortlist of ﬁnalists did not emerge as none of the entries matched all the set criteria. Over the years, the Ibda’a Student Awards have attracted a multitude of entries from the GCC countries and beyond. Its success has been marked by an exponential rise in the number of entries and participating countries. For the 2009 edition, the submissions were received from over 20 countries including ﬁrst time entries from China, Libya, Lithuania, Malaysia, Norway, Singapore and Thailand.

KNOW WHO Ibda’a Winners 2009

Animation Sanjay Jangir

TV Advertising Thabit Al Mawaly

The winners received attractive prizes including internships from leading global media organisations. This year’s edition of Ibda’a Awards was cosponsored by Arabian Automobiles, Dubai Media Incorporated (DMI), AMG, OMD, Dreamdays and Grand Midwest Hotel. While Emirates Integrated Telecommunications Company - ‘du’ was the communications partner, Amrita TV, BBC World, Brash FZ LLC, CNBC Arabia, Motivate Publishing, Showtime, Think Tank, Xische, Wolf Productions, Zee TV and Zee Aﬂam supported the event as the media partners. ARN, CNN, CNBC Arabia, Brash, Leo Burnett, International Media and Production Zone (IMPZ), Dubai International Academic City (DIAC), Xische, MBC, Motivate Publishing, Nikon, Team Y&R and Zee Aﬂam gave away the awards to the winners.

Questions to the Judges Q1: The Ibda’a awards can be seen as a catalyst for promoting emerging media talents. I can imagine that many young creatives use these awards to promote their work. How many entries did you have this year and where were they from? Q2: How did the cultural background reﬂect on the entries? Can you say for example that creatives in the UAE are more into ﬁlmmaking than audio production? Or are the media preferences equally distributed in all entries from the different cultural backgrounds?

Q3: It is always difficult to judge creativity, how did you go about it? What were the criteria that needed to be met to make it on the short list? Q4: Technical requirements are easier when judging established media disciplines, like filmmaking or graphic design. What about new media requirements, like mobile video or web design? How did you manage to find a common ground for these entries, since software and hardware used, had to be on an equal level? Q5: I must say some of the work was remarkable not only for media students but for creatives in general, did you have a “wow moment” when viewing the entries? Q6: What is the extra mile that finalists needed to go to win their category? Q7: What are you looking forward to in the next edition of Ibda’a awards? Q8: Do you have a piece of advice for young creatives anticipating to participate in the Ibda’a awards?

>>>

26 27

Mobile Film Naeema Amjad

We are proud to say the creative entries we received this year from around the world were truly outstanding. Such works also raise our conﬁdence in the capabilities of the next generation of media professionals.

Answers from the Judges Andrew Durkan, Executive Creative Director, The Tribe A1 A large percentage was from the Asia region. A2 In the Feature Film category over 90% of the entries were from India, where the ﬁlm industry is particularly strong and the schools have excellent facilities and quality teaching. Notably the Philippines offered a high number of entries in Radio and Iran featured highly in the Photographic category. A3 It was a combination of good ideas and good execution that made it on to the short

Digital Photography Reza Milani

list. Fundamentally the best ideas and execution will always win. A4 Overall the new media categories were less strong, but this is understandable because both mobile video and animation have speciﬁc technical challenges that require expertise and fantastic facilities not available to the average person so we did see a general lack of quality in those mediums.

stand them in good stead for their future careers. Widening the geographical reach will also automatically raise the level of quality across all of the award categories. A8 My advice would be to make sure that they are clear about the criteria for entry. Strive for a strong concept that meets the brief and execute it well.

Millie Peres, Manager Quantitative Research Pan Arab Research Centre

A5 Yes, I was especially impressed by the TV Film category. The shortlisted students’ work was really quite exceptional.

A1 There were more than 2,400 entries with 500 on line entries which is highly signiﬁcant given the growing role of social media and next year I hope to see the numbers of entries grow even further.

A6 A strong concept is the fundamental building block for success.

A3 Creativity is obviously a very challenging element to judge as it is subjective but generally for me I judge on how the work ‘moved’ me by what kind of emotional response it provoked. Did it make me smile, shock me, impress me with a big idea or make me view something in a different light? Was that the response that the student was aiming for?

A7 I would like to see the IBDA’A awards broadened to a wider audience, say from Europe etc. It’s an excellent competition with real opportunities for students to travel to Dubai and to win internships which offer invaluable experience and

A4 There were many technical considerations in the new medium of mobile video and it was a difﬁcult category to judge because

KNOW WHO Ibda’a Winners 2009

Film TV Feature Rangoli Agarwal

TV Documentary Amir Masoud Hosseini

the diversity of the quality, editing and presentation varied enormously. A5 Yes, there was some outstanding work and while I will not mention any speciﬁc piece, I was impressed by several in the animation category that really captivated the judging audience. A6 Many students appeared to have spent a lot of time developing their work and in considering how it would be received by an audience and this showed real dedication. A7 I look forward to seeing the competition grown both in quantity of entries and quality of work and to how the new categories will develop from a creative and technical standpoint. A8 Students should learn from studying previous years’ entries and judge what worked and what didn’t. Understanding and adhering to the brief and following

the guidelines are essential to producing a successful entry and of course are good lessons for future success in whatever sector the students pursue in the future.

Barry Gray, Managing Director, Gray Business Communications

labour. Indeed there were some submissions that would not be out of place appearing in the international press. A8 Some of the entries reﬂected limited exposure to quality print media and I would recommend all aspiring writers to make the effort to regularly read the leading international press to pick up tips on style and construction.

Non speciﬁc general comments The quality of the Ibda’a journalism entries was broad. They ranged from entries that had already been published in respected publications to those from enthusiastic amateurs. Indeed, some of the entries showed a lack of any formal training and some were of the highest standard and covered topics that warranted exposure to a broad, international readership. A5 Nominations that stand out for special mention from me are those that had been researched well and written forcefully and unambiguously on highly relevant topics such as women’s rights, corruption and child

IAA UAE Chapter Comments As a one-of-a-kind global network championing the marketing communications industry, the IAA UAE Chapter played a key role in ensuring the transparency and ethical management of the Ibda’a Awards 2009. The IAA UAE Chapter enlisted 25 judges representing a cross section of the industry including client side and agency; all experienced professionals in a number of mediums to assist with the judging process. Over 2,400 entries were submitted from a broad geographical mix. The IAA UAE Chapter ofﬁce was used as the award venue for the display of all of the entries and to host the judging process for all award categories. The IAA has 4,000 members, across 56 chapters in 76 countries.

28 29

elieve that or not, comparisons are being made every day and in advertising the quest for a competitive message is nothing new. For decades fellow advertisers have searched for a comparison that would turn heads and draw cash away from the competition. American Express versus Visa in the seventies, Pepsi versus Coca Cola in the nineties or Apple versus PC just last month, for example. But in the UAE it seems we are all too courteous to our competitors and there is a cultural tendency not to take a risk by drawing comparisons with competing products. So I want to take this opportunity to explain why competitive advertising is a form of marketing that deserves to be considered and illustrate how, if done with enough ﬂair and creativity, can pay dividends. Probably the worst indictment leveled by consumers against comparative advertising is that it is generally not perceived as being much fun to watch. In fact, they think most of it is deadly dull and it’s probably justiﬁed because advertisers feel that in order to be perceived as making real, credible claims the execution must be delivered in a somber and serious tone. The problem with such an approach is that there are very few issues which are that serious. Maybe drug abuse, disease or war but not consumer goods! So if we take an overly earnest approach to the comparison it doesn’t lend credibility, but rather it’s seen as dull, boring and self important.

However, if comparative advertising is fun, charming or otherwise entertaining it can be an extremely strong and convincing piece of advertising. Here in the UAE, understanding the potential power of humor led to the creation of two characters, Hiroshi and Osamu for Chevrolet. The integrated campaign centers on a Japanese car manufacturer which sends the two hapless characters to the Middle East on a mission to ﬁnd out why more people are choosing Chevrolet instead of their cars. Hilarity ensues whilst drawing comparisons, making the campaign engaging, relevant and motivating. Best of all it puts

the competition in a difficult position because Chevrolet, by taking the initiative first, has positioned themselves as a leader making it very difficult for the competition to race back to the drawing board, improve the product and blow the demonstration away. In this instance Chevrolet was able to illustrate honest comparisons that were relevant to people in the market to buy a car (namely petrol consumption, safety, air conditioning etc.) but all too often comparisons are also made that may seem important to the brand but are irrelevant for the people. For example, our global research department once showed consumers a concept that compared our brand’s fresh ingredient to the competitions dry ingredient. Consumers found the comparison entirely irrelevant because the ingredients have little or nothing to do with how they made their brand choice. In fact one user of the competitive brand reasoned: “I never knew that my brand used dry ingredients. That must mean I like the taste of dry ingredients better.” So obviously our comparison was not going to change her brand preference! Perhaps another reason for the lack of comparative advertising in the region is the assumption that the competing brand has to be named. But this is not true and indeed there are even legal considerations in the UAE that prevent this. Comparative advertising does not need to directly name or reference a competing brand. Indeed many people might consider it ‘foul play’ especially if the brand is a market leader. So how can you do it without eliciting negative reactions? Almost always the answer is to be sure the difference is meaningful and made with charm much like the Chevrolet campaign. On the other hand when your brand is number two or worse, and you do have a real and meaningful product difference over the leader, naming the competition can get you both attention and motivation. Take for example the classic duel between American Express and Visa that began further back than I care to admit. American Express has

KNOW HOW Leo Burnett forever told us that we had better not leave home, and certainly not the country, without your ‘Amex’. Sure Visa was handy down at the local store but American Express was the card you needed. Then Visa hit with “It’s everywhere you want to be” campaign. It featured a quaint little restaurant in Boston at which contented-looking guests were dining, and then there was the restaurant owner, with four cooks at her side, having an end-of-the-night toast. At which point the narrator urged guests to “bring a big appetite and your Visa card.’ The closing line: “At Rosalie’s they don’t take no for an answer. And they don’t take American Express.” At the time American Express was known for cutting rates to merchants and restaurants if they only accepted American Express, but the advert began what was known as the “Boston Fee Party” (in reference to the “Boston Tea Party”). Owners began to revolt and switch to Visa or MasterCard and soon 250 restaurants across Boston and indeed other cities began making the switch. The campaign made Visa a legitimate travel and dining card almost overnight, proving that in this case naming the competition was the right thing to do because the information was relevant, bold, unexpected and honest! Admitting your position of number two in the

market can also bring about connotations of modesty providing your motivations and purpose still transpire through the idea. Avis launched a campaign a few years back that ran the tagline; “We’re number 2 so we try harder”. Not only did it suggest that the market leader might be resting on their laurels but it also created a gap between Avis and Hertz who were considered number three in the market. This idea might never have seen the light of day had David Ogilvy not rescued this line from the trash can of one of his art directors, proving that comparative advertising is a form that deserves to be considered. So we have to move out of our comfort zone by creating purpose-centered approaches, which seek out differentiators and exploit them in order to connect with people and inspire them to change their behavior independent of the effect this has on the competition. After all, the brand owes it to its stakeholders to communicate its beneﬁts and where its serves them better than others. This is not a sin – it’s just business! By Kamal Dimachkie, Managing Director for Leo Burnett Dubai, Kuwait and the Lower Gulf

Here in the UAE, understanding the potential power of humour led to the creation of two characters, Hiroshi and Osamu for Chevrolet.

30 31

Introduction to Online

Product Launches A lot of people think that these big, fancy launches are super complicated but I always like to keep them simple. If I consult on a launch I always shock the client by taking it back to the basics, over and over again. The whole process can be a little daunting, a little intimidating. There is a lot going on underneath the hood. It is sort of complicated perhaps.

roduct launches are also very flexible. Any business can take product launch tactics and strategies and use it in any niche, in any market, with regards to any product. It works if you’re selling a range of services online or if you’re selling offline services. Some of it might need to be adapted but you’re going to see that the strategies are often so powerful that even if you only use a small portion of them, you’re really going to rock! Product launches are also very reusable. Once you do one launch you’re going to find that the next launch is so much easier because you can often take huge chunks of what you used in your first launch and just continue to reuse it over and over. The results are very reproducible even if you change the product. It may also be replicated in the fact that you can take the material and drop it directly into your launch and it will work. It’s amazing. You’re going to see this

because we’re going to show you how to hit these mental triggers. Well, triggers are one set of tools, but using the tools that are so powerful that you can get 80% of it wrong and 20% of it right and you’re still going to do really, really well. A lot of people get really excited about tactics because they look at tactics as something they can just take and drop right in to their business and make a bunch of money. Truthfully, I’m going to show you some amazing tactics that you’re going to ﬁnd really cool, tactics that are sexy, everyone loves them. If you take those strategies and drop them into your business and apply them over time, you’re going to see not just quick little pops of cash from nice little launches, but you’re going to experience a long-term cumulative effect as your business grows from strength to strength.

KNOW HOW Online Product Launches

Now what I want to do is walk you through some of the strategies. I’ll give you an overview of the strategies and of the tactics that I use and then we’re going to go from there to actually focusing in on exactly how I’ve used them and how you can use them too. First strategy. Lists of prospective customers and current customers are very important. Even if you don’t have a list, this information is going to work for you because product launches are a great way to get a list. One of the things that we focus on is constant list building, using your product launches to enhance your list. I love to use multiple lead sources and multiple ways to build your list. There are certain situations where you’ll be able to put together a launch that will create for you a huge list literally overnight. Many times you are not going to get there immediately, you’re not going to be ready for that big bang immediately, but that’s one of the goals to be planning toward. As we get into some other things like the business launcher, I don’t want you thinking just in terms of one launch. Sure, one launch is great and think about getting your first one done. Definitely focus and keep it simple and focus on that first launch you’re going to do, but we’re going to show you how to think in terms of a whole sequence of launches. Hopefully you will be working up to that big bang where you’ve built a big list literally overnight. Relationship and conversation are two things that sort of go together. I could have combined these. Just having a list is not good enough. You need to have a relationship with that list. Once you have a strong relationship where they open your e-mails and they read your e-mails and they follow whatever you tell them to do, that’s a strong relationship. That’s what it’s all about.

I’d rather have a list of 200 people where I have a strong relationship with them than a list of 2,000 people. I’ve seen this over and over again. I had a business where I had a list of about 300 people and then I had a prospective list of about 6,000 people. That list of 300 people would buy at a rate of two or three times what the 6,000 people would buy. It’s incredibly important to understand a strong relationship is the foundation of everything we’re going to do. What we do really builds a strong relationship with your list, so it’s a beautiful thing.

Product launches are also very reusable. Once you do one launch you’re going to ﬁnd that the next launch is so much easier because you can often take huge chunks of what you used in your ﬁrst launch and just continue to reuse it over and over.

Conversation – that’s how you build the relationship. One of the ways you build a relationship with your list is by having a conversation with them and that allows you to identify products and opportunities. It gives you a strong defense against competitors, against naysayers, and now in this Web 2.0 world, where there’s so much conversation going on and everyone’s a critic, it’s great to have that strong defense. It’s great to have that relationship with people. That way if someone is out there saying nasty things about you in blog comments, the people on your list where you have that relationship, they will give you a strong defense.

Eng. Khalid Al-Zanki is the Founder & CEO of ALZANKI ENTERPRISES, a company specializing in Internet Marketing and Online Product Launches. For more information about their services and products, visit their website www.alzanki. com or call (+965) 2299-7881. Make sure to post your comments on my online blog at www.alzanki.com/blog

32 33

GRAPHICS

Does one need a multi-million Dirham branding strategy and the rollout of a comprehensive corporate identity system to be successful, or is good old-fashioned loyalty and quality still enough?

n Dubai, because of the large expat community, there is a mish mash of Middle Eastern, Indian and Pakistani stores all standing elbow-to-elbow in some of the oldest parts of the city. This would be near the Creek in Deira. Over here there is not a lot of demand for the high-end brands found in Dubai’s glitzy shopping malls. If anything there is more of a demand for fake high-end goods and a real market for all manner of no-name brands. Yes, it could be argued that big brands such as Nike, Luis Vuitton, Gucci, etc. have really effective marketing campaigns, because even people who can’t afford it, still want it, and believe that it will improve their quality of life in some way. They go after the dream of ‘social status and fulﬁllment’ that these brands create through their extensive branding strategies by faking it, so to speak. Among the thousands of people who shop here however, there are actually very few that can afford it, whether they are real or fake.

These are the people that are loyal to a shop because they know the family, or they’ve been shopping at the same store for years. Perhaps they even get a good deal, precisely because they’ve been a longstanding customer. ‘Brand loyalty’ takes on a completely different guise over here. It’s often directed at a person and not a brand. You eat somewhere because the food is good, cheap and fast. And your friends eat there because you tell them about it. It’s word-ofmouth advertising, and the best part is, it doesn’t cost a cent. Many of the businesses here are still familyowned. The owner is often the person behind the counter serving you. There is a shotgun approach in a lot of shops where you can ﬁnd anything from a watch to a range of sportswear from China to an abaya, adorned with bright fabric ﬁnishes on the sleeves and collar, with a bit of bling thrown in to boot. One particular such business has been here in Deira for 15 years and it’s owned and run

But is it Branding?

by Kareem from India. It was really the mannequin of a boy in a kandura wearing a pair of glasses with one missing lens that intrigued me enough to go inside. The same kind of shops are also grouped together, so you really need to make an effort to stand out from the other 10 shops next to you which also sell watches. As far as quality is concerned, that is debatable. Let’s just say that people probably pay the right price for the level of quality they’re receiving when they buy in Deira. As we all know, some big name brands have been known to use child labour in Asia to keep their costs down, so that they can sell it to the consumer for much more, since they’re buying into the so-called, perception of the brand. So who’s being exploited? It’s easy to understand why tourists love coming to the old parts of the city. They feel that they’re getting a sense of the ‘real Dubai’ behind all the hype,and if you read the shop names there’s an endearing innocence to them. Names like Sincere Enterprises, Paradise Trading and Strange General Trading are actually quite refreshing and bring a smile to any face.

>>>

KNOW HOW Dubai Brands

36 37

The thing that really stays with you after an afternoon of shopping in Deira, is the human interaction. Here it’s not the advertising that sells but the person who you’re dealing with behind the counter. Stopping off at a little stall in the Spice Souk, we buy two coconuts to drink. My friend asks the guy who’s chopping them up, if they’re sweet. He raises his eyes to heaven and asks her how it is possible for him to know something like this. This is not up to us mere mortals. During the 15 minutes we spent standing there, drinking our coconut water, there must have been about 20-odd customers that came up to the stand buying fruit juice. It seemed to us as though business is booming. We would have never had this interaction in the chain outlet of a food court in some mall. The proprietors of these little ‘no-name’ shops, stand in stark contrast to the often listless staff one encounters in the big malls, where employees don’t even know what they stock in their own store. Often the employee doesn’t represent the brand they’re working for. It’s just a job and they get paid a salary for it. The people running their little shops in Deira, can’t afford to be ﬂippant about customer service. They are their own best advertisement. What happens in Deira is not branding in the traditional sense of the word. Ironically, unlike the fake brands that are on sale here, the place actually has an authentic feel. That is perhaps precisely because it’s been left to develop organically and over an extended period of time. To design a place like Deira would be to ruin it. In this case, you just have to stand back and watch it all unfold in a beautifully chaotic and haphazard way. By: Lezanne Swart

KNOW HOW Dubai Brands

What happens in Deira is not branding in the traditional sense of the word. Ironically, unlike the fake brands that are on sale here, the place actually has an authentic feel. To design a place like Deira, would be to ruin it. In this case, you just have to stand back and watch it all unfold in a beautifully chaotic and haphazard way. 38 39

Branding — An Inside Job I never really understood the depth of a brand until I worked for one. A strong one. A brand that I simply felt so loyal towards, not because I love the product and grew up with it, but because of the brand experience of working for the company.

brand by definition is how a company or product is perceived in the mind and heart of the consumer. It’s how, you, the consumer feel towards a company, a reflection of an experience with that brand or a perception developed through the media. Ultimately as Walter Landor says it “Products are made in the factory but brands are created in the mind.” Everything else that we wrap around the brand to help create that image in the mind of the consumer, is merely the visual representation of the brand. It’s the combination of name, symbol, signature, tag line, colors, graphics and images. All the elements that provide a visual reference to the company. This is external branding, making the consumers aware of who you are, doing it boldly, differentiating it to stand out in expertise and communication, with sincerity. Making it all a reflection of who you really are, or developing a system to live up to your own highest aspirations, the ones you are putting on a billboard. From here, listening to what your consumers have to say about their brand experience or perception of the product as it becomes vital for the survival of a brand, because without their approval

you will not exist as a company. That two-way interaction of communication between brand and person is always worth listening to because what is said between people is so much stronger than any marketing campaign. Branding does not stop there. It is not all about the strategy and how to translate that into an ‘own-able’ identity, with everything that includes. It’s about delivery and action without which brands don’t stand a chance of survival. Today’s consumers are no fools and are very well versed and educated in how brands speak to them. Speaking truthfully seems like a great challenge for the many brands shooting up around us today. Caring about reputation, honestly, doesn’t seem to be of great concern. Few companies understand the signiﬁcance of delivering on the promise, and the ones who truly do, and make it a priority not just to say that they do but actually live by it, are the ones we keep coming back to for more. Creating a strong external brand is what most agencies focus on in developing the strategic and creative work, but potentially with a blind eye to the big how. Maybe

it’s not that agencies forget the value of an internal structure or how to implement the brand but unfortunately just not feeling the need or responsibility to ask the client about those speciﬁc plans to fulﬁll the brand promises. This is where we start talking about the internal brand because a truly successful brand starts as an inside job. It’s like a person with a strong character and set of values, something that can’t be faked. We feel it saturating everything they say and do because they are it. There is no pretence. Brands work the same way, from within the organization and out. I was hired by LEGO Company to join their internal creative team in Denmark and one of my major tasks was to be brand ambassador across many surfaces. Having worked for several design and branding consultancies I know the relevance of thoroughly understanding the companies we brand, and in comparison to my years with LEGO, that depth is hard to hit when you only have limited access and time with the company. More importantly though, is how fully inspired the employees of that brand are in their every day work to co-create and help sustain a great brand and company. This is where internal brand management becomes an important part of the marketing department’s role. LEGO does it really well because, up until recently, they were family owned and run for 3 generations, and with that comes an innate understanding of how important reputation is – beyond needing to talk about branding. The framework of this concept comes from the top down. The leadership of a company must feel the brand, understanding its relevance and be exposed to its value. The leaders of a company set the tone for how the organization aligns itself with the brand mission and they ultimately decide how to manifest the internal brand with an action plan. They put the tools in place for how to translate the brand promise into action, to make the connection between strategy and behavior. When it starts on the inside it becomes about how the employees across the organization can be part of the brand and deliver on it in their daily work to stay aligned with the core values.

KNOW HOW Truth in Branding The brand managers together with HR are responsible for creating a culture where employees feel compelled to take ownership of the delivery on the brand promise, as individuals with an understanding of the corporate brand and values. Employees must feel inspired and empowered to take the message forth in a way that is authentic to them. One of the ways LEGO executes this is by inviting every new employee to the Brand Introduction Day. From executive to factory worker, everyone joins in on brand building exercises to understand the importance of delivering on the brand as a genuine commitment from each individual with their respective function. Of course all exercises are carried out in the LEGO spirit – through intelligent play. To hold your weight as a company every employee representing the organization must also ﬁnd the brand trustworthy. If you instill a sense of pride and cultivate an atmosphere of loyalty across the entire company, and inspire the brand to be lived in every action and word, then that will infuse the external brand experience with sincerity. The brand lives as much in the minds and hearts of your people as it does in your clientele. By making the employees identify with the brand, fully understanding its value and feeling it’s conveyed in their work place, reﬂected in how they are cared for and treated, and in how the work environment lives up to the bigger promise and purpose, the people will want to live up to the brand promise and deliver on it because they take pride in what they do and who they work for, ultimately being more productive, more innovative, more motivated and excited about the work they perform. Believing more in the greater purpose and how they can contribute to it. At LEGO employees are encouraged to look at children as their role models. Not just the toy designers but every employee, understanding that to stay connected to their consumer they must approach the innovative side of their job as children – inquisitive, creative and imaginative – with an innate urge to learn. By doing so each employee naturally brings forth the brand values in every movement towards delivering on the brand promise and in creating that vital emotional connection to the consumer.

It’s like a person with a strong character and set of values, something that can’t be faked. We feel it saturating everything they say and do because they are it. There is no pretence. Brands work the same way, from within the organization and out.

In a time where companies and brands seem to collapse together with the economy, I like to believe that it’s the pendulum regulating a balance that has been way off due to undeliverable promises. When stakeholders and investors pull out it’s because they don’t believe. When people stop buying it’s because they question the need or the actual delivery. The survival of a brand boils down to those that are the strongest in saying and doing, because consumers return to whom they have faith in. LEGO has survived burning down to the ground a couple of times, a World War, and most recently, ﬁnancial disruption. They have survived and continue to grow because there is passion and integrity behind the business model and because it’s so obvious to the employees and the consumers that it’s a trustworthy brand that continues to live up to what they promise.

Unfortunately, in a place so potent with image identiﬁcation as in Dubai, the value of stimulating such internal brand awareness seems lost. External positioning becomes a façade, and I promise you, consumers see right through it. Through investment choices management also make branding choices. The need in Dubai for more and bigger and best can hurt the brand because to sustain the growth of the company, the brand is often compromised in value due to a poor product outcome. Somehow along the way the brand begins to accommodate choices, because of deadlines and budgets, which ultimately lead to a collapse of the brand because the ﬁnal result is nowhere near the promise. A company must make brand-sustainable choices and investments, otherwise it becomes clear to the public that the decision makers don’t even believe in the brand values themselves. If a brand is not delivered on internally how can it be done so externally? Maybe if reputation weighed a lot more in the mind of decision makers across the board, then a two-way loyalty would be a more frequent experience. Because of Dubai’s transient nature, strong internal brand values seem compromised. When people arrive with the intention to exploit a system for all it’s worth, or with similar non-holistic attitudes, that will be what saturates the brand, because everything you do is an indicator of your intentions, obvious or not. Nowhere else in the world have I seen billboards the size as they are out here, but that doesn’t make the words on them any more truthful. The lies are just easier to read and sometimes that more obvious. Advertising does not make the brand, though the agencies would like for you to believe that the more space you buy the more you weigh. The value is not in what you look like or how frequently the consumer spots you around the city. Value is in the company who truly lives their brand, in the doings of people who care about reputation and actually understand that action within a company speaks the loudest to the external consumer. The strength of a company is in how well they perform across the organization, how well they communicate it and how well they deliver on it.

From a designer’s perspective this makes for a great company to do work for because when I, as the employee, am convinced and committed, I then take pride in delivering the best communication. In fact, back in the day, I almost had a LEGO miniﬁgure tattooed on my arm in pride. To evoke such enthusiasm in every employee makes for excellent brand ambassadors who together create the foundation of a company’s most valuable asset – their brand. “He that gives good advice, builds with one hand; he that gives good counsel and example, builds with both; but he that gives good admonition and bad example, builds with one hand and pulls down with the other.” Francis Bacon By Line Maria le Fevre

40 41

Strokes of genius Wissam Shawkat is probably what one would call a veteran in the ﬁeld of graphic design in Dubai. He has both designed and localized scores of typographic and calligraphic icons and logos in Arabic.

f you’ve seen the Dubai Aquarium logo, the family of RTA logo’s such as Dubai Taxi and Dubai Metro, or even the environmental graphics which were on display in DIFC, then you’re already familiar with his commercial work. This is really just the tip of the iceberg in terms of his extensive portfolio. Aside from being a graphic designer, Wissam also does fine art calligraphy commissions in classical and contemporary styles, gives lectures and talks and his work has appeared in publications, both in the Middle East and well as abroad in Europe and the USA. As a calligrapher, Wissam is largely self-taught. In 1984, at the age of 10, he realized that he had found his path in life, when he received his first calligraphy lesson from an inspirational teacher in Basrah, Iraq. The abstract shapes of the Arabic letters and the beauty of what could be created by the movement of one’s hand across the page with ink and a calligraphic pen, awakened a passion in him, which you can still see in his art today. Shortly thereafter, the citizens of Basrah were confined to underground shelters for almost

3 months, while the Iran-Iraq war raged overhead. During this time, Wissam was constantly practising his new-found passion for calligraphy, to fill the long hours. He feels that more than anything, in order to become really great at this art form, or as it were, a master calligrapher, one needs patience and a lot of it. Wissam, who has taught many courses for young people, notes that although there is a lot of interest amongst the younger generation to learn the art of calligraphy, the patience is often lacking. Young people belong to the instant generation of everything being available and accessible right here and right now, often at the touch of a button on a computer. Calligraphy falls into a category which can only be learnt by going the long way around. Wissam says that for him it has become a form of meditation. The many hours of practicing and creating the perfect composition and the fluidity of the pen strokes, brings silence and focus to his work. When he’s working on the final art piece, after months of preparation, there are no mistakes.

Basmala - Jaly Diwani Style, Ink on treated paper, Private Collection – The Farjam Collection

KNOW WHO Wissam Shawkat

At the time he started designing Arabic and localized logos, he was still drawing each logo by hand ﬁrst and only then scanning it in and creating the digital artwork. He ascribes his perfectionism and attention to detail to his background as a civil engineer. He used to draw technical drawings by hand in the days when AutoCAD wasn’t even a blip on the horizon yet.

nearby and explains what a localized logo should not look like. Even to my untrained eye I can see that the Arabic version does not do justice to the English logo. He stresses that the single most important point is to not just take an English font and chop it up to convert it into an Arabic version of the logo. This is what happens most often and the feel of the English logo is lost. Wissam studies and researches the brand to get a sense of it and then creates the Arabic logo from scratch, paying careful attention to the stroke width, the ascenders and descenders, the delicate balance of the spaces in between letters and recreates the character of the original brand. He very rarely uses Arabic fonts to create a logo. Which is probably what sets him apart from the competition and would explain why his name is known in all the major agencies across Dubai.

Wissam works in a variety of different styles for both his art and his commercial work. In time, he has also developed his own calligraphic style, which is more modern, but based on traditional styles. This style of calligraphy is created with the same tools but there’s a more contemporary feel to the shape of the letters. As he says, ‘What are we adding to the art of calligraphy if we do not express our own style?’ This freedom of expression is what will pave the way for the evolution and survival of this thousand yearold art form.

Does he think the design landscape has changed since he started working in Dubai? He feels that the brand experience in Dubai is better than in some of the surrounding countries in the Middle East, that there’s

When asked if he would offer some advice on localizing an English logo, he points to a shop

more brand awareness here and that the design industry is deﬁnitely growing. Yet, according to him, there still doesn’t seem to be enough research and conceptualization done on a lot of projects in this region. There is a copy-cat mentality and then of course there are certain limitations which are imposed on creatives here, which one might not necessarily encounter in Europe. When I ask him how he ﬁnds the balance between creating calligraphy as art versus commercial calligraphy, he smiles and says, ‘I treat design as an art’. Any design project is as important as a piece of art to him. A logo should be able to live on and be something that one is proud of having created. It’s part of one’s legacy, which is why he always adds something unique and distinctive in all his work. Wissam is content in a way that only someone who really loves what they do can be content. If you look at how far he’s come from being a little kid with a big dream, you can easily understand why.

1 RTA, © The Brand Union, Wissam Shawkat 2 Park Hyatt, © The Brand Union, Wissam Shawkat 3 B&O, © Bates Pangulf, Wissam Shawkat 4 Barclays KSA, © Modulex Signs, Wissam Shawkat 5 Logo design option for Bayt Nanay Restaurant,© Z Com, Wissam Shawkat 6 Calligraphy design option for Dubai Culture, © Leo Burnett, Wissam Shawkat 7 Calligraphy design option for Dubai Islamic Bank, © Bates Pangulf, Wissam Shawkat 8 Dubai Bank, © Grey WW, Wissam Shawkat 9 Personal logo design, © Siddiqi & Sons, Wissam Shawkat 10 Dubai Aquarium, © Brash Branding, Wissam Shawkat 11 Edmonton Elm, © Pink House Production, Wissam Shawkat 12 Dubai Culture and Art Authority DCAA, © DCAA Landor Associates Dubai, Wissam Shawkat

42 43

1 1 & 2 Environmental Wall Graphics Design for DIFC (Dubai International Financial Center). Calligraphy by Wissam Shawkat. Design by Wissam Shawkat and Diana Hawatmeh 3 Calligraphy design engraved on the stone on the façade of the cultural and Scientiﬁc Association Building in Dubai, UAE 4 Basmala, Wissam Modern Style, Ink on treated handmade paper, Private Collection, HE Mr. Juma’a Al Majid, Dubai, UAE 5 Basmala, Wissam Modern Style, Ink on treated handmade paper, Personal Collection of the artist

KNOW WHO Wissam Shawkat

As he says, â&#x20AC;&#x2DC;what are we adding to the art of calligraphy, if we do not express our own style?â&#x20AC;&#x2122; This freedom of expression is what will pave the way for the evolution and survival of this thousand year-old art form.

44 45

KNOW WHO Wissam Shawkat

4 1 Circle Mashq in Jaly Thuluth style, ink on treated paper, Private Collection, Ministry of Culture, UAE 2 Quranic Verse – Jaly Thuluth style, ink on treated paper, Private Collection, Muna Al Gurg, Dubai, UAE 3 Mulsaq Design: 1 of the 19 selected designs for ‘Project Mulsaq’ of the ﬁrst Khatt Design Collection of wall stickers 4 Design and Art direction Catalogue design for Al Basmalah Calligraphy Exhibition, Client: Dubai Arabic Calligraphy Centre 5 Arabic Calligraphy Styles – Courtesy of the Farjam Collection

Wissam Shawkat wissam74@eim.ae www.wissamshawkat.com +971 50 474 4130 Photo courtesy of Anthony Velasques

46 47

Student’s Showcase Box Hill College Kuwait

Fudda Bujbara

Biography Fudda Bujbara is a second year scholarship student at Box Hill College, Kuwait. She majors in Interior Design and contributes creatively in Kuwait. Fudda is a student writer for the Kuwaiti magazine ‘Student Talk’. She has a passion for photography that she has inherited from her father, the artist and photographer Adel Bujbara.

KNOW WHO Student’s Showcase BHCK

48 49

Doa’a Sabbagh Symbol Design and Corporate Identity for the Australian Embassy, Kuwait Interview with competition winner Miss Doa’a Sabbagh.

iss Doa’a Mustafa Sabbagh is a second year Graphic Design student at Box Hill College Kuwait. She recently won the Australian Embassy design competition in Kuwait.

sketching and research. I sketched so many ideas then ﬁnalized four of them; I chose one to illustrate digitally. I used illustrator to create my logo, which was the kangaroo with the Kuwaiti Towers.

MP: Do you have favorite fonts or colors? How do you go about choosing the right ones? DS: I love the Futura font family and Mrs. Eaves. Well I like working with colors but I prefer black and yellow because I feel these are both very strong. Choosing the right colors and fonts or typeface, it depends on the design and the concept which I am dealing with. For the Australian Embassy logo design That symbol/logo is now being applied solution I followed the “less is more” rule. to a range of stationery and promotional products as the new corporate identity for MP: What software do you work with? the Australian Embassy in Kuwait. DS: Mainly InDesign, Adobe Photoshop and Adobe Illustrator. MP: First off, can you tell us a bit about yourself and how you became interested MP: Where does your inspiration come from? in design? DS: My inspiration comes from reading books, DS: I was born in Lebanon 1989, I’ve lived in and see other designers work online or going Kuwait since I was two years old. I’m patient to exhibitions. The competition called for a design solution for a new logo to be used by the Australian Embassy in Kuwait. Students were asked to present a design solution that communicates a clear message about the relationship between the two countries by incorporating symbolic visual references that suggest some of the Australian and Kuwaiti characteristics.

For the Australian Embassy logo design solution I followed the “less is more” rule.

and I work hard…I decided to study graphic design to be able to express my creativity MP: What are your favorite design resources and my passion for art. and where can we find them? DS: I have a lot of design resources like CMYK MP: What was the last book you read? magazine, Computer Arts Magazine and DS: ‘Dream of the Water’ by Nada Jarrar. Media Production Magazine. I also love AVA Academia books. You can find them online: MP: What was the last movie that www.avabooks.ch moved you? www.cmykmag.com DS: ‘UP’ (Directed by Pete Docter and www.computerarts.co.uk Bob Peterson), I love the animation, the www.mp-mag.com characters are amazing, I felt everything with them. MP: Where do you see yourself a few years down the line? MP: How long did it take for you to design DS: I still have a lot to learn, so I will keep the Australian Embassy competition logo? studying and hope that will take me further DS: Four Weeks. I spent the first week with into design as a profession.

KNOW WHO Doaâ&#x20AC;&#x2122;a Sabbagh

I love the Futura font family and Mrs. Eaves. Well I like working with colors but I prefer black and yellow because I feel these are both very strong.

50 51

PHOTOSHOP PHOTOCINE - Cinescape Alice Ad Graphic Tutorial In this tutorial, Cinescape will show you how they created their Alice Ad.

Brainstorming and sketches: First, we brainstormed what we wanted to do and say and decided that the brief would highlight the concept of imagination. Then we created a feminineand friendly illustration of Alice in Wonderland since it is one of the best stories to encapsulate the world of imagination, one which we thought reﬂected the Cinescape Spirit. In addition, it’s the next Tim Burton movie that is coming soon to Cinescape theaters.

Elements: We collected a range of different graphic sources with a variation of textures to achieve what we wanted. We were also inspired by Cinescape graphic visuals. Then, we made the illustration.

The Internet is the easiest way to ﬁnd high resolution pictures. For example, Google Images is an amazing source if inspiration. Alternatively thewebsite www.cgtextures. com, where you can download for free high resolution pictures, is great if you are working on a tight budget.

You could also draw it by yourselves or take your own pictures!

KNOW HOW Cinescape Alice Ad Tutorial

Background: We created a Photoshop ﬁle with 300 dpi resolution, size 24cm × 28cm for MP Magazine.

We chose front and back colors; light blue for the ground and cyan for the sky. For the layer 1, we selected the ground area to be in the size of a ¼ of the page. Then, we ﬁlled the selected area with the front color (alt + backspace). After that, we inversed the selection (cmd + shift + I) and we ﬁlled it with the back color (cmd + backspace).

We created a second layer (shift + cmd + N) and we outlined a town with polygonal lasso tool (L). Then, we kept pressing (shift) to get the right angle whilst tracing the town. We closed the selection and ﬁlled it with the front color (alt + backspace). We brought a picture of windows downloaded from cgtexture and we placed it up to layer 2 and put the mouse between the two layers (layer 2 and the windows). We pressed (alt + one left click on the mouse). Thereafter, the windows took the shape of layer 2.

7 6

Middle Ground: We searched for a picture of a 1930s’ groom. Then we outlined it without the head. We replaced the head with a ﬂower stem and we duplicated it (cmd + alt + shift +T).

We pasted ﬂowers on top of each stem and placed a pair of moving eyes -which were found in dolls’ pictures and then we drew the mouth on each ﬂower by hand.

52 53

Old camera effect: We selected all the middle ground’s layers and we combined them. (cmd + E). From the menu, we opened ‘images’ and chose ‘adjustment > channel mixer’. We removed some cyan, magenta and yellow from the control panel to get an old camera effect.

The character: We hand drew the body of the character with separated parts to contain the different textures. Then we brought the textures to the illustration and we covered the design with it (alt + one left click on the mouse between both layers). We combined each part and we changed the color with image > adjustment > hue saturation from the menu. We added the legs, hands and face, taken from our own database, to the character. We then added some details like the button, some decoration on the tea pot and some shadows.

KNOW HOW Cinescape Alice Ad Tutorial

We combined all the characters’ layers and made a selection of it (cmd + left click on the layer). From the menu, we opened ‘select’and chose ‘modify> expand’, and we chose 20 pixels from the control panel. The selection size was large and it was ﬁlled with a white color on a new layer 3.

We drew the drop water from the tea pot and we added white sky with a brush behind the town.

The ﬁnal ad represented what the Cinescape brand is trying to achieve, which is to let go and use your imagination every time to enter our theaters! Voila! By: Romain Danger - Cinescape Kuwait

54 55

ILLUSTRATOR Logotype Design in Illustrator

IN THIS TUTORIAL WE SHOW YOU HOW TO CREATE A LOGOTYPE WITH PART OF THE TYPE CUSTOM-DESIGNED FROM SCRATCH. The client’s brief was to create a logo for her startup company which makes hand-made crafts and hand-stitched dolls. The goal is to ultimately become a company employing local South African women, thereby creating jobs and empowering people. She wanted something which would symbolise what the company did and create an immediate emotional connection. A logo which could perhaps resemble a tin can, with some hand-drawn elements added to it.

process, but every once in a while, the solution is just there in front of you, right from the word ‘go’. I had sketched out some ideas and had placed the type inside a tin can, but realised that the type itself could potentially take on the shape of a can. The word ‘love’ is more organic and based on the client’s handwriting, redrawn of course, I liked the fact that it breaks out of the mould of the tin can symbolising that love cannot be contained.

This logo happened really quickly. Designers know that logo design can sometimes be a very laborious

1 Always design in black ﬁrst. It’s very easy to spot mistakes when the logo is still black.

It is really important to do extensive research and brainstorming when starting the logo design process. Make sure that you really understand what your client is trying to communicate with their company’s logo and bear in mind that the logo lies at the heart of a company’s identity.

KNOW HOW Adobe Illustrator CS4/3

Start sketching out the initial concepts on paper and get a feel for the project. One can ‘think’ faster on paper than with a mouse on a computer and ideas also ﬂow more freely in this way.

4 3

In this case, I felt that the solution had to be typographic, with the secondary elements containing hand-drawn illustrations, therefore the next step was to explore different font options. I usually start off by writing out the company name in a variety of different typefaces and then I print these pages out and choose which ones have the right feel for the job.

Avenir Book was the clear winner for me in this particular case, so I started laying out the logotype as the next step. Being a simple and clean sans serif font, I felt it would work perfectly to bring across the client’s message. The idea was to create a tin can with the words in a justiﬁed shape underneath each other. Remember - Always design in black ﬁrst. At this stage in the design process it is also good to try and play around with different font weights to emphasis certain aspects of the logo. Incorporate little details, in this case for instance, the heart which replaces the full stop at the end of the word, or which could replace the ‘o’ in the word, ‘love’. Experiment with altering the shape of certain letters to really customise the font.

56 57

word, ‘Love’. Using the move tool, I arranged the letters as I felt they would work best for the logo and finally saved the file as a tiff, flattening the layers to reduce the file size.

tracing in quite a bright colour, such as 100% magenta in order to make it easier to see exactly where my lines are.

I created a new page in Photoshop and copied and pasted the letters which I felt would work best onto four different layers to form a new version of the

I subsequently asked the client to write out the word ‘love’, as I knew that she had very nice handwriting. I scanned the page in and opened it in Photoshop.

Designers know that logo design can sometimes be a very laborious process, but every once in a while, the solution is just there in front of you, right from the word ‘go’.

Returning to Illustrator, I placed the tiff ﬁle on a separate layer and locked it. Using the pen tool, I started doing a rough trace of the scan. I normally do the

Using the compound path command under Object, or Apple + 8, creates a solid shape and I then ﬁlled it with 100% black.

Now it’s time to see how this new element of the logotype is going to ﬁt in with the rest of the design.

KNOW HOW Adobe Photoshop CS4/3

Top 10 Typography Blogs 1 Type Director’s Club www.tdc.org 2 I love typography www.ilovetypography.com

It looks like the word ‘love’ needs to become more spacious and rounded, so that it will complement the Avenir font better. I also want it to break out of the mould of the typographic tin can I’ve created. I create a locked layer

in Illustrator, which contains the current logotype, and I’ve created a layer with a copy of the word, ‘Love’. I change this version into magenta in order to see exactly which changes I’m making.

3 Typophile www.www.typophile.com 4 Typography served www.typographyserved.com 5 Type for you www.typeforyou.org 6 Ministry of type www.ministryoftype.co.uk

The ﬁnal step, before exploring color options, is to make ﬁnal adjustments and tweaks to the new ‘font’ I’ve created, looking out for problem areas, where perhaps the curve isn’t smooth enough or there are edges that need some work.

One of the most fun parts of creating a logo, is ﬁnally adding colour and deciding on the right combination of colours for your client. I chose an earthy brown and vibrant red for this logo.

7 Typetheory www.typetheory.com 8 29 Letters – Arabic Type www.29letters.wordpress.com 9 For the love of type www.fortheloveoftype.blogspot.com 10 The font feed www.fontfeed.com

Font Websites Adobe Fontﬁnder www.adobe.com/type/fontﬁnder/ My fonts www.new.myfonts.com

I always try and give the client several options in terms of colour applications. The logo and identity need to be able to expand and grow.

Linotype www.linotype.com

58 59

VIDEO

each year and which one hopes will continue to flourish and function far into the future. Assuming that each of these fests can successfully define their particular outlooks and offerings in relation to one another in the coming years, the growth of the regional film fest circuit should be seen as a cinematic cause célèbre for all those who love cinema and seek to support the growth of the cinematic arts and its enterprises in the region as a cultural, social and economic phenomenon.

It was exciting to see Qatar join the ranks of GCC countries with significantly funded and well-promoted film festivals that screen both fiction and documentary ﬁlms last October 2009.

ith trendy-looking noodleshaped fonts, the sinuous Doha Tribeca Film Festival moniker marked a welcome Qatari signpost to the now bustling GCC film festival circuit which already includes: Dubai’s DIFF (Dubai International Film Festival), Abu Dhabi’s MEIFF (Middle East International Film Festival) and the comparatively smaller - but not less well defined - GFF (Gulf Film Festival). On the pure documentary side of things there also exists the Aljazeera International Documentary Film Festival which will see its 6th edition in Qatar in 2010. Now with the addition of the DTFF, local film fans and regional filmmakers can eagerly look forward to a GCC film festival season that stretches from October through April

Framing the four-day DTFF extravaganza were the inspirational sounds of the Qatari Philharmonic Orchestra at the front end– with its stunning renditions of movie-music classics – followed by a dazzling ﬁreworks display as a festival ﬁnale. Really the only thing missing in between the opening and closing nights was more time to see more movies as the programming blitz was fast and furious, spanning the equivalent of a long weekend with much to see and not quite enough time to get to it all in between the many events on offer.

Flying High For the inaugural DTFF event, aviation seemed to be a recurring theme - due in no small part to the spectacular outdoor screening of Amelia on the opening night – director Mira Nair’s take on the life and loves of the celebrated American aviator Amelia Earhart (played by Hilary Swank). As if it was all pre-planned by festival organizers and the Qatar Civil Aviation Authority, a steady stream of jetliners paraded across the starry-lit, night sky right the way through the screening of the ﬁlm. Enjoying this singular cinematic event were several thousand spectators – all of whom

Films, Fans and Fireworks DOHA TRIBECA FILM FESTIVAL (October 29 - November 1, 2009)

KNOW WHO DTFF Doha Report could be found lounging comfortably in lawn chairs set up on the grass and grounds of the chic I.M. Pei-designed Museum of Islamic Art (MIA). Nair’s presence at the film’s screening added to the impression that Doha was aiming high for its first foray into the film festival circuit – at least where quality is concerned.

The Programme With just upwards of 30 films being screened, this was not aiming to be the biggest of the GCC fests by any means. However, the carefully curated selection of films was both intriguing and regionally relevant showcasing several examples of recent Arab and Iranian cinema such as Egyptian filmmaker Yousry Nasrallah’s impassioned fiction feature Ehky ya Scheherazade (Scheherazade: Tell Me a Story), Iranian Asghar Farhadi’s tense ensemble drama 2 Darbareye Elly (About Elly) and Palestinian writer-director Najwa Najjar’s Al Mor wa al Rumman (Pomegranates and Myrrh) – the latter winning the $50,000 Audience Award for Best Arab Film. On Halloween night, a special screening of Egyptian filmmaker Shadi Abdel Salam’s restored 1969 classic Al Momia (The Mummy) was screened in the Souq Waqif for 1,500 hyped-up moviegoers – a labor of love preservation project supported by Martin 3 Scorsese and the World Cinema Foundation for which he acts as Chairman. Scorsese - along with British actor Sir Ben Kingsley, Palestinian director Elia Suleiman and Egyptian actors Adel Imam and Yousry - were just a few of the artists and celebrities walking the (electronic) red carpet at DTFF 2009 and underscoring the fest’s international appeal.

financing agent - and “Documentary Filmmaking” moderated by filmmaker Beadie Finzi - whose own documentary Only When I Dance was presented twice during the fest. Like Farhadi’s About Elly, Finzi’s doc was a DTFF import of sorts that had been previously presented at New York’s Tribeca Film Festival earlier in the year. During one panel on “Producing and Distributing Independent Films in the Global Market”, an otherwise humourful Hany Abu-Assad (the self-described airplane engineer-turned-writer/director of Rana’s Wedding) lamented that too much emphasis was now being focused on making financial returns on investment rather than supporting the craft of storytelling as such, stating simply: ”This kind of movie-making – where everyone is trying to make money and thinking about that in advance - is dangerous and a reflection of an increased influence of the American filmmaking culture.” In contrast, filmmakers based in Europe (or working with European partners) can more readily access writing/development grants and government production subsidies in support of their craft than if applying in (or trying to work in) the States. In this way, independent and auteur-driven films by Arabs have better chances of finding their feet with French, German or Dutch partners than in the USA. Along this line, one might hope that film-specific grant initiatives in the Gulf - like the recently announced Abu Dhabi Film Commission’s Aflam Qaseera - will help mature the regional environment for the establishment of additional filmmaking grants elsewhere in the Middle East and the development of government subsidy programs in GCC countries like Kuwait, Bahrain and Oman. With comparatively little or no local government-supported mechanisms to speak of in those GCC countries, the development of independent filmmaking and the screenwriting and directing crafts – not to mention the development of distribution networks and exhibition platforms for independent film – remain weak.

>>>

Toronto-based ﬁlmmaker Ruba Nadda’s lyrical and elegantly ﬁlmed “Cairo Time” closed the festival programme in the same way that it began – outdoors and beneath a starry night.

62 63

Masterclasses Masterclasses with notable directors were also programmed as part of the DTFF in 2009. Executive director Amanda Palmer – who is also Head of Entertainment at Aljazeera English - hosted an artistically elucidating and greatly entertaining Q&A on Friday, October 30th with Indian director Mira Nair as guest. Nair’s advice to ﬁlmmakers to “follow the stories which make your heart beat faster” was one of many well-received remarks in an extended dialogue with audience members who were keen to gain insight into Nair’s artistic process. The director’s advice to working with actors intoned that it was a director’s job to “create a safe environment for the actor’s to make fools of themselves in”; one of many great sound bytes that will no doubt make memorable the specially recorded session of Aljazeera’s televised program The Fabulous Picture Show (for which Palmer is also the regular on-air host). Sessions with the likes of Danny Boyle (28 Days Later, Slumdog Millionaire) and Elias Suleiman (The Time that Remains) were also advertised though some cancellations, due to scheduling conﬂicts, ended up ruling the day.

DTFF shuttle busses carried festival attendees and industry delegates between the MIA, City Center mall, Souq Waqif and some of the more high-end hotels. This transportation support was extremely helpful as ﬁnding a reliable taxi in Doha can be a trying affair.

This kind of movie-making where everyone is trying to make money and thinking about that in advance - is dangerous and a reflection of an increased influence of the American filmmaking culture.

An outdoor screen was also set-up at the sumptuous Four Seasons hotel and featured Jordanian helmer Amin Matalqa’s Captain Abu Raed on the Friday evening as one of the festival’s ‘Sidebar’ films. As with Amelia, one couldn’t help but correlate the sounds of jetliner traffic passing overhead with the story of the eponymous “Captain” character in this landmark Jordanian film.

Off-Screen Dramas & ClosingNight Kudos Forgiving some ﬁrst-time festival ﬂubs including signage that incorrectly indicated some screenings were sold-out (when in fact they weren’t) and a reverberating sound system on opening night that interfered with the philharmonic’s performance - what was striking about the festival was the sense of community that the organizers, volunteers and presenters seemed intent on creating for everyone throughout the duration of the jam-packed event.

“Location, Location, Location” Venue-wise, the festival proved reasonably accessible - with the exception of the somewhat hard-to-reach Villaggio shopping mall on Al Waab Street. Thankfully, most of the screenings were held at the centrally located City Center mall in Doha’s West Bay. Complimentary

From Amanda Palmer’s affable welcoming remarks to upbeat emcee-ing and musical performances by local Qatari youngsters and performers, the mood was geared both towards family and fun but also

1 1 Film still from ‘About Elly’ 2 ‘About Elly’ director, Asghar Farhadi 3 Film still from ‘About Elly’ 4 Film still from ‘Only when I dance’ 5 Movie poster from ‘Only when I dance’ 6 ‘Only when I dance’ director, Beadie Finzi

KNOW WHO DTFF Doha Report

DTFF 2009 Something Worth Repeating With the exception of Kuwait, Oman, Bahrain and Saudi Arabia, GCC film aficionados can now lay claim to having not less than five prominently-publicized, culturally-stimulating and internationallyacclaimed film festival events running between mid-autumn and mid-spring in their back yards. For the first time, between October 29 and November 1st some of the world’s finest filmmakers and most influential film industry figures attended and took part in the Doha Tribeca Film Festival 2009. Below are some memorable quotes from the festive occasion. 4

towards treating film as a credible art form worth investing in culturally, socially and economically. The complimentary buffets for the massive crowds on closing night certainly added to this sense of coming-together too. Overall, the festival’s merry mix was admirably multi-cultural and suitably reflective of Doha’s blend of Arab locals, expats, tourists and festival hangers-on. To cap it all off, actor Robert De Niro put in a closing night appearance to the absolute thrill of film fans and the many dedicated, well-meaning and hard-working volunteers committed to making the DTFF a success in its first year. Indeed, De Niro’s closing night kudos were well-earned by all the staff and volunteers working in front of and behind the scenes of this bustling Doha event. In short, congratulations Qatar and welcome to the 5 GCC film festival fold! By Talal Al-Muhanna DTFF is a partnership between Qatar Museum Authority (QMA) and New York’s Tribeca Film Festival. On QMA’s side is Chair, Her Excellency Sheikha Al Mayassa bint Hamad bin Khalifa Al Thani, QMA’s CEO Abdulla Al Najjar and DTFF Executive Director Amanda Palmer. On Tribeca’s side, are the festival founders, acclaimed Hollywood producer Jane Rosenthal, entrepreneur Craig Hatkoff, and iconic actor, Robert De Niro. 6

“Never treat anything you do artistically as a stepping stone to something else, always do it fully and just for its own sake.” Mira Nair’s reply when asked by an acting student if getting involved in theater was a good way to “make it” in the movies. “My first office was a table beside a public phone booth. We had a lot of coins and we knew the number to give out in order to receive calls.” Golden Globe award-winning filmmaker Hany AbuAssad (Paradise Now) on his early movie making career. “Yes, the reality of a western hegemony in the film industry is true. However, some of the best scripts I have read lately have come from the Middle East region.” Independent film producer Cat Villiers (Before the Rain, No Man’s Land, Saving Grace) during the “One Big World” panel session in the Doha Talks series. “Forget about the U.S. – it’s the European market that is the most appealing for Arab filmmakers…” Tunisian film producer and TV mogul Tarak Ben Ammar’s advice about where Arab filmmakers might best market their films and find good target audiences for their stories. “The world is tilting in the Eastern direction…” so says the Chairman of the IMAX Corporation Bradley Wechsler. “Yes, the question is: will Arab oil money go to Arab culture or to Hollywood?...” Frederic Sichler, President of Rotana Films in response to suggestions that Arab financiers don’t invest enough in Arab culture. “Every film is its own riddle…there’s no formula for doing or getting it right.” Producer-Director R.J. Cutler (The September Issue, War Room) when asked what makes a film work.

64 65

Interview with ďŹ lmmaker

Nawaf Al-Janahi

KNOW WHO Nawaf Al-Janahi

MP: You have studied the arts of cinema on an academic level and a personal level. Can you explain what it means to study it on a personal level? That would include so many things, such as reading different books on film, watching and analyzing films, gaining experience by working with other filmmakers on their films, plus experimenting with my own personal films that I have made outside the film school. Of course you do part of that academically but I needed to go further and deeper. MP: What is your creative background and what motivated you to pursue a career in directing? I started acting at the age of seven with my late father (who was one of the pioneer actors/directors in the region). Acting was very exciting and I loved it very much but as time moved on I became more interested in how stories were told visually and the way films were made. I used to watch so many films daily and I was always trying to find out how things were done. My passion for telling stories, using the camera, increased inside me, and, at the tender age of 14, I decided that cinema would be my path, career and life. MP: Every creative has their own style that makes them unique and one can actually link the style to their name. What would you say is your style and what do you want people to associate with you when they see your films? I leave that to the people. My role is to make the films. MP: What is the difference between directing a short movie as opposed to a feature film? Nothing really in terms of execution. They are two different worlds in terms of structure. In a short film you have to be brief and focus mainly on ideas and concepts, whereas in a feature film you have more space and duration to tell a deeper story, build characters and develop the plot. However, the execution process is the same; in a

feature film you just spend more time and more money. MP: We have been introduced to you as a film director and producer but you used to be involved in script writing and editing. What triggered the transition from being involved in every aspect of filmmaking to being specialized in directing? When I first started out it was difficult to find the right people who shared similar views and the same passion as me to work with me on my films. But as the years passed you get to know more people and new blood joined the movement. For instance, I wrote all of the

films I have made so far (four short films and one feature), but now I am preparing for three new films (two features and one short), none of which I have written. I like that because it is important to share different points of view with other creatives. And of course focusing on directing gives you the space and energy to be better on what you do best. MP: Cinematography and photography are two disciplines that overlap at certain points, like framing and lighting. Looking at your movies we get the photographic, almost poetic picture impression. Do you

>>>

My passion for telling stories, using the camera, increased inside me, and, at the tender age of 14, I decided that cinema would be my path, career and life.

66 67

have any plans to work on motion pictures and still image? If yes, would you like to share some thoughts and maybe share some of your photography work with us? In my films I pay great attention to framing and lighting and I work very closely with the DOP on achieving the image and the visual concepts I have in my head. However, even though at times I have shot a few takes on my films,I would never take the responsibility of shooting one of my films in its entirety. It is just a responsibility that I would rather give someone else. As for still photography, certainly it would be a pleasure to share my photographs with you. Still photography has been one of my passions since childhood. It’s a very personal experience for me and that is why I accept only certain assignments. MP: Which channels do you use to promote your work? All possible channels, including press & media, posters & flyers, word of mouth, my official website, facebook and mailing lists. MP: Building a reputation and a name for one’s self seems easier than ever before,

especially with today’s social networking platforms like facebook, twitter, wordpress and so on. What do you think of alternative marketing to establish a name as a professional creative? Regardless of the tools, the idea is to get the word out there to the people, the audience. I see many artists who produce good work but either don’t know how to tell people about it, or don’t realize the importance of it. This is particularly important in our business, making films. It is absolutely not enough to only make the film. You must get the audience to watch it. MP: Who does the promotion for Nawaf Aljanahi? I had to start by doing many things myself. But recently a couple of people joined the process. MP: Tell us a bit about your Emirate Film Group that you established in 2001, which is actually the first online community to serve the Emirati film movement. When I returned from the USA in 1999 I was trying to find others who share my love and

passion of filmmaking. I asked around and searched the net but with no success. It was then that I thought of creating a website that others could find when they were looking for the same thing. It was a way to link filmmakers and cinema lovers together for the purpose of creating beautiful films. Today, we have more than 1460 members from the UAE, the Gulf region and around the world. The diversity of the members range from filmmakers to critics and journalists, and from film and media students to regular fans of cinema. To film lovers it is a great door to get exposed to the local and regional film scenes and for the filmmakers it is a very efficient way to promote themselves and their work. MP:What advice do you have for emerging creatives to promote their work and establish a name for themselves? I think the first step is to believe in themselves and their work. You can’t promote something well if you don’t believe in it enough. It’s not enough trying to say that it is good and original; it has to be truly good and original. This means hard work. It’s not easy and should never be taken for granted. It’s not about selfishness and shallow pride but about awareness, self criticism and realizing where is the true stand for one’s work. Then they have to believe in the audience and their role within their work. Art is a universal language and promoting it means that your aim is the whole world.

KNOW WHO Nawaf Al-Janahi

You can’t promote something well if you don’t believe in it enough. It’s not enough trying to say that it is good and original; it has to be truly good and original. This means hard work. It’s not easy and should never be taken for granted. It’s not about selﬁshness and shallow pride but about awareness, self criticism and realizing where is the true stand for one’s work.

Director’s Profile: Nawaf Al-Janahi Filmmaker and actor, Nawaf Al-Janahi was born in Abu Dhabi in 1977 and studied the art of cinema in the USA. In 2001, he founded Emarat Films, which was the first website serving the Emirati film movement. He has directed and produced several independent short films that won various prizes, and participated globally in many international film festivals. His most important short film is ‘Mirrors of Silence’. It was highly celebrated by both film critics and the audience, and has been officially selected in over 22 international film festivals around the world, being the only film from the United Arab Emirates in a number of them. ‘The Circle’ is the title of his first feature length filmand he won the award of ‘Most Promising Emirati Filmmaker’ for it at this year’s DIFF.

68 69

Faisal Al-Duwaisan Interview with Kuwaiti ﬁlmmaker and photographer

MP: Whilst researching creative talent to interview in the Middle East your name just kept cropping up! As a successful ﬁlmmaker and photographer can you explain to our readers how this particular combination has worked so well for you? Film and photography have a lot in common. They are both involved in telling a story by using light and composition, capturing a moment or by creating a moment then capturing it, the only difference is that there is no sound in photography and there is no portrait in ﬁlm, other than that the emotions, the characters, the locations and even the props are the same.

MP: When and why did you start writing and producing movies? FD: I started producing movies in 2005. My decision was based on a void in my life that I knew would only be filled if I fulfilled my passion for creating film and being part of the magic that is cinema. MP: What was your experience at film festivals and how important do you think they are for exposing talent and creativity? FD: Before my movie Hosha (Fight) was screened at the Gulf Film Festival in Dubai, I had very little experience in film festivals. I was always under the impression that

you had to have created a film to be able to attend but that is simply not the case. Audience members are very welcome to view the screenings and all efforts at film making are considered. To win, however, is a total other story and not quite so easy! One of the great things that I discovered at the festival was a great combination of people all with the shared interest and passion for making films. It felt wonderful to be part of that community. Not forgetting that you also get to view films and the progress that cinematography is making around the world today.

KNOW WHO Faisal Al Duwaisan

MP: What inspired Hosha and how did you choose your team of creatives? FD: Whenever I’m in the process of considering a new film, I think back through my life’s experiences and search for an image, a scene, an incident, anything that has had an impact on my life. For Hosha, I remembered a fight that happened between two guys after their car accident and that is how I came up with the script. As for my team, most of them are my friends and we help each other a lot in creating our films by taking different roles as crew members. As for the cast, I started searching for boxers that would be willing to assist in the choreography and physical skill required when boxing. I am truly grateful to the people that helped me because I could not have done such a job without them.. >>>

The major challenges were really about making the boxing realistic...I was very lucky to have a great boxing coach there to advise and choreograph.

70 71

MP: How long did you work on the movie for and what were the major challenges that you faced? FD: It took me almost two months in preproduction, 10 days in production and about a month in post-production. The major challenges were really about making the boxing realistic. Although I did a great deal of research myself, by reading and watching boxing ďŹ lms, I was very lucky to have a great boxing coach there to advise and choreograph. MP: How involved were you in the production? FD: I was the writer, editor, producer, director and set photographer! In retrospect this was too much for one person to handle but at the time it was deemed necessary.

Film and photography have a lot in common. They are both involved in telling a story by using light and composition, capturing a moment or by creating a moment then capturing it, the only difference is that there is no sound in photography and there is no portrait in ďŹ lm...

KNOW WHO Faisal Al Duwaisan

As an optimist, I think the future is bright. We just need to create a community of better ﬁlmmakers and then provide them with a platform on which to display their creative talent.

MP: There are always discussions on which medium to shoot - ﬁlm, HD or even RED. What do you use for your production and on what do you base your decisions? FD: In Hosha I’ve used RED, in the previous ones I used DV. For me the medium is not a big deal, I want to tell stories, I just need a tool to do that. I was lucky to have the RED available from Cinemagic, thanks to Nasser Al-Sabah, but I really don’t know what will be available for my next project. I’ll be making it regardless!

MP: Some people are pessimistic when it comes to the future of Arabic cinema. Some give it a very bright future, regionally and internationally. What is your vision for the future of Arabic cinema in general? FD: Being pessimistic will never takes us anywhere. As an optimist, I think the future is bright. We just need to create a community of better ﬁlmmakers and then provide them with a platform on which to display their creative talent. By: Media Production

72 73

Femmes/Films Interview with ďŹ lmmaker Raja Amari

KNOW WHO Raja Amari

unisian filmmaker Raja Amari reveals some of the secrets of her longtime collaboration with fellow Tunisian film producer Dora Bouchoucha and shares her thoughts on why femmes and films can court controversy back home.

Raja Amari French-speaking writer-director Raja Amari became enthralled with the “dynamique du cinéma” as a teenager after joining the cinema club at an all-girl’s school she was attending in the 1980’s – a place where she fondly remembers her professor being “très passionelle” about the cinematic arts. Later she would go on to train as a dancer at the Conservatoire de Tunis – a form which would

inspire her as a ﬁlmmaker in the years to come - before obtaining a degree in French Literature from Tunis University.

whose alumni have won prizes at Cannes, Venice and Berlin - Amari immersed herself in the intensive screenwriting programme that the distinguished French school there offered.

Exposed to French New Wave cinema and the films of Truffaut and Pasolini, Amari was enthusiastic about pursuing a career in film but unsure of where to turn after graduating in her early twenties. Although opportunities to study filmmaking do now exist in Tunisia, there was not much on offer for her as a would-be filmmaker at the time. So, after some discussion with her family, Amari opted to head to France to study at La Fémis – the acclaimed Parisian film academy situated in the historic grounds of the old Pathé film studios. At La Fémis – a school

And while she was not involved much in the actual production aspects of ﬁlmmaking during this period, the time gained away from the hubbub of production was valuable for her in so much as it gave her the necessary mental space to think about what she had to say as a writer and as an artist.

Collaboration On her early shorts, Amari sought to remain connected to her Tunisian roots - exploring female relations with respect to family and society through films like One Evening in July (2000) – a portrait of a fleeting and anxiety-ridden exchange between a young bride-to-be and her wedding day make-up artist. Collaborating with Amari on this production (as well as on another of her first shorts Avril (April) in 1998) was Dora Bouchoucha - one of Tunisia’s foremost film producers. The longstanding relationship between Bouchoucha and Amari – which began when the two worked together on these first short films – eventually led to the duo collaborating on two fiction feature films: Satin Rouge (Red Satin) in 2001 and Dowaha (Buried Secrets) in 2009. While Bouchoucha’s Tunis-based production company Nomadis Images has also produced features by other directors such as Djamila Sahraoui and Mohamed Ben Smail, one gets the feeling that the relationship between Amari and Bouchoucha is as unique for its longevity as the projects are for their thematic consistency.

Satin Rouge (Red Satin) Bouchoucha and Amari’s ﬁrst full-length drama project together, Satin Rouge, was a Tunisian-French co-production shot on 35mm that won Amari the New Director’s Showcase Award at the Seattle International Film Festival in the United States. In it, a widowed mother suspicious of her daughter’s relationship with a local cabaret musician unexpectedly ends up immersing herself in the Tunisian nightclub scene in an attempt to uncover her daughter’s furtive

Synopsis: Dowaha (Buried Secrets) Sisters Aicha and Radia live secretly with their mother in the underground servant’s quarters of a deserted mansion. One day a young couple unexpectedly moves into the main house above them. Tension builds as the mother and older sister Radia attempt to keep their existence hidden from their new neighbors. Aicha is less cautious however and becomes increasingly curious about the newcomers and their lifestyle. Eventually, the younger sister’s growing desire to connect with the world outside and to break away from her prison-like home invites danger into all of their lives. 74 75

Dowaha

(Buried

Secrets)

Media Production connected with filmmaker Raja Amari in Qatar’s capital city of Doha following the screening of her second fiction feature Dowaha (Buried Secrets) – shown as part of the Doha Tribeca Film Festival which ran from October 29 to November 1. The film – which was exhibited uncensored at DTFF - is likely to get raised eyebrows from some critics and audiences in Tunisia (and elsewhere in the MENA region) due to its brief depiction of female nudity and intimations of sexual abuse and inter-family violence. But this won’t be the first time Amari has had to fend off criticism or critique for tackling topics that court controversy.

relations with the undesirable man. Going against all her previous sensibilities, the woman (named Lilia) ends up becoming a belly dancer by night - so enthralled is she by the experience of this newfound milieu and the release from daily life that dancing seems to offer her.

I do not seek to punish the characters in my stories for behaving the way that they do or making the choices that they make.

MP: How was your ﬁrst feature-length drama Satin Rouge received in Tunisia compared to the reactions it got from international audiences? RA: The ﬁlm was very strongly criticized in Tunisia. You know, at the start of the story we see the woman Lilia as being very average. She is a widow and a mother and in a way her life is quite unremarkable, dull. But then, bit by bit, she changes and begins to live and behave differently than in the past. She starts to lead a double life: by day she is a sort of housewife and a mother, and by night she becomes a belly dancer. So there is this kind of schizophrenia in her personality being depicted. In Tunisia, many people rejected this split portrayal of a mother and widow who is also a sensual being who loves to dance and performs in a nightclub. Internationally, it was well received and won awards.

MP: But this can’t be the first time that such subject matter or dichotomies of character were shown or discussed in a Tunisian film? RA: Au contraire, but I think it is because I am not a man that some audiences could not deal with the presentation of this character and her story. Also, I do not seek to punish the characters in my stories for behaving the way that they do or making the choices that they make. I do not pass judgment on them. So some people they were disturbed by there not being a clear moral verdict by the end of the film in response to Lilia’s desire to dance and to be a dancer. MP: What would you say was the split between viewers that were supportive of the film and those who were negative about it in your country? RA: I think about 50/50…and actually it was women who were more strongly against this portrayal of Lilia as a belly dancing mother and widow than men! MP: How would you characterize the relationship between you and your longtime producer Dora Bouchoucha? RA: In the first place, having a good team is very important to the success of your projects. From the beginning, when I first started working with Dora on my early shorts, she gave me the confidence to proceed with my ideas, to find my way. This was so important… elle m’encourage…she really encouraged me and this support was - and continues to be - vital. She also helped raised some of the

KNOW WHO Raja Amari finance for my first shorts and has continued to support my projects in this way. MP: Putting together a feature film project is an extremely demanding task and can bring a lot of pressure to bear down on a director. Do you like for your producer to keep away the ‘bad news’ so that you can focus mainly on the artistic elements of the process or are you happy to take everything on as it comes? RA: Most of the time, I concentrate on the artistic side. However, material problems often interfere with artistic concerns so then I am obviously informed. As you know, a shoot is never easy and problems are part of it. The human side is also extremely important to consider as dealing with a crew can sometimes be difficult. But let’s say that, in general, we share duties. MP: In your second feature film Dowaha (Buried Secrets), you revisit some similar themes as in Satin Rouge: motherdaughter relationships, personal secrets, women’s roles in society and so on. Are you directing your films towards any audiences in particular or – to be more precise - are you trying to speak directly to Tunisian women about the complexity of their circumstances in that society? RA: No, not really. While my thematic interests and concerns are often focused around female relations, I write the stories and make the films for me first, then everyone else. And they are not particularly made for women or for men where the audience is concerned. In fact, these emotions and feelings which come out should be common to everyone – no matter their gender. MP: Tell us about the beautiful old mansion which is the main location in Buried Secrets. How did you find this amazing place? RA: After reading the script, the film’s location manager remembered this house he had seen before and which he thought might fit to our story. And as soon as I saw the place I knew it was the set for my film. It possessed the particular atmosphere I was looking for. Of course, in some ways, the story had to be adapted to the location but, in general, the geography of the site corresponded to the drama line.

MP: As you generally write and direct your own films, one wonders if you would you ever consider to let someone else direct a script you had written? RA: The fact of writing the scripts for my own films has made the artistic process much richer and more personal for me. I studied cinema in France and my artistic influences are mainly French. In this type of cinema, the director is nearly always the screenwriter of his films - even if he is sometimes assisted in the writing. This is what one might call ‘art’ or ‘essay’ cinema. However, while I do not exclude the idea of finding co-writers in the future, I feel the stories will always have to be my stories. If I write for another director, I would wish to remain involved in the process and to understand that person’s vision and to be included within his or her artistic universe. I do not believe I could simply hand over a screenplay to a director for him or her to direct and be left behind as a writer, used as a simple technician or craftsman. This is something that would have no meaning for me. MP: The youngest of the two sisters in Buried Secrets (actress Hafsia Herzi) has become well-recognized on the international film festival circuit for her appearance in other films by Arab directors such as L’Aube du Monde by Abbas Fadhel and Couscous by Abdellatif Kechiche. Considering Tunisian films are not necessarily widely seen within Tunisia itself, what factors played the most important role when casting was underway for your two feature film projects? RA: In the first place, I look for actors who correspond to the characters in the script. I have to be convinced by their capacity to interpret those parts. Celebrity is not an issue most of the time as I often call on unknown actors: Hiam Abbass was not famous when I chose her for Satin Rouge for instance. I also work with people who have never acted at all. For Buried Secrets, Hafsia Herzi corresponded to the part and I saw in her the capacity to interpret it as I wished.

decided that this would not be a problem for me and, anyway, I am not intent on anchoring my films within the Tunisian social reality. My stories can happen anywhere in fact. But, in order to preserve harmony in the performances within my own films, the non-Tunisian actresses are coached for dialogue during the shoots. This was the case for Hiam Abbass in Satin Rouge and for Hafsia Herzi in Buried Secrets too. In late November 2009, Dowaha (Buried Secrets) won the Grand Prix at the 27th Arte Mare Mediterranean Cultures and Film Festival in Corsica. Satin Rouge is distributed by Pyarmide Distribution (www. pyramidefilms.com). Dowaha (Buried Secrets) is distributed by Fortissimo Films (www.fortissimo.nl). For further information about the projects of Tunisian producer Dora Bouchoucha and Nomadis Images go to www.nomadis.net. By Talal Al-Muhanna

MP: Do regional accents have any effect on your choice of actors? RA: I think that there are many very interesting Arab actors out there, but it is true that the different Arab dialects and accents can be an obstacle to the circulation of actors in Arab ﬁlmmaking. However, I

76 77

Maya Tutorial Rigging Jersey Cloth Using The Maya Hair System Based on more than 10 years of 3D rigging experience, I would say that nothing can make an animator more excited than providing him with a fast (real-time, if possible) interactive rig. Moreover, nothing would make the rigging artist more proud than watching his rig come alive. About this Tutorial Keeping in mind that “an undefined problem has an infinite number of solutions,” our first approach will be to define the problem and then discuss some of its solutions. I am going to take you through the rigging process in a commercial for AbuDhabi Sports TV. The target is to rig a cloth jersey that will be animated on a screen in several shots throughout the commercial. Avoiding the step-by-step, how-to-cook tutorial, I will explain my reasons and justify my decisions that led me to my goal.

This tutorial is for intermediate to advanced users but it is also suitable for beginners who would like to learn Maya nodes, the connection editor, automate steps using MEL scripting and explore ways that one can customize and extend Maya tools to serve the desired tasks at hand.

The tutorial presentation is divided into 2 parts:

Topics covered include: constrain transform nodes to nurb curves, tangent constrains using up vector and converting nurb curves into a working hair system.

Part II –executing the steps.

Part I - is a list of questions and answers (thoughts); its identifying down the problem(s) and choosing the most efﬁcient approach to solving them.

I added automation MEL codes for to avoid repeating steps.

Part I: What is the target? Rigging the jersey for animation, giving the animator full control on the main movement, having convincing cloth movements, being able to duplicate the jersey with its setup and plan a simple workﬂow for catching the dynamic movement.

But, which way to go? The ﬁrst approach for solving a cloth task is to use Maya nucleus. It’s good as a ﬁrst thought, solving a cloth rig is to use Maya ncloth. It’s perfect for character cloth simulation, t-shirts, dresses and any cloth types that require self-collision and accurate behavior.

The downside on this is that I need to create a dummy character body to achieve collision, but its time consuming to setup, especially for the fast movements and it doesn’t give the animator the power to precisely control the behavior of the cloth.. Its basically physical simulation that is not necessary in this case. So, I thought of another dynamic solution where I avoid ncloth but at the same time get a realistic dynamic behavior. My second thought is Maya hair system. Although it’s designed to solve characters

long hair behavior I thought I could borrow it to solve my jersey behavior. A hair Follicle drives the joints chain which then drives a smooth skinjersey. Why hair curve and not softbody curve with goal? Which one is more suitable? Hair curve has more attributes to control, like stiffness and pointLock. Plus it has great ﬂexibility for caching. With big hopes let’s jump to the next part

KNOW HOW Rigging Cloth Using Maya

My second thought is Maya hair system. Although it’s designed to solve characters long hair behavior I thought I could borrow it to solve my jersey behavior.

We started with this concept design: This image gives us an idea of the type of ﬂexibility needed in the jersey’s animation

Part II Executing the steps

On new scene, Let’s import a low poly model but with enough edge loops to represent the jersey.

Create a vertical line, from top to bottom, with 5 cv’s, this will represent the jersey spine. Rename the curve “spinecurve”.

Now before creating the joints and to ensure that we are moving in the right direction, we need to convert the curve to a hair system by selecting the spine curve, then open the

“Make selected Curve Dynamic” options, and uncheck “attach curve to selected surface” (because we don’t have a surface to attach the hair to).

78 79

The result of this is very interesting. Let’s take a look on the outliner.

New nodes are created: hairSystem1 – it’s the main hair engine node, and we will change stiffness to 1.000 follicle1 – this contains the local attributes for the hair movement and we will change the two attribute values as follows: “POINT LOCK” to “BASE” (because we need

to keep the curve base locked to the top of the jersey). Change “Sample Density” to 3.000 curve1 – this is our dynamic curve A small test will be to animate translateX hairSystem1Follicles and watch the dynamic behavior of curve1. Looks like it’s working ﬁne. Great, delete animation and jump to next step.

Now it’s time to create the joints, isn’t it? Not yet. We will keep the rig clean by creating simple locators then constrain it to the curve. And the joints can be parent constrained to the locators. Create 5 locators, and rename each loc_0, loc_1, loc_2, loc_3 and loc_4. We love to automate repetitive steps, right? Then this code will do it : for ($i=0;$i<=4;$i++) spaceLocator -p 0 0 0 -n (“loc_”+$i); we also need 5 pointOnCurveInfo nodes, so similar code for ($i=0;$i<=4;$i++) createNode pointOnCurveInfo -n (“pointOnCurve_”+$i); We can take a look on the outliner to see the new nodes, (uncheck the DAG object Only) in the outliner Display menu. “pointOnCurveInfo Node : Compute information associated with a point on a nurbs curve. The point is speciﬁed with the input curve (inputCurve) and the parameter value.” (Maya documentation).

The next step is to connect the curve1Shape node to pointOnCurveInfo, using the connection editor. Without the need of repeating this manually for the 5 pointOnCurve nodes, this code will do it : for ($i=0;$i<=4;$i++) connectAttr -f curveShape1.worldSpace[0] (“pointOnCurve_”+$i+”. inputCurve”); we also need to set a different value of pointOnCurve.parameter starting from 0 to curve1 spans (in this case its 12), that means 0, 3, 6, 9, 12. This code will automate it: for ($i=0;$i<=4;$i++) setAttr (“pointOnCurve_”+$i+”.parameter”) ($i*3); Now, it’s connecting the output of each pointOnCurveInfo node to each locator: for ($i=1;$i<=4;$i++) connectAttr -f (“pointOnCurve_”+$i+”.position”) (“loc_”+$i+”. translate”);

KNOW HOW Rigging Cloth Using Maya

At anytime now, we can test animating spineCurve and enjoy the locators constrained on curve1. One more step, before creating the joints, is to constrain the locators’ rotation to the curve tangent. To do that, we just need to do a “tangent constraint”. A crucial tip I want to add here is the use of Object up as the world up type. This requires creating a new locator, rename it to “upLocator”, move it on Z axis, parent it to spineCurve, then constraint tangent: Don’t forget the right order of selecting before hitting “apply”. Its “curve1” then “loc_0”, this code will do it 5 times for each locator: for ($i=0;$i<=4;$i++) tangentConstraint -weight 1 -aimVector 1 0 0 -upVector 0 1 0 -worldUpType “object” -worldUpObject upLocator curve1 (“loc_”+$i);

We are ready for creating the joints. Starting from top to bottom we place each joint on a locator.

Watch a small clip of the jersey moving at www.vimeo. com/6571277

This is the result and our last constraint step will be constraining each joint to its locator. Select the locator, select the joint, and parent constraint. Here is a small code to automate this step: //since joints name are starting from 1 to 5, I added 1 to $i for ($i=0;$i<=4;$i++) parentConstraint -mo -weight 1 (“loc_”+$i) (“joint”+($i+1)); Now we can do a “bind skin” on the jersey to the joint using “smooth skin”. We have reached the end of this tutorial, and I am hoping that it opens doors for using Maya nodes, and scripts to achieve efﬁcient rigs. By Firas Ershead, Head of CGI, OPTIX Digital Pictures

80 81

ÂŠ 2009 Shure Incorporated.

Sound, like a Pro. PG Series Microphones, the entry point to professional Shure quality, ruggedness and sound, offer a wide range of microphone and connectivity options for rehearsing, gigging and home recording. Now, with the new Shure X2u XLR-to-USB Signal Adapter, you can connect your PG Series microphone to your Mac or PC. New: PG27/PG27USB Multipurpose and PG42/PG42USB Vocal Microphone, X2u XLR-to-USB Signal Adapter

Offering easy, zero-latency Plug and Play functionality, the X2u connects to all PG Series microphones including the new PG27 and PG42 condenser microphones. Interesting in PC recording only? Shure also offers PG27 and PG42 models with integrated USB connectivity.

PG48

PG58

PG57

PG81

PG52

Nicolas Kyvernitis Electronics Ent. Ltd. P.O. Box 3191, Sharjah, United Arab Emirates Telephone: +971-4-2665244, Telefax:+971-4-2626682 Email:info@nmkelectronics.com Web:nmkelectronics.com

PG56

Shure - Legendary Performance for over 80 years.

AUDIO

Sonic Branding The main purpose of a logo is to associate a product or service with a name and / or a shape to create a brand. Take McDonald’s for example, with the yellow ‘M’ as a logo. You can tell there is a McDonald’s miles away from the bright yellow color, before actually being able to read the ‘M’ sign! But try to describe this logo to friends and you will ﬁnd out that it is easier to recognize it than it is to reproduce it.

KNOW HOW Sonic Branding

Most familiar sonic logos

his is exactly the problem when working with visuals only. There are so many anecdotes I can tell you about audio logo recognition that I have experienced. For example, during Ramadan this year MBC was ﬂooded with STC (Saudi Telecom Company) ads, to an extent that I couldn’t hear the audio of the commercials anymore. However, the almost annoying bombardment of these commercials actually served the purpose of effective branding. I didn’t even need to see the TVC anymore to know that the STC ad was on. I am sure you have experienced something similar with other brands. Are you humming an audio logo right now while you are reading this article? The “du” audio logo maybe? If yes, then the branding agency did an amazing job. The advantage of audio or sonic logos over visual logos is that they can be incorporated into our everyday lives. With verbal communication being the most common form of communication between humans, even if they don’t speak the same language as their conversational partner, it is the key to spreading a brand across the globe without risking the company’s identity being lost in translation. This key factor puts sonic logos in a totally different light with the hope of overcoming common obstacles when branding regionally and globally. This means that using a sonic logo, as a support for the visual logo, can be understood and memorized by a larger group of people regardless of location or educational level. Take Dubai for example, where more than 70% of the total population consists of nonlocals, who don’t speak Arabic as their

native language, an audio logo would deliver a message to a wider community, and more importantly, keep the message there. However, during the process of creating a sonic logo, it is important to distinguish between the audio logo itself and a jingle. A jingle is the music that plays throughout the commercial, whereas the sonic logo appears only in association with the company’s logo. Comparing the use of a sonic logo, jingle, visual logo and advertisement artwork is the following: The jingle plays in an audible ad the same role as the print advertisement’s artwork and the sonic logo plays the role of the company’s visual logo. Therefore all the criteria that a visual logo must meet, like simplicity, clarity and symbolism, apply to the audio logo as well. Music is and always has been a main component when producing commercials, and indeed they do speak to the audience. For many years advertisers and ﬁlm producers used existing music or commissioned music to promote products, but this is not really sonic branding.

Intel Processors

Windows Operating System

Since sonic branding is really the concept of creating a sonic logo, the problem with using distinctive music as the logo is that songs are just too complex to make an instant and lasting impact on our grey matter!

Why does a sonic logo cause this impact on the target audience? Using sound as an extension to the visual branding has the advantage of starting an emotional connection to a product and therefore enhances brand loyalty. Put simply, a friendly sonic logo attracts more customers.

Cinescape Kuwait

>>> 84 85

KNOW HOW Sonic Branding

Most familiar sonic logos

Du Telecom

The concept is easy; when we hear a sound or a voice we automatically associate a feeling or an emotion with it.

The concept is easy; when we hear a sound or a voice we automatically associate a feeling or an emotion with it. This emotion speaks to our instincts and we act accordingly. You might have noticed that in your daily ‘humming playlists’ that on good days you hum happy songs that make you even happier and on bad days you hum slower and more sad songs. This shows you how closely music, and more so, melody is linked to our emotions. Sonic branding affects our emotional and mental needs so powerfully that the US government banned sonic branding for the tobacco industry in the early 1970s. Imagine now how a sonic brand can enhance your branding strategy!

Viva Kuwait Telecom

Therefore the aim for creating a successful sonic logo is to ﬁnd the right emotion you want your target audience to associate with your product and translate it into a melody, a sonic logo.

Ways of implementing a sonic logo: In the age of technology and communication, using a sonic logo is easier than ever. Nowadays, a popular way of starting an ‘online presence’, is by using a ﬂash intro. This is the ﬁrst contact between your clients and you, so why not have an audio logo greeting your visitors in a friendly manner asking them in?

Zain Telecom Kuwait

Another common ﬁeld where audio logos are used effectively in ‘on hold’ music. Your customers get to listen to the sonic logo over and over again while waiting, which makes them memorize the melody. Therefore since it is not really important which sound

plays the sonic logo, you can even use the computer’s standard sound generator feed with a midi ﬁle from your website, to play the logo. Possibilities are many and the only limit to distributing your logo is your imagination.

What to mind when creating a sonic logo: Listening to the most successful sonic logos, I have discovered that none of them exceed more than 10 notes and 2 seconds running time. So the challenge is to capture as many emotional values as possible, as quickly as possible. You can achieve this by composing a melody that ascends in the tonal scale. That means the last note should always be of a higher pitch than the ﬁrst note as this triggers a positive feeling in us. Furthermore it is important to compose the sonic brand in a major scale. Major scales like C major are associated with positive emotions as well. Contrary minor scales and descending melody lines are associated with negative, sad feelings. Of course we are just scratching the surface here, there are many different aspects to composing a friendly positive melody, but it is always based on the above mentioned concept. I recommend that you try out a sonic logo on one of your clients and you will see the effect it has on them. If they are humming your audio logo when they leave your ofﬁce, you can be sure that you won the pitch.

By: Media Production

10 11

Producing a Radio Spot Bringing a radio script to life using Pro Tools LE 7.4

like to think that it’s my job as an audio engineer to bring life to each radio script that is given to me, using only sound. The basic core elements of a radio spot are voiceover, music and sound effects. Spots may have all these elements, or just the one. Voiceover – For me this is the most important element of a radio spot. The voice is the most versatile instrument with inﬁnite possibilities that may be expressed in words and / or emotions. Whatever the spot, a voiceover

ultimately describes to the listener what the spot is about, who it is for and what action to make to ﬁnd out more. There are 1000’s of professional voiceover artists around the world, and BKP has a database containing the best talent pool from every language and every age throughout the world. We can record anyone at anytime anywhere in the world remotely using ISDN (dedicated high quality telephone lines) and dedicated professional IP software (voice over Internet line).

Music – In radio spots, music is usually used as a foundation; it stabilizes and provides extra information and support for the emotion the voiceover expresses. Just as a voice has inﬁnite possibilities, music is also remarkably powerful. It can span and create any emotion imaginable, and then some. Sound Effects/Design – Sound effects are used to highlight events. Never-ending possibilities can be created again with sound design, from the simple telephone ring or knock at the door,

KNOW HOW Recording a Radio Spot

to creating a sand Tsunami or a football falling from space. BKP has a vast library of sound effects which can be searched through in a matter of seconds!

Radio Spot Example – 2010 – Hummer H3 V8 Usually scripts will be given to us on the morning of the recording, the earlier I get the script, the more time I have to prepare for the spot and ultimately a better spot will be produced. I received the Hummer script well in advance, which was great; I also instantly really liked the idea. The script is all about being in the desert and suddenly a huge tidal wave of sand comes your way and what is the best way to tackle this situation? Get inside the new Hummer and ride the wave! I usually start with a blank pro tools session, import my radio session data template (this includes all my ‘ready to use’ voiceover, music and sfx tracks, my favorite plug-ins, auxiliary set ups etc) I then begin to map out the spot. Obviously there has never been a tsunami of sand, and if there was, no sound engineer would ever have the time to get a level take, record it, get out of the way and live to tell the tale, or sell the sound effect! – Unless he had the new Hummer of course! So I began to go through our sound effect library for sounds which I could layer up and make sound like it could be a huge wave of sand. I found a range of nice sound effects including earthquakes, rumbles, avalanches, desert wind sounds, I also mixed in some sounds of sea waves to give a crashing effect. I then found the sound of a hummer door being closed and the engine starting up and revving. I ﬁrst added the sound of a calm desert wind at the beginning of the spot and then slowly faded in the wave of sand sound (many tracks of rumble, earthquakes and avalanches.) This gave the impression of something coming from afar and slowly

getting closer and larger and louder. The sound reaches its loudest and then cuts off with the sound of the Hummer door being shut, giving the impression the Hummer is solid, secure, quiet and doesn’t let anything get in its way. The sound of the engine being switched on and revved to a roar ends the spot as its ready to ride the sand wave. I like to be almost 90% finished with the spot before my client comes into the studio. After 5 years experience of producing radio spots in Dubai, 9/10 times the client will love what I present, and will request no further changes. However, this depends on their specific ideas, their clients wishes, their experience and, of course,….ego!. Leo Burnett are probably one of the most professional, creative and friendly agencies I have worked with – they loved what I presented and requested no changes! They chose a guy called Chris Kent for the voiceover for the spot, he is very famous within the industry, chosen for his deep gravelly voice. Hummer is all about masculinity and power and Chris’ voice has this in the bucket loads. Whilst we were dialed in via ISDN, I played Chris the sound effects which he would speak over and this helped him get in the mood of the sand storm. He would shout and project his voice, so it was believable that he was in the storm. Being very professional, Leo Burnett directed Chris very well with me on how to deliver his lines, and after a few takes, we had it. I added lots of bass to his voice and compressed it quite a lot, I also added a slap delay and a small reverb to create the impression of him outside, for extra added value, I asked him to be off mic for this. One of the better radio spots I worked on this year. The final piece can be played at, www.chrisatkinsonline.com/hummer_radio.mp3 By Chris Atkins – Sound Engineer, BKP Music

Example Radio 30 second Script – 2010 H3 V8 Hummer – Agency - Leo Burnett Dubai NARRATOR:

You’re out in the desert. Standing at the base of an enormous sand dune – the biggest you’ve ever seen. Suddenly it starts to move.

SFX:

RUMBLING STARTS BUILDING. CONTINUES THROUGHOUT.

NARRATOR:

Now the entire dune is shifting. Flowing. Forming an enormous wave of sand that starts crashing towards you. RUMBLING IS NOW LOUD

SFX: NARRATOR:

All you have is a set of keys. And the 365 horsepower of the new HUMMER H3 V8.

SFX: NARRATOR:

DOOR CLOSING. ENGINE STARTING. Surf’s up…

SFX:

RUMBLING PEAKS WITH CRASH OF A WAVE.

MVO:

The 2010 H3 V8. Call 800 LIBERTY today.

88 89

‫‪KNOW WHO‬‬ ‫‪Faisal al Duweisan‬‬ ‫أﺣﺪ ا‪L‬ﺷﻴﺎء اﻟﻌﻈﻴﻤﺔ اﻟﺘﻲ اﻛﺘﺸﻔﺘﻬﺎ أﺛﻨﺎء اﻟﻤﻬﺮﺟﺎن ﻫﻮ اﻟﺠﻤﻊ اﻟﻜﺒﻴﺮ ﻣﻦ‬ ‫اﻟﻨﺎس اﻟﺬﻳﻦ ﻳﺸﺘﺮﻛﻮن ﻓﻲ اﻫﺘﻤﺎﻣﻬﻢ وﺷﻐﻔﻬﻢ ﺑﺼﻨﺎﻋﺔ ا‪L‬ﻓﻼم‪ .‬وﻟﻘﺪ ﻛﺎن‬ ‫راﺋﻌ‪ f‬أن أﻛﻮن ﺟﺰءا ﻣﻦ ﻫﺬا اﻟﻤﺠﺘﻤﻊ؛ ﻋﻼوة ﻣﺎ ﻳﺘﻴﺤﻪ ﻣﻦ ﻓﺮﺻﺔ ﻟﻤﺸﺎﻫﺪة ا‪L‬ﻓﻼم‬ ‫واﻟﺘﻌﺮف ﻋﻠﻰ اﻟﺘﻘﺪم اﻟﺬي ﺗﺸﻬﺪﺗﻪ اﻟﺴﻴﻨﻤﺎ اﻟﻴﻮم ﻓﻲ ﺟﻤﻴﻊ أﻧﺤﺎء اﻟﻌﺎﻟﻢ‪.‬‬ ‫ﻣﻦ أﻳﻦ اﺳﺘﻠﻬﻤﺖ ﻓﻴﻠﻢ )ﻫﻮﺷﺔ( وﻛﻴﻒ ﻗﻤﺖ ﺑﺎﺧﺘﻴﺎر اﻟﻔﺮﻳﻖ اﻟﻔﻨﻲ؟‬ ‫ﻓﻲ ﻛﻞ ﻣﺮة أﻗﻮم ﻓﻴﻬﺎ ﺑﺎﻟﺘﺤﻀﻴﺮ ﻟﻔﻴﻠﻢ ﺟﺪﻳﺪ‪ ،‬أﻋﻮد ﺑﺎﻟﺬاﻛﺮة إﻟﻰ ﺧﺒﺮاﺗﻲ‬ ‫اﻟﺤﻴﺎﺗﻴﺔ اﻟﺴﺎﺑﻘﺔ وأﺑﺤﺚ ﻋﻦ ﺻﻮر وﻣﺸﺎﻫﺪ وﺣﻮادث وأي ﺷﻲء ﻛﺎن ﻟﻪ ﺗﺄﺛﻴﺮ‬ ‫ﻋﻠﻰ ﺣﻴﺎﺗﻲ‪ .‬ﺑﺎﻟﻨﺴﺒﺔ ﻟـ ”ﻫﻮﺷﺔ“ ﺗﺬﻛﺮت ﺷﺠﺎر[ ﺣﺪث ﺑﻴﻦ رﺟﻠﻴﻦ ﺑﻌﺪ ﺣﺎدث‬ ‫ﺳﻴﺎرة‪ ،‬وﻣﻨﻪ ﻛﺘﺒﺖ اﻟﺴﻴﻨﺎرﻳﻮ‪.‬‬ ‫أﻣﺎ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻔﺮﻳﻖ اﻟﻌﻤﻞ‪ ،‬ﻓﻤﻌﻈﻤﻬﻢ ﻣﻦ أﺻﺪﻗﺎﺋﻲ وﻧﺤﻦ ﻧﺴﺎﻋﺪ ﺑﻌﻀﻨﺎ‬ ‫اﻟﺒﻌﺾ ﻛﺜﻴﺮا ﻓﻲ أﻓﻼﻣﻨﺎ وذﻟﻚ ﻣﻦ ﺧﻼل اﻟﻘﻴﺎم ﺑﺄدوار ﻣﺨﺘﻠﻔﺔ ﻛﺄﻓﺮاد ﻃﺎﻗﻢ‬ ‫واﺣﺪ‪ .‬ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﻤﻤﺜﻠﻴﻦ‪ ،‬ﻓﻘﺪ ﺑﺪأت اﻟﺒﺤﺚ ﻋﻦ ﻣﻼﻛﻤﻴﻦ ﻳﺴﺘﻄﻴﻌﻮن‬ ‫اﻟﻤﺴﺎﻋﺪة ﻓﻲ ﺗﺼﻤﻴﻢ اﻟﺤﺮﻛﺎت وﻳﻤﺘﻠﻜﻮن اﻟﻤﻬﺎرة اﻟﺒﺪﻧﻴﺔ اﻟﻤﻄﻠﻮﺑﺔ‬

‫أﻛﺒﺮ اﻟﺘﺤﺪﻳﺎت ﻛﺎﻧﺖ إﻇﻬﺎر‬ ‫اﻟﻤﻼﻛﻤﺔ ﺑﺼﻮرة واﻗﻌﻴﺔ‪ ...‬ﻛﻨﺖ‬ ‫ﻣﺤﻈﻮﻇﺎ ﺟﺪا ﺑﺎﻟﺤﺼﻮل ﻋﻠﻰ‬ ‫ﻣﺪرب ﻋﻈﻴﻢ ﻟﻠﻤﻼﻛﻤﺔ ﻟﺘﻘﺪﻳﻢ‬ ‫اﻟﻤﺸﻮرة وﺗﺼﻤﻴﻢ اﻟﺤﺮﻛﺎت‪.‬‬

‫ﻣﻘﺎﺑﻠﺔ ﻣﻊ اﻟﻤﺨﺮج و اﻟﻤﺼﻮر اﻟﻜﻮﻳﺘﻲ‬

‫ﻓﻴﺼﻞ اﻟﺪوﻳﺴﺎن‬ ‫ﺑﻴﻨﻤﺎ ﻛﻨﺖ أﺑﺤﺚ ﻋﻦ ﻣﻮاﻫﺐ إﺑﺪاﻋﻴﺔ‬ ‫ﻣﻦ اﻟﺸﺮق ا‪:‬وﺳﻂ ﻟﻤﻘﺎﺑﻠﺘﻬﺎ ﻇﻞ‬ ‫اﺳﻤﻚ ﻳﺘﺮدد ﻓﻲ ذﻫﻨﻲ ﺑﻮﺻﻔﻚ ﻣﺨﺮﺟﺎ‬ ‫ﺳﻴﻨﻤﺎﺋﻴ‪ B‬وﻣﺼﻮر‪ E‬ﻓﻮﺗﻮﻏﺮاﻓﻴﺎ ﻧﺎﺟﺤ‪B‬؛ ﻫﻞ‬ ‫ﻳﻤﻜﻦ أن ﺗﻮﺿﺢ ﻟﻘﺮاﺋﻨﺎ ﻛﻴﻒ ﻧﺠﺤﺖ ﻓﻲ‬ ‫اﻟﺠﻤﻊ ﺑﻴﻨﻬﻤﺎ؟‬ ‫ﻫﻨﺎك اﻟﻜﺜﻴﺮ ﻣﻤﺎ ﻳﺠﻤﻊ ﺑﻴﻦ اﻟﺘﺼﻮﻳﺮ اﻟﺴﻴﻨﻤﺎﺋﻲ‬ ‫واﻟﻔﻮﺗﻮﻏﺮاﻓﻲ؛ ﻓﻜﻼﻫﻤﺎ ﻟﻪ ﻋﻼﻗﺔ ﺑﺮواﻳﺔ ﻗﺼﺔ‬ ‫ﺑﺎﺳﺘﺨﺪام اﻟﻀﻮء واﻟﺘﻜﻮﻳﻦ وﺑﺎﻟﺘﻘﺎط ﻟﺤﻈﺔ‬ ‫ﻣﺎ أو ﺗﺸﻜﻴﻞ ﻫﺬه اﻟﻠﺤﻈﺔ وﻣﻦ ﺛﻢ اﻟﺘﻘﺎﻃﻬﺎ‪.‬‬ ‫اﻟﻔﺮق اﻟﻮﺣﻴﺪ ﻫﻮ أﻧﻪ ﻻ ﻳﻮﺟﺪ ﺻﻮت ﻓﻲ اﻟﺘﺼﻮﻳﺮ‬ ‫اﻟﻔﻮﺗﻮﻏﺮاﻓﻲ وﻻ ﺗﻮﺟﺪ ﻟﻮﺣﺎت ﻓﻲ اﻟﻔﻴﻠﻢ‪ .‬أﻣﺎ‬ ‫‪90 91‬‬

‫ﺑﺨﻼف ذﻟﻚ ﻓﺈن اﻟﻤﺸﺎﻋﺮ واﻟﺸﺨﺼﻴﺎت واﻟﻤﻮاﻗﻊ‬ ‫وﺣﺘﻰ اﻟﻌﻮاﻣﻞ اﻟﻤﺴﺎﻧﺪة ﻣﺘﺸﺎﺑﻬﺔ‪.‬‬

‫ﻣﺎ ﻫﻲ ﺗﺠﺮﺑﺘﻚ ﻓﻲ اﻟﻤﻬﺮﺟﺎﻧﺎت اﻟﺴﻴﻨﻤﺎﺋﻴﺔ‪،‬‬ ‫وﺑﺮأﻳﻚ ﻣﺎ ﻣﺪى أﻫﻤﻴﺘﻬﺎ ﻓﻲ اﻛﺘﺸﺎف‬ ‫اﻟﻤﻮاﻫﺐ وا‪P‬ﺑﺪاع؟‬

‫ﻣﺘﻰ وﻟﻤﺎذا ﺑﺪأت ﻛﺘﺎﺑﺔ وإﻧﺘﺎج ا‪:‬ﻓﻼم؟‬ ‫ﺑﺪأت إﻧﺘﺎج ا‪L‬ﻓﻼم ﻓﻲ ﻋﺎم ‪ .٢٠٠٥‬وﻗﺪ اﺳﺘﻨﺪت ﻓﻲ‬ ‫ﻗﺮاري إﻟﻰ ﻓﺮاغ ﻛﺒﻴﺮ ﻛﻨﺖ أﺷﻌﺮ ﺑﻪ ﻓﻲ ﺣﻴﺎﺗﻲ‬ ‫وﻛﻨﺖ أدرك أﻧﻨﻲ ﻟﻦ أﺳﺘﻄﻴﻊ ﻣ‪X‬ه إﻻ ﻣﻦ ﺧﻼل‬ ‫إﺷﺒﺎع ﺷﻐﻔﻲ ﺑﺈﻧﺘﺎج ا‪L‬ﻓﻼم وأن أﻛﻮن ﺟﺰء[ ﻣﻦ‬ ‫ﻋﺎﻟﻢ اﻟﺴﻴﻨﻤﺎ اﻟﺴﺤﺮي‪.‬‬

‫ﻗﺒﻞ ﻋﺮض ﻓﻴﻠﻤﻲ ﻫﻮﺷﺔ )‪ (Hosha‬ﻓﻲ ﻣﻬﺮﺟﺎن‬ ‫اﻟﺨﻠﻴﺞ اﻟﺴﻴﻨﻤﺎﺋﻲ ﻓﻲ دﺑﻲ‪ ،‬ﻟﻢ ﻳﻜﻦ ﻟﺪي‬ ‫ﺳﻮى اﻟﻘﻠﻴﻞ ﺟﺪا ﻣﻦ اﻟﺨﺒﺮة ﻓﻲ اﻟﻤﻬﺮﺟﺎﻧﺎت‬ ‫اﻟﺴﻴﻨﻤﺎﺋﻴﺔ‪ .‬وﻛﺎن ﻟﺪي اﻧﻄﺒﺎع ﺑﺄن ﻋﻠﻲ أن أﻧﺘﺞ‬ ‫ﻓﻴﻠﻤ‪ f‬ﻗﺒﻞ أن أﺗﻤﻜﻦ ﻣﻦ ﺣﻀﻮر اﻟﻤﻬﺮﺟﺎﻧﺎت‪ .‬إﻻ أن‬ ‫ا‪L‬ﻣﺮ ﺑﻜﻞ ﺑﺴﺎﻃﺔ ﻟﻴﺲ ﻛﺬﻟﻚ‪ .‬ﻳﺴﺘﻄﻴﻊ أﻓﺮاد ﻣﻦ‬ ‫اﻟﺠﻤﻬﻮر ﻣﺸﺎﻫﺪة ﺟﻤﻴﻊ اﻟﻌﺮوض اﻟﻤﻘﺪﻣﺔ وﻳﺘﻢ‬ ‫اﻟﻨﻈﺮ ﻓﻲ ﺟﻤﻴﻊ ا‪L‬ﻋﻤﺎل؛ إﻻ أن ﻣﺴﺄﻟﺔ اﻟﻔﻮز أﻣﺮ آﺧﺮ‬ ‫ﺗﻤﺎﻣ‪ f‬وﻟﻴﺴﺖ ﺑﺎ‪L‬ﻣﺮ اﻟﺴﻬﻞ!‬

‫‪KNOW WHO‬‬ ‫‪Faisal al Duweisan‬‬

‫ﺑﻄﺒﻌﻲ‪ ،‬أﻋﺘﻘﺪ أن اﻟﻤﺴﺘﻘﺒﻞ‬ ‫ﻣﺸﺮق‪ .‬ﻧﺤﺘﺎج ﻓﻘﻂ إﻟﻰ إﻋﺪاد ﻣﺠﻤﻮﻋﺔ‬ ‫ﻣﻦ ﺻﺎﻧﻌﻲ ا‪:‬ﻓﻼم اﻟﺠﻴﺪﻳﻦ وﻣﻦ ﺛﻢ ﻧﻮﻓﺮ‬ ‫ﻟﻬﻢ ﻣﻨﻄﻠﻘ‪ B‬ﻳﺴﺘﻄﻴﻌﻮن ﻣﻦ ﺧﻼﻟﻪ إﻇﻬﺎر‬ ‫ﻣﻮاﻫﺒﻬﻢ اﻻﺑﺪاﻋﻴﺔ‪.‬‬

‫داﺋﻤﺎ ﻣﺎ ﺗﻜﻮن ﻫﻨﺎك ﻣﻨﺎﻗﺸﺎت ﺑﺸﺄن‬ ‫اﻟﻮﺳﻴﻠﺔ اﻟﺘﻲ ﻳﺘﻢ اﻟﺘﺼﻮﻳﺮ ﻣﻦ ﺧﻼﻟﻬﺎ ‪-‬‬ ‫اﻟﻔﻴﻠﻢ اﻟﺴﻴﻨﻤﺎﺋﻲ أو ا‪:‬ﻓﻼم ﻋﺎﻟﻴﺔ اﻟﺪﻗﺔ‪،‬‬ ‫او ﺣﺘﻰ ﺗﻘﻨﻴﺔ ‪ .RED‬ﻣﺎ اﻟﻮﺳﻴﻠﺔ اﻟﺘﻲ‬ ‫ﺗﺴﺘﺨﺪﻣﻬﺎ ﻓﻲ أﻓﻼﻣﻚ وﻋﻠﻰ ﻣﺎذا ﺗﺴﺘﻨﺪ‬ ‫ﻗﺮاراﺗﻚ؟‬

‫ﺑﻌﺾ اﻟﻨﺎس ﻳﺸﻌﺮون ﺑﺎﻟﺘﺸﺎؤم ﺑﺎﻟﻨﺴﺒﺔ‬ ‫ﻟﻤﺴﺘﻘﺒﻞ اﻟﺴﻴﻨﻤﺎ اﻟﻌﺮﺑﻴﺔ‪ .‬وﺑﻌﻀﻬﻢ‬ ‫ﻳﺮون ﻣﺴﺘﻘﺒﻠﻬﺎ ﻣﺸﺮﻗ‪ B‬ﻟﻠﻐﺎﻳﺔ ﻋﻠﻰ‬ ‫اﻟﻤﺴﺘﻮﻳﻴﻦ ا‪P‬ﻗﻠﻴﻤﻲ واﻟﺪوﻟﻲ‪ .‬ﻣﺎ ﻫﻮ‬ ‫ﺗﺼﻮرﻛﻢ ﻟﻤﺴﺘﻘﺒﻞ اﻟﺴﻴﻨﻤﺎ اﻟﻌﺮﺑﻴﺔ‬ ‫ﺑﺸﻜﻞ ﻋﺎم؟‬

‫ﻓﻲ ”ﻫﻮﺷﺔ“ اﺳﺘﻌﻤﻠﺖ ﺗﻘﻨﻴﺔ ‪ ،RED‬أﻣﺎ ﻓﻲ ا‪L‬ﻓﻼم‬ ‫اﻟﺴﺎﺑﻘﺔ ﻓﻘﺪ اﺳﺘﺨﺪﻣﺖ ‪ .DV‬ﺑﺎﻟﻨﺴﺒﺔ ﻟﻲ ﻻ ﺗﻤﺜﻞ‬ ‫اﻟﻮﺳﻴﻠﺔ ﻣﺸﻜﻠﺔ ﻛﺒﻴﺮة‪ ،‬أﻗﺪم ﻗﺼﺼ‪ ،f‬وأﺣﺘﺎج‬ ‫إﻟﻰ ﻣﺠﺮد أداة ﻟﺘﺤﻘﻴﻖ ذﻟﻚ‪ .‬ﻟﻘﺪ ﻛﻨﺖ ﻣﺤﻈﻮﻇﺎ‬ ‫ﻟﺤﺼﻮﻟﻲ ﻋﻠﻰ ﺗﻘﻨﻴﺔ ‪ RED‬ﻣﻦ ‪،Cinemagic‬‬ ‫واﻟﻔﻀﻞ ﻓﻲ ذﻟﻚ ﻳﻌﻮد ﻟﻠﺸﻴﺦ ﻟﻨﺎﺻﺮ اﻟﺼﺒﺎح‪،‬‬ ‫وﻟﻜﻨﻨﻲ ﻻ أﻋﺮف ﺣﻘ‪ f‬ﻣﺎﻟﺬي ﺳﻴﻜﻮن ﻣﺘﺎﺣ‪f‬‬ ‫ﻟﻤﺸﺮوﻋﻲ اﻟﻘﺎدم‪ .‬إﻻ أﻧﻨﻲ ﺳﺄﻗﻮم ﺑﻪ ﺑﻐﺾ اﻟﻨﻈﺮ‬ ‫ﻋﻦ اﻟﻮﺳﻴﻠﺔ اﻟﻤﺘﺎح!‬

‫اﻟﺘﺸﺎؤم ﻟﻦ ﻳﺠﺪﻳﻨ‪ f‬ﻧﻔﻌ‪ .f‬وﻛﺸﺨﺺ ﻣﺘﻔﺎﺋﻞ‬ ‫ﺑﻄﺒﻌﻲ‪ ،‬أﻋﺘﻘﺪ أن اﻟﻤﺴﺘﻘﺒﻞ ﻣﺸﺮق‪ .‬ﻧﺤﺘﺎج ﻓﻘﻂ‬ ‫إﻟﻰ إﻋﺪاد ﻣﺠﻤﻮﻋﺔ ﻣﻦ ﺻﺎﻧﻌﻲ ا‪L‬ﻓﻼم اﻟﺠﻴﺪﻳﻦ‬ ‫وﻣﻦ ﺛﻢ ﻧﻮﻓﺮ ﻟﻬﻢ ﻣﻨﻄﻠﻘ‪ f‬ﻳﺴﺘﻄﻴﻌﻮن ﻣﻦ ﺧﻼﻟﻪ‬ ‫إﻇﻬﺎر ﻣﻮاﻫﺒﻬﻢ اﻻﺑﺪاﻋﻴﺔ‪.‬‬

‫ﻟﻠﻤﻼﻛﻤﺔ‪ .‬وأﻧﺎ ﻣﻤﺘﻦ ﺣﻘﺎ ﻟ‪X‬ﺷﺨﺎص اﻟﺬﻳﻦ ﺳﺎﻋﺪوﻧﻲ ‪L‬ﻧﻨﻲ ﻟﻢ أﻛﻦ ‪L‬ﻗﻮم ﺑﻬﺬا‬ ‫اﻟﻌﻤﻞ ﻣﻦ دوﻧﻬﻢ‪.‬‬ ‫ﻛﻢ اﺳﺘﻐﺮق ﻋﻤﻠﻚ ﻓﻲ اﻟﻔﻴﻠﻢ وﻣﺎ ﻫﻲ أﻛﺒﺮ اﻟﺘﺤﺪﻳﺎت اﻟﺘﻲ‬ ‫واﺟﻬﺘﻬﺎ؟‬ ‫اﺳﺘﻐﺮق ا‪L‬ﻣﺮ ﻣﺎ ﻳﻘﺮب ﻣﻦ اﻟﺸﻬﺮﻳﻦ ﻓﻲ ﻣﺮﺣﻠﺔ ﻣﺎ ﻗﺒﻞ ا‪s‬ﻧﺘﺎج و ‪ ١٠‬ﻳﻮﻣﺎ ﻓﻲ‬ ‫ا‪s‬ﻧﺘﺎج واﺳﺘﻐﺮﻗﺖ ﻣﺮﺣﻠﺔ ﻣﺎ ﺑﻌﺪ اﻻﻧﺘﺎج ﻧﺤﻮ ﺷﻬﺮ‪ .‬أﻣﺎ أﻛﺒﺮ اﻟﺘﺤﺪﻳﺎت ﻓﻘﺪ‬ ‫ﻛﺎﻧﺖ إﻇﻬﺎر اﻟﻤﻼﻛﻤﺔ ﺑﺼﻮرة واﻗﻌﻴﺔ‪ .‬وﻋﻠﻰ اﻟﺮﻏﻢ ﻣﻦ أﻧﻨﻲ ﻗﻤﺖ ﺑﻨﻔﺴﻲ‬ ‫ﺑﻘﺪر ﻛﺒﻴﺮ ﻣﻦ اﻟﺒﺤﺚ ﻋﻦ ﻃﺮﻳﻖ اﻟﻘﺮاءة وﻣﺸﺎﻫﺪة أﻓﻼم اﻟﻤﻼﻛﻤﺔ‪ ،‬إﻻ أﻧﻨﻲ‬ ‫ﻛﻨﺖ ﻣﺤﻈﻮﻇﺎ ﺟﺪا ﺑﺎﻟﺤﺼﻮل ﻋﻠﻰ ﻣﺪرب ﻋﻈﻴﻢ ﻟﻠﻤﻼﻛﻤﺔ ﻟﺘﻘﺪﻳﻢ اﻟﻤﺸﻮرة‬ ‫وﺗﺼﻤﻴﻢ اﻟﺤﺮﻛﺎت‪.‬‬ ‫ﻣﺎ ﻣﺪى ﻣﺸﺎرﻛﺘﻚ ﻓﻲ ﺻﻨﻊ اﻟﻔﻴﻠﻢ؟‬ ‫ﻟﻘﺪ ﻛﻨﺖ اﻟﻜﺎﺗﺐ واﻟﻤﺤﺮر واﻟﻤﻨﺘﺞ واﻟﻤﺨﺮج واﻟﻤﺼﻮر! وﻋﻨﺪﻣﺎ أﻋﻮد ﺑﺎﻟﺬاﻛﺮة‬ ‫إﻟﻰ اﻟﻮراء أﺟﺪ أن ﻫﺬا ﻛﺎن أﻛﺒﺮ ﻣﻦ أن ﻳﺘﻮﻻه ﺷﺨﺺ واﺣﺪ؛ وﻟﻜﻦ ﻛﺎن ﻻﺑﺪ ﻣﻨﻪ‬ ‫ﻓﻲ ذﻟﻚ اﻟﻮﻗﺖ‪.‬‬

‫ﻫﻨﺎك اﻟﻜﺜﻴﺮ ﻣﻤﺎ ﻳﺠﻤﻊ ﺑﻴﻦ اﻟﺘﺼﻮﻳﺮ اﻟﺴﻴﻨﻤﺎﺋﻲ واﻟﻔﻮﺗﻮﻏﺮاﻓﻲ؛‬ ‫ﻓﻜﻼﻫﻤﺎ ﻟﻪ ﻋﻼﻗﺔ ﺑﺮواﻳﺔ ﻗﺼﺔ ﺑﺎﺳﺘﺨﺪام اﻟﻀﻮء واﻟﺘﻜﻮﻳﻦ‬ ‫وﺑﺎﻟﺘﻘﺎط ﻟﺤﻈﺔ ﻣﺎ أو ﺗﺸﻜﻴﻞ ﻫﺬه اﻟﻠﺤﻈﺔ وﻣﻦ ﺛﻢ اﻟﺘﻘﺎﻃﻬﺎ‪.‬‬ ‫اﻟﻔﺮق اﻟﻮﺣﻴﺪ ﻫﻮ أﻧﻪ ﻻ ﻳﻮﺟﺪ ﺻﻮت ﻓﻲ اﻟﺘﺼﻮﻳﺮ اﻟﻔﻮﺗﻮﻏﺮاﻓﻲ وﻻ‬ ‫ﺗﻮﺟﺪ ﻟﻮﺣﺎت ﻓﻲ اﻟﻔﻴﻠﻢ‪.‬‬

‫‪92 93‬‬

‫‪KNOW WHO‬‬ ‫‪DTFF Doha Report‬‬

‫اﺳﺘﻤﺘﻊ ﻋﺪة آﻻف ﻣﻦ اﻟﻤﺸﺎﻫﺪﻳﻦ ﺑﻬﺬا اﻟﺤﺪث‬ ‫اﻟﺴﻴﻨﻤﺎﺋﻲ اﻟﻤﺘﻔﺮد ‪ -‬ﺟﻤﻴﻌﻬﻢ ﻛﺎﻧﻮا ﻳﺠﻠﺴﻮن‬ ‫ﻣﺴﺘﺮﺧﻴﻦ ﻋﻠﻰ ﻛﺮاﺳﻲ وﺿﻌﺖ ﻋﻠﻰ اﻟﻌﺸﺐ ﻓﻲ‬ ‫ﻣﺘﺤﻒ اﻟﻔﻦ ا‪s‬ﺳﻼﻣﻲ‪ .‬وﻗﺪ ﻋﺰز وﺟﻮد ﻧﺎﻳﺮ أﺛﻨﺎء ﻋﺮض‬ ‫اﻟﻔﻴﻠﻢ اﻻﻧﻄﺒﺎع ﺑﺄن اﻟﺪوﺣﺔ ﻗﺪ ﺣﺪدت ﻫﺪﻓ‪ f‬ﻃﻤﻮﺣ‪f‬‬ ‫‪L‬ول ﻣﺸﺎرﻛﺔ ﻟﻬﺎ ﻓﻲ داﺋﺮة اﻟﻤﻬﺮﺟﺎﻧﺎت اﻟﺴﻴﻨﻤﺎﺋﻴﺔ‬ ‫ ﻋﻠﻰ ا‪L‬ﻗﻞ ﺣﻴﻦ ﻳﺘﻌﻠﻖ ا‪L‬ﻣﺮ ﺑﺎﻟﺠﻮدة‪.‬‬‫اﻟﺒﺮﻧﺎﻣﺞ‬ ‫ﻣﻊ ﻋﺮض ﻣﺎﻻ ﻳﺰﻳﺪ ﻛﺜﻴﺮ[ ﻋﻦ ‪ ٣٠‬ﻓﻴﻠﻢ‪ ،‬ﻟﻢ ﻳﻜﻦ اﻟﻬﺪف‬ ‫أن ﻳﻜﻮن اﻟﻤﻬﺮﺟﺎن ﻫﻮ ا‪L‬ﻛﺒﺮ ﺑﻴﻦ ﻣﻬﺮﺟﺎﻧﺎت دول‬ ‫ﻣﺠﻠﺲ اﻟﺘﻌﺎون اﻟﺨﻠﻴﺠﻲ ﺑﺄي ﺣﺎل ﻣﻦ ا‪L‬ﺣﻮال‪ .‬وﻣﻊ‬ ‫ذﻟﻚ‪ ،‬ﻓﻘﺪ ﻛﺎن اﻻﺧﺘﻴﺎر اﻟﺪﻗﻴﻖ ﻟ‪X‬ﻓﻼم ﻣﺜﻴﺮ[‬ ‫ﻟﻼﻫﺘﻤﺎم وذو ﺻﻠﺔ ﺑﺎﻟﻤﻨﻄﻘﺔ – ﺣﻴﺚ ﻋﺮض اﻟﻌﺪﻳﺪ‬ ‫ﻣﻦ ا‪L‬ﻓﻼم اﻟﺴﻴﻨﻤﺎﺋﻴﺔ اﻟﻌﺮﺑﻴﺔ وا‪s‬ﻳﺮاﻧﻴﺔ اﻟﺤﺪﻳﺜﺔ‬ ‫ﻣﺜﻞ اﻟﻔﻴﻠﻢ اﻟﻤﺜﻴﺮ ﻟﻠﻤﺸﺎﻋﺮ »اﺣﻜﻲ ﻳﺎﺷﻬﺮزاد«‬ ‫ﻟﻠﻤﺨﺮج اﻟﻤﺼﺮي ﻳﺴﺮي ﻧﺼﺮ ا واﻟﻔﻴﻠﻢ اﻟﺪراﻣﻲ‬ ‫ذو اﻟﻄﺎﻗﻢ اﻟﻤﺤﻜﻢ ﻟﻠﻤﺨﺮج ا‪s‬ﻳﺮاﻧﻲ أﺻﻐﺮ ﻓﺮﻫﺎدي‬ ‫)ﻓﻴﻤﺎ ﻳﺨﺺ إﻟﻲ( وﻓﻴﻠﻢ »اﻟﻤﺮ واﻟﺮﻣﺎن« ﻟﻠﻤﺨﺮﺟﺔ‬ ‫واﻟﻜﺎﺗﺒﺔ اﻟﻔﻠﺴﻄﻴﻨﻴﺔ ﻧﺠﻮى ﻧﺠﺎر اﻟﺬي ﻓﺎز ﺑﺠﺎﺋﺰة‬ ‫اﻟﺠﻤﻬﻮر ‪L‬ﻓﻀﻞ ﻓﻴﻠﻢ ﻋﺮﺑﻲ ﺑﻘﻴﻤﺔ ‪ ٥٠،٠٠٠‬دوﻻر‪.‬‬ ‫وﻓﻰ ﻟﻴﻠﺔ اﻟﻬﺎﻟﻮﻳﻦ ﻛﺎن ﻫﻨﺎك ﻋﺮض ﺧﺎص ﻟﻠﻔﻴﻠﻢ‬ ‫اﻟﻜﻼﺳﻴﻜﻲ اﻟﻤﻮﻣﻴﺎء )‪ (١٩٦٩‬اﻟﺬي أﻋﻴﺪ إﺧﺮاﺟﻪ ﻣﻦ‬ ‫ﻗﺒﻞ اﻟﻤﺨﺮج اﻟﻤﺼﺮي ﺷﺎدي ﻋﺒﺪ اﻟﺴﻼم وذﻟﻚ ﻓﻲ‬ ‫ﺳﻮق »واﻗﻒ« وﺷﺎﻫﺪه ﻣﺎﻳﺰﻳﺪ ﻋﻦ ‪ ١٥٠٠‬ﻣﺘﻔﺮج – وﻫﻮ‬ ‫ﻣﺸﺮوع وﻓﺎء وﺗﺨﻠﻴﺪ ﻟﻠﺤﺐ ﻳﺪﻋﻤﻪ ﻣﺎرﺗﻦ ﺳﻜﻮرﺳﺰ‬ ‫وﻣﺆﺳﺴﺔ اﻟﺴﻴﻨﻤﺎ اﻟﻌﺎﻟﻤﻴﺔ اﻟﺘﻲ ﻳﺘﻮﻟﻲ ﺳﻜﻮرﺳﺰ‬ ‫رﺋﺎﺳﺘﻬﺎ‪ .‬وإﻟﻰ ﺟﺎﻧﺐ اﻟﻤﻤﺜﻞ اﻟﺒﺮﻳﻄﺎﻧﻲ اﻟﺴﻴﺮ ﺑﻦ‬ ‫ﻛﻴﻨﻐﺴﻠﻲ ﻛﺎن ﻫﻨﺎك اﻟﻤﺨﺮج اﻟﻔﻠﺴﻄﻴﻨﻲ إﻳﻠﻴﺎ‬ ‫ﺳﻠﻴﻤﺎن واﻟﻤﻤﺜﻠﻴﻦ اﻟﻤﺼﺮﻳﻴﻦ ﻋﺎدل إﻣﺎم وﻳﺴﺮي‬ ‫ﻣﻤﻦ ﺳﺎروا ﻣﻦ اﻟﻔﻨﺎﻧﻴﻦ واﻟﻤﺸﺎﻫﻴﺮ ﻋﻠﻰ اﻟﺴﺠﺎدة‬ ‫اﻟﺤﻤﺮاء )اﻻﻟﻜﺘﺮوﻧﻴﺔ( ﻓﻲ ﻣﻬﺮﺟﺎن ﺗﺮﻳﺒﻜﺎ ﻟ‪X‬ﻓﻼم‬ ‫اﻟﺴﻴﻨﻤﺎﺋﻴﺔ ﻓﻲ اﻟﺪوﺣﺔ ﻋﺎم ‪ ٢٠٠٩‬ﻣﺆﻛﺪﻳﻦ اﻟﺰﺧﻢ‬ ‫اﻟﺪوﻟﻲ ﻟﻬﺬا اﻟﻤﻬﺮﺟﺎن‪.‬‬

‫أﺛﻨﺎء إﺣﺪى اﻟﻨﻘﺎﺷﺎت ﺣﻮل »إﻧﺘﺎج وﺗﻮزﻳﻊ ا‪L‬ﻓﻼم اﻟﻤﺴﺘﻘﻠﺔ ﻓﻲ اﻟﺴﻮق اﻟﻌﺎﻟﻤﻴﺔ«‪،‬‬ ‫ﻋﺒﺮ ﻫﺎﻧﻲ أﺑﻮ أﺳﻌﺪ اﻟﻤﺮح ﻋﺎدة )وﻫﻮ ﻣﻬﻨﺪس ﻃﺎﺋﺮات ﺗﺤﻮل إﻟﻰ ﻛﺎﺗﺐ وﻣﺨﺮج‬ ‫وأﺧﺮج »ﻋﺮس رﻧﺎ«( ﻋﻦ أﺳﻔﻪ ﻟﻠﺘﺮﻛﻴﺰ اﻟﻜﺒﻴﺮ ﻓﻲ اﻟﻮﻗﺖ اﻟﺤﺎﻟﻲ ﻋﻠﻰ اﻟﻌﺎﺋﺪ‬ ‫اﻟﻤﺎﻟﻲ ﻋﻠﻰ اﻻﺳﺘﺜﻤﺎر ﺑﺪﻻ ﻣﻦ دﻋﻢ ﻓﻦ اﻟﺮواﻳﺔ ﺣﻴﺚ ﻗﺎل ﺑﺒﺴﺎﻃﺔ‪» :‬إن ﺻﻨﺎﻋﺔ‬ ‫ا‪L‬ﻓﻼم ﻋﻠﻰ ﻫﺬا اﻟﻨﺤﻮ ‪ -‬ﺣﻴﺚ ﻳﺤﺎول اﻟﺠﻤﻴﻊ ﻛﺴﺐ اﻟﻤﺎل وﻳﻔﻜﺮون ﻓﻲ ذﻟﻚ‬ ‫ﻣﻨﺬ اﻟﺒﺪاﻳﺔ ‪ -‬أﻣﺮ ﺧﻄﻴﺮ وﻫﻮ اﻧﻌﻜﺎس ﻻزدﻳﺎد ﻧﻔﻮذ ﺛﻘﺎﻓﺔ ﺻﻨﺎﻋﺔ اﻟﺴﻴﻨﻤﺎ‬ ‫ا‪L‬ﻣﺮﻳﻜﻴﺔ«‪ .‬وﻓﻲ اﻟﻤﻘﺎﺑﻞ‪ ،‬ﻓﺈن ﺑﺎﺳﺘﻄﺎﻋﺔ ﺻﻨﺎع اﻟﺴﻴﻨﻤﺎ اﻟﻌﺎﻣﻠﻴﻦ ﻓﻲ أوروﺑﺎ‬ ‫)أو ﻣﻊ ﺷﺮﻛﺎء أوروﺑﻴﻴﻦ( اﻟﺤﺼﻮل ﻋﻠﻰ ﻣﻨﺢ ﻟﻜﺘﺎﺑﺔ أو إﻋﺪاد ا‪L‬ﻓﻼم وإﻋﺎﻧﺎت ﻣﻦ‬ ‫اﻟﺤﻜﻮﻣﺔ دﻋﻤ‪ f‬ﻟﻬﺬه اﻟﻤﻬﻨﺔ ﺑﺴﻬﻮﻟﺔ أﻛﺒﺮ ﻣﻤﺎ ﻟﻮ ﻛﺎﻧﻮا ﺗﻘﺪﻣﻮا ﻟﺬﻟﻚ أو ﺣﺎوﻟﻮا‬ ‫اﻟﻌﻤﻞ ﻓﻲ اﻟﻮﻻﻳﺎت اﻟﻤﺘﺤﺪة‪ .‬وﻋﻠﻴﻪ ﻓﺈن ﻓﺮص ا‪L‬ﻓﻼم اﻟﻌﺮﺑﻴﺔ اﻟﻤﺴﺘﻘﻠﺔ أو ذات‬ ‫اﻟﺠﻬﺪ اﻟﺬاﺗﻲ ﻓﻲ اﻟﻌﺜﻮر ﻋﻠﻰ ﻣﻮﻃﺊ ﻗﺪم ﻟﻬﺎ أﻓﻀﻞ ﻣﻊ اﻟﺸﺮﻛﺎء اﻟﻔﺮﻧﺴﻴﻴﻦ‬ ‫أو ا‪L‬ﻟﻤﺎﻧﻴﻴﻦ أو اﻟﻬﻮﻟﻨﺪﻳﻴﻦ ﻣﻨﻬﺎ ﻓﻲ اﻟﻮﻻﻳﺎت اﻟﻤﺘﺤﺪة ا‪L‬ﻣﺮﻳﻜﻴﺔ‪.‬‬

‫‪2‬‬

‫وﻓﻲ ﻫﺬا اﻟﺴﻴﺎق‪ ،‬ﻳﺄﻣﻞ اﻟﻤﺮء ﻓﻲ أن ﺗﺴﺎﻋﺪ ﻣﺒﺎدرات اﻟﻤﻨﺢ اﻟﻤﺨﺼﺼﺔ ﻟ‪X‬ﻓﻼم‬ ‫ﻓﻲ ﻣﻨﻄﻘﺔ اﻟﺨﻠﻴﺞ – ﻛﺘﻠﻚ اﻟﺘﻲ أﻋﻠﻨﺖ ﻋﻨﻬﺎ ﻣﺆﺧﺮا ﻟﺠﻨﺔ اﻟﺴﻴﻨﻤﺎ ﻓﻲ أﺑﻮ‬ ‫ﻇﺒﻲ ﻟ‪X‬ﻓﻼم اﻟﻘﺼﻴﺮة – ﻓﻲ ﺗﻬﻴﺌﺔ اﻟﺒﻴﺌﺔ ا‪s‬ﻗﻠﻴﻤﻴﺔ ﻟﺘﻮﻓﻴﺮ اﻟﻤﺰﻳﺪ ﻣﻦ اﻟﻤﻨﺢ‬ ‫ﻟﺼﻨﺎﻋﺔ ا‪L‬ﻓﻼم ﻓﻲ أﻣﺎﻛﻦ أﺧﺮى ﻓﻲ اﻟﺸﺮق ا‪L‬وﺳﻂ وﻓﻲ اﻟﺘﺄﺳﻴﺲ ﻟﺒﺮاﻣﺞ دﻋﻢ‬ ‫ﺣﻜﻮﻣﻲ ﻓﻲ دول ﻣﺠﻠﺲ اﻟﺘﻌﺎون اﻟﺨﻠﻴﺠﻲ ﻣﺜﻞ اﻟﻜﻮﻳﺖ واﻟﺒﺤﺮﻳﻦ وﺳﻠﻄﻨﺔ‬ ‫ﻋﻤﺎن‪ .‬وﻣﻊ اﻟﻘﻠﺔ اﻟﻨﺴﺒﻴﺔ أو ﻟﻨﻘﻞ ﻏﻴﺎب أي آﻟﻴﺎت دﻋﻢ ﺣﻜﻮﻣﻲ ﻣﺤﻠﻲ ﻓﻲ دول‬ ‫ﻣﺠﻠﺲ اﻟﺘﻌﺎون اﻟﺨﻠﻴﺠﻲ‪ ،‬ﻓﺈن ﺗﻄﻮر ﻣﻬﻦ ﺻﻨﺎﻋﺔ ا‪L‬ﻓﻼم اﻟﻤﺴﺘﻘﻠﺔ واﻟﻜﺘﺎﺑﺔ‬ ‫وا‪s‬ﺧﺮاج ‪ -‬ﻧﺎﻫﻴﻚ ﻋﻦ ﺷﺒﻜﺎت اﻟﺘﻮزﻳﻊ واﻟﻤﻌﺎرض اﻟﻤﺴﺘﻘﻠﺔ ﻻ ﻳﺰال ﺿﻌﻴﻔ‪.f‬‬ ‫أﻓﻼم ﻋﺎﻟﻴﺔ اﻟﺠﻮدة‬ ‫أُدرﺟَ ﺖ اﻟﻌﺪﻳﺪ ﻣﻦ ا‪L‬ﻓﻼم ﻋﺎﻟﻴﺔ اﻟﺠﻮدة اﻟﺘﻲ ﻗﺎم ﺑﺈﺧﺮاﺟﻬﺎ ﻣﺨﺮﺟﻮن ﻣﺘﻤﻴﺰون‬ ‫ﻛﺠﺰء ﻣﻦ ﻣﻬﺮﺟﺎن ﺗﺮﻳﺒﻜﺎ ﻟ‪X‬ﻓﻼم ﺑﺎﻟﺪوﺣﺔ ﻋﺎم ‪ .٢٠٠٩‬وﻗﺪ ﻗﺎﻣﺖ اﻟﻤﺪﻳﺮة اﻟﺘﻨﻔﻴﺬﻳﺔ‬ ‫أﻣﺎﻧﺪا ﺑﺎﻟﻤﺮ – واﻟﺘﻲ ﺗﺸﻐﻞ أﻳﻀ‪ f‬ﻣﻨﺼﺐ ﻣﺴﺌﻮﻟﺔ اﻟﺘﺮﻓﻴﻪ ﻓﻲ ﻗﻨﺎة اﻟﺠﺰﻳﺮة‬ ‫ا‪s‬ﻧﺠﻠﻴﺰﻳﺔ – ﺑﺎﺳﺘﻀﺎﻓﺔ اﻟﻤﺨﺮﺟﺔ اﻟﻬﻨﺪﻳﺔ ﻣﻴﺮا ﻧﺎﻳﺮ ﻓﻲ ﺣﻠﻘﺔ ﺣﺎﻓﻠﺔ ﺑﺎ‪L‬ﺳﺌﻠﺔ‬ ‫اﻟﻔﻨﻴﺔ واﻟﺘﺴﻠﻴﺔ واﻟﻤﺮح ﻣﻦ ﺑﺮﻧﺎﻣﺠﻬﺎ »ﺳﺆال وﺟﻮاب« ﻳﻮم اﻟﺠﻤﻌﺔ اﻟﻤﻮاﻓﻖ‬ ‫‪ ٣٠‬أﻛﺘﻮﺑﺮ‪.‬‬

‫‪3‬‬

‫<<<‬

‫واﺧﺘﺘﻢ ﺑﺮﻧﺎﻣﺞ اﻟﻤﻬﺮﺟﺎن ﺑﺎﻟﻔﻴﻠﻢ اﻟﻐﻨﺎﺋﻲ ا‪L‬ﻧﻴﻖ‬ ‫»زﻣﺎن اﻟﻘﺎﻫﺮة« ﻟﻠﻤﺨﺮﺟﺔ اﻟﻤﻘﻴﻤﺔ ﻓﻲ ﺗﻮروﻧﺘﻮ رﺑﺎ‬ ‫ﻧﺪا ﺑﻨﻔﺲ اﻟﻄﺮﻳﻘﺔ اﻟﺘﻲ ﺑﺪأ ﺑﻬﺎ ‪ -‬ﻓﻲ اﻟﻬﻮاء‬ ‫اﻟﻄﻠﻖ وﺗﺤﺖ ﺳﻤﺎء ﻣﺮﺻﻌﺔ ﺑﺎﻟﻨﺠﻮم‪.‬‬ ‫ﻣﻨﺎﻗﺸﺎت اﻟﺪوﺣﺔ‬ ‫ﺑﺎ‪s‬ﺿﺎﻓﺔ إﻟﻰ اﻟﻌﺮوض‪ ،‬ﻛﺎن ﻫﻨﺎك اﻟﻌﺪﻳﺪ ﻣﻦ‬ ‫اﻟﺤﻠﻘﺎت اﻟﻨﻘﺎﺷﻴﺔ اﻟﺠﻴﺪة اﻟﺘﻲ ﻋﻘﺪت ﻓﻲ ﻓﻨﺪق‬ ‫»ﻓﻮر ﺳﻴﺰﻧﺰ« وﻣﺘﺤﻒ اﻟﻔﻦ ا‪s‬ﺳﻼﻣﻲ ﻓﻲ إﻃﺎر‬ ‫ﻣﺤﺎدﺛﺎت اﻟﺪوﺣﺔ‪ .‬وﺷﻤﻠﺖ ﻫﺬه ﺣﻠﻘﺔ ﺑﻌﻨﻮان‬ ‫»اﻟﺘﻤﻮﻳﻞ ﻣﻦ ﻫﻮﻟﻴﻮود اﻟﻰ ﻗﻄﺮ« اﻟﺘﻲ أدارﺗﻬﺎ‬ ‫ﻛﺎﺳﻴﺎن اﻟﻮﻳﺲ – وﻫﻲ ﺷﺮﻛﺔ ﺗﻮزﻳﻊ وﺗﻤﻮﻳﻞ‬ ‫دوﻟﻴﺔ ﻣﺮﻣﻮﻗﺔ – وأﺧﺮى ﺑﻌﻨﻮان »ﺻﻨﺎﻋﺔ ا‪L‬ﻓﻼم‬ ‫اﻟﻮﺛﺎﺋﻘﻴﺔ« وأدارﻫﺎ اﻟﻤﺨﺮج ﺑﻴﺪي ﻓﻴﻨﺰي – اﻟﺬي ﻋﺮض‬ ‫ﻓﻴﻠﻤﻪ اﻟﻮﺛﺎﺋﻘﻲ »ﻓﻘﻂ ﻋﻨﺪﻣﺎ أرﻗﺺ« ﻣﺮﺗﻴﻦ ﺧﻼل‬ ‫اﻟﻤﻬﺮﺟﺎن‪ .‬وﻣﺜﻞ ﻓﻴﻠﻢ ﻓﺮﻫﺎدي »ﻓﻴﻤﺎ ﻳﺨﺺ إﻟﻲ«‬ ‫ﻛﺎن اﻟﻔﻴﻠﻢ اﻟﻮﺛﺎﺋﻘﻲ ﻟـ »ﻓﻴﻨﺰي« ﻣﻦ ا‪L‬ﻓﻼم اﻟﺘﻲ‬ ‫ﺳﺒﻖ وأن ﻋﺮﺿﺖ ﻓﻲ ﻣﻬﺮﺟﺎن ﺗﺮﻳﺒﻜﺎ اﻟﺴﻴﻨﻤﺎﺋﻲ‬ ‫ﻓﻲ ﻧﻴﻮﻳﻮرك ﻓﻲ وﻗﺖ ﺳﺎﺑﻖ ﻣﻦ اﻟﻌﺎم اﻟﺤﺎﻟﻲ‪.‬‬

‫‪4‬‬ ‫‪1 Film still from ‘Amelia’ - directed by Mira Nair 2 ‘Cairo Time’ movie poster 3 Cairo Time’s Toronto-based ﬁlmmaker, Ruba Nadda‬‬ ‫’‪4 Film still from ‘Captain Abu Raed‬‬

‫اﻟﺨﻠﻴﺠﻲ اﻟﺬي ﻳﻤﺘﺪ ﻣﻦ أﻛﺘﻮﺑﺮ وﺣﺘﻰ ﺷﻬﺮ ﻧﻴﺴﺎن‬ ‫ﻣﻦ ﻛﻞ ﻋﺎم‪ ،‬واﻟﺘﻲ ﻳﺄﻣﻞ اﻟﻤﺮء أن ﺗﻮاﺻﻞ إزدﻫﺎرﻫﺎ‬ ‫ﻓﻲ اﻟﻤﺴﺘﻘﺒﻞ‪ .‬ﻛﻤﺎ ﻧﺄﻣﻞ أن ﺗﺘﻤﻜﻦ ﻛﻞ ﻫﺬه‬ ‫اﻟﻤﻬﺮﺟﺎﻧﺎت ﻣﻦ ﺗﺤﺪﻳﺪ رؤﻳﺘﻬﺎ وﻣﺎ ﺗﻘﺪﻣﻪ ﻓﻴﻤﺎ‬ ‫ﻳﺘﻌﻠﻖ ﺑﺎﻟﻤﻬﺮﺟﺎﻧﺎت ا‪L‬ﺧﺮى‪ .‬ﻓﻲ اﻟﺴﻨﻮات اﻟﻘﺎدﻣﺔ‬ ‫ﺳﺘﺼﺒﺢ ﻣﺠﻤﻮﻋﺔ اﻟﻤﻬﺮﺟﺎﻧﺎت ا‪s‬ﻗﻠﻴﻤﻴﺔ ﺗﻈﺎﻫﺮة‬ ‫ﺳﻴﻨﻤﺎﺋﻴﺔ ﻳﺤﺘﻔﻰ ﺑﻬﺎ ﻣﻦ ﻗﺒﻞ ﺟﻤﻴﻊ أوﻟﺌﻚ اﻟﺬﻳﻦ‬ ‫ﻳﺤﺒﻮن اﻟﺴﻴﻨﻤﺎ وﻳﺴﻌﻮن إﻟﻰ دﻋﻢ ﺗﻄﻮر اﻟﻔﻨﻮن‬ ‫اﻟﺴﻴﻨﻤﺎﺋﻴﺔ وﻣﺸﺎرﻳﻌﻬﺎ ﻓﻲ اﻟﻤﻨﻄﻘﺔ ﺑﻮﺻﻔﻬﺎ‬ ‫ﻇﺎﻫﺮة ﺛﻘﺎﻓﻴﺔ واﺟﺘﻤﺎﻋﻴﺔ واﻗﺘﺼﺎدﻳﺔ‪.‬‬

‫‪1‬‬

‫ﻣﻦ اﻟﻤﺜﻴﺮ ﻟ‪m‬ﻋﺠﺎب أن ﻧﺮى ﻗﻄﺮ‬ ‫ﺗﻨﻀﻢ ﻓﻲ أﻛﺘﻮﺑﺮ اﻟﻤﺎﺿﻲ ‪2009‬‬ ‫إﻟﻰ ﺻﻔﻮف دول ﻣﺠﻠﺲ اﻟﺘﻌﺎون‬ ‫اﻟﺨﻠﻴﺠﻲ اﻟﺘﻲ ﺗﻨﻈﻢ ﻣﻬﺮﺟﺎﻧﺎت‬ ‫ﺳﻴﻨﻤﺎﺋﻴﺔ ‪ ,‬ﻳﺘﻢ ﺗﻤﻮﻳﻠﻬﺎ‬ ‫واﻟﺘﺮوﻳﺞ ﻟﻬﺎ ﺑﺸﻜﻞ ﺟﻴﺪ وﺗﻘﻮم‬ ‫ﺑﻌﺮض أﻓﻼﻣ‪ B‬رواﺋﻴﺔ ووﺛﺎﺋﻘﻴﺔ‬ ‫ﻋﻠﻰ ﺣﺪ ﺳﻮاء‪.‬‬

‫ﺑﺤﺮوﻓﻪ ا‪L‬ﻧﻴﻘﺔ اﻟﺮﻓﻴﻌﺔ ﻳﻤﺜﻞ ﻣﻬﺮﺟﺎن ﺗﺮﻳﺒﻜﺎ ﻟ‪X‬ﻓﻼم‬ ‫اﻟﺴﻴﻨﻤﺎﺋﻴﺔ ﻓﻲ اﻟﺪوﺣﺔ ﺑﺼﻤﺔ ﻗﻄﺮﻳﺔ ذات ﻣﻮﺿﻊ‬ ‫ﺗﺮﺣﻴﺐ ﻓﻲ ﺧﻀﻢ داﺋﺮة اﻟﻤﻬﺮﺟﺎﻧﺎت اﻟﺴﻴﻨﻤﺎﺋﻴﺔ‬ ‫ﻓﻲ دول ﻣﺠﻠﺲ اﻟﺘﻌﺎون اﻟﺨﻠﻴﺠﻲ واﻟﺘﻲ ﺗﻀﻢ‬ ‫ﺑﺎﻟﻔﻌﻞ‪ :‬ﻣﻬﺮﺟﺎن دﺑﻲ اﻟﺴﻴﻨﻤﺎﺋﻲ اﻟﺪوﻟﻲ)‪(DIFF‬‬ ‫‪ ،‬وﻣﻬﺮﺟﺎن اﻟﺸﺮق ا‪L‬وﺳﻂ اﻟﺴﻴﻨﻤﺎﺋﻲ اﻟﺪوﻟﻲ‬ ‫ﻓﻲ أﺑﻮﻇﺒﻲ )‪ (MEIFF‬واﻟﻤﻬﺮﺟﺎن ا‪L‬ﺻﻐﺮ ﻧﺴﺒﻴﺎ‬ ‫ وﻟﻜﻦ ﻟﻴﺲ ا‪L‬ﻗﻞ ﺷﻬﺮة ‪ -‬ﻣﻬﺮﺟﺎن اﻟﺨﻠﻴﺞ‬‫اﻟﺴﻴﻨﻤﺎﺋﻲ )‪ .(GFF‬وﻋﻠﻰ اﻟﺠﺎﻧﺐ اﻟﻮﺛﺎﺋﻘﻲ‬ ‫اﻟﺼﺮف ﻫﻨﺎك أﻳﻀﺎ ﻣﻬﺮﺟﺎن اﻟﺠﺰﻳﺮة اﻟﺪوﻟﻲ ﻟ‪X‬ﻓﻼم‬ ‫اﻟﺘﺴﺠﻴﻠﻴﺔ ‪ -‬اﻟﺬي ﺳﺘﺸﻬﺪ ﻗﻄﺮ دورﺗﻪ اﻟﺴﺎدﺳﺔ‬ ‫ﻓﻲ ﻋﺎم ‪.٢٠١٠‬‬ ‫وا ن‪ ،‬وﻣﻊ إﺿﺎﻓﺔ ﻣﻬﺮﺟﺎن ﺗﺮﻳﺒﻜﺎ ﻟ‪X‬ﻓﻼم اﻟﺴﻴﻨﻤﺎﺋﻴﺔ‬ ‫ﻓﻲ اﻟﺪوﺣﺔ‪ ،‬ﻳﺴﺘﻄﻴﻊ ﻋﺸﺎق اﻟﺴﻴﻨﻤﺎ اﻟﻤﺤﻠﻴﺔ‬ ‫وﺻﻨﺎع اﻟﺴﻴﻨﻤﺎ ا‪s‬ﻗﻠﻴﻤﻴﻴﻦ اﻟﺘﻄﻠﻊ ﺑﺸﻐﻒ ﻟﻤﻮﺳﻢ‬ ‫اﻟﻤﻬﺮﺟﺎﻧﺎت اﻟﺴﻴﻨﻤﺎﺋﻴﺔ ﻓﻲ دول ﻣﺠﻠﺲ اﻟﺘﻌﺎون‬

‫أﺣﻴﻄﺖ ا‪L‬ﻳﺎم ا‪L‬رﺑﻌﺔ اﻟﺮاﺋﻌﺔ ﻟﻤﻬﺮﺟﺎن اﻟﺪوﺣﺔ‬ ‫ﺗﺮﻳﺒﻴﻜﺎ اﻟﺴﻴﻨﻤﺎﺋﻲ ﺑﺎ‪L‬ﺻﻮات اﻟﻤﻠﻬﻤﺔ ‪L‬ورﻛﺴﺘﺮا‬ ‫ﻗﻄﺮ ﻓﻲ ﺑﺪاﻳﺘﻬﺎ – ﺑﻤﺎ ﺗﻀﻤﻨﺘﻪ ﻣﻦ أداء ﻓﻨﻲ‬ ‫ﻣﺬﻫﻞ ﻣﻦ ﻣﻮﺳﻴﻘﻰ ا‪L‬ﻓﻼم اﻟﻜﻼﺳﻴﻜﻴﺔ ‪-‬‬ ‫أﻋﻘﺒﻬﺎ ﻋﺮض ﻟ‪X‬ﻟﻌﺎب اﻟﻨﺎرﻳﺔ اﻟﻤﺒﻬﺮة ﻓﻲ ﺧﺘﺎم‬ ‫اﻟﻤﻬﺮﺟﺎن‪ .‬وﻓﻲ اﻟﺤﻘﻴﻘﺔ ﻓﻘﺪ ﻛﺎن اﻟﺸﻲء اﻟﻮﺣﻴﺪ‬ ‫اﻟﻐﺎﺋﺐ ﺑﻴﻦ ﻟﻴﻠﺔ اﻻﻓﺘﺘﺎح واﻟﺨﺘﺎم ﻫﻮ اﻟﻤﺰﻳﺪ ﻣﻦ‬ ‫اﻟﻮﻗﺖ ﻟﺮؤﻳﺔ اﻟﻤﺰﻳﺪ ﻣﻦ ا‪L‬ﻓﻼم ﺣﻴﺚ ﻛﺎن اﻟﺒﺮﻧﺎﻣﺞ‬ ‫ﺳﺮﻳﻌ‪ f‬وﺻﺎﺧﺒ‪ f‬اﻣﺘﺪ ﻃﻮال ﻋﻄﻠﺔ ﻧﻬﺎﻳﺔ ا‪L‬ﺳﺒﻮع‬ ‫واﺣﺘﻮى ﻋﻠﻰ اﻟﻜﺜﻴﺮ ﻣﻤﺎ ﺗﺠﺪر ﻣﺸﺎﻫﺪﺗﻪ دون ﺗﻮﻓﺮ‬ ‫اﻟﻮﻗﺖ اﻟﻜﺎﻓﻲ ﻟﻤﺸﺎﻫﺪة ﺟﻤﻴﻊ اﻟﻌﺮوض اﻟﻜﺜﻴﺮة‬ ‫اﻟﻤﺘﻮﻓﺮة‪.‬‬ ‫اﻟﺘﺤﻠﻴﻖ ﻋﺎﻟﻴ‪B‬‬ ‫ﻓﻲ ﺣﻔﻞ اﻓﺘﺘﺎح ﻣﻬﺮﺟﺎن ﺗﺮﻳﺒﻜﺎ ﻟ‪X‬ﻓﻼم‬ ‫اﻟﺴﻴﻨﻤﺎﺋﻴﺔ ﻓﻲ اﻟﺪوﺣﺔ ﻛﺎن اﻟﻄﻴﺮان ﻣﻮﺿﻮﻋ‪f‬‬ ‫ﺣﺎﺿﺮ[ وﻣﺘﻜﺮر[ ‪ -‬ﻳﺮﺟﻊ ذﻟﻚ ﺑﻘﺪر ﻻ ﻳﺴﺘﻬﺎن ﺑﻪ‬ ‫ﻟﻠﻌﺮض اﻟﻤﺪﻫﺶ ﻓﻲ اﻟﻬﻮاء اﻟﻄﻠﻖ ‪s‬ﻣﻴﻠﻴﺎ‬ ‫ﻓﻲ ﻟﻴﻠﺔ اﻻﻓﺘﺘﺎح – وﺗﺴﺠﻴﻞ اﻟﻤﺨﺮج ﻣﻴﺮا ﻧﺎﻳﺮ‬ ‫ﻟﺤﻴﺎة وﻗﺼﺺ ﺣﺐ ﻗﺎﺋﺪة اﻟﻄﺎﺋﺮات ا‪L‬ﻣﺮﻳﻜﻴﺔ‬ ‫اﻟﻤﺸﻬﻮرة أﻣﻴﻠﻴﺎ إﻳﺮﻫﺎرت )واﻟﺘﻲ ﻟﻌﺒﺖ دورﻫﺎ‬ ‫وﻛﻤﺎ ﻟﻮ ﻛﺎن ﻛﻞ ﺷﻲء‬ ‫ﻫﻴﻼري ﺳﻮاﻧﻚ(‪.‬‬ ‫ﻣﺨﻄﻄﺎ ﻟﻪ ﻣﺴﺒﻘﺎ ﻣﻦ ﻗﺒﻞ ﻣﻨﻈﻤﻲ ﻣﻬﺮﺟﺎن‬ ‫ﻗﻄﺮ وﻫﻴﺌﺔ اﻟﻄﻴﺮان اﻟﻤﺪﻧﻲ‪ ،‬ﻓﻘﺪ ﺟﺎب ﺳﺮب ﻣﻦ‬ ‫اﻟﻄﺎﺋﺮات ﺳﻤﺎء اﻟﻠﻴﻞ اﻟﻤﺮﺻﻌﺔ ﺑﺎﻟﻨﺠﻮم ﻃﻮال‬ ‫ﻣﺪة ﻋﺮض اﻟﻔﻴﻠﻢ‪.‬‬

‫أﻓﻼم وﻣﻌﺠﺒﻮن‬ ‫وأﻟﻌﺎب ﻧﺎرﻳﺔ‬

‫ﻓﻲ ﻣﻬﺮﺟﺎن ﺗﺮﻳﺒﻜﺎ ﻟ‪u‬ﻓﻼم اﻟﺴﻴﻨﻤﺎﺋﻴﺔ ﻓﻲ اﻟﺪوﺣﺔ )‪ 29‬أﻛﺘﻮﺑﺮ – ‪ 1‬ﻧﻮﻓﻤﺒﺮ ‪(2009‬‬ ‫‪94 95‬‬

‫‪KNOW WHO‬‬ ‫‪DTFF Doha Report‬‬

‫ﻣﻬﺮﺟﺎن ﺗﺮﻳﺒﻜﺎ ﻟ‪u‬ﻓﻼم ﺑﺎﻟﺪوﺣﺔ‬ ‫‪ /‬ﺣﺪث ﻳﺴﺘﺤﻖ اﻟﺘﻜﺮار‪.‬‬ ‫ﺑﺎﺳﺘﺜﻨﺎء اﻟﻜﻮﻳﺖ وﻋﻤﺎن‪ ،‬واﻟﺒﺤﺮﻳﻦ واﻟﻤﻤﻠﻜﺔ اﻟﻌﺮﺑﻴﺔ اﻟﺴﻌﻮدﻳﺔ‪ ،‬ﻳﻤﻜﻦ‬ ‫ﻟﻤﺤﺒﻲ ا‪L‬ﻓﻼم ﺑﺪول ﻣﺠﻠﺲ اﻟﺘﻌﺎون اﻟﺨﻠﻴﺠﻲ أن ﻳﻘﻮﻟﻮا ﺑﺄن ﻟﺪﻳﻬﻢ‬ ‫ﻣﻬﺮﺟﺎن أﻓﻼم ﻻ ﻳﻘﻞ ﻋﻦ اﻟﻤﻬﺮﺟﺎﻧﺎت اﻟﺘﻲ ﺗﺤﻈﻰ ﺑﺎﻟﺸﻬﺮة و اﻟﻤﻠﻴﺌﺔ‬ ‫ﺑﺎ‪L‬ﺣﺪاث اﻟﺜﻘﺎﻓﻴﺔ‪ ،‬و اﻟﺘﻲ ﺗﺸﻬﺪ ﺣﻀﻮر[ ﻋﺎﻟﻤﻴ‪ f‬ﻛﺘﻠﻚ اﻟﺘﻲ ﺗﻌﻘﺪ ﻓﻲ‬ ‫أواﺳﻂ اﻟﺨﺮﻳﻒ وأواﺳﻂ اﻟﺮﺑﻴﻊ ﻓﻲ ا‪L‬ﻗﻄﺎر اﻟﻤﺠﺎورة‪.‬‬ ‫وﻟﻠﻤﺮة ا‪L‬وﻟﻰ ﻳﺠﺘﻤﻊ ﺧﻼل اﻟﻔﺘﺮة ﻣﻦ ‪ ٢٩‬أﻛﺘﻮﺑﺮ إﻟﻰ ‪ ١‬ﻧﻮﻓﻤﺒﺮ ﻧﺨﺒﺔ ﻣﻦ‬ ‫أرﻓﻊ ﺻﺎﻧﻌﻲ ا‪L‬ﻓﻼم و أﻛﺜﺮ اﻟﺸﺨﺼﻴﺎت ﺗﺄﺛﻴﺮ[ ﻓﻲ ﻋﺎﻟﻢ ﺻﻨﺎﻋﺔ اﻻﻓﻼم‬ ‫ﻟﻠﻤﺸﺎرﻛﺔ ﻓﻲ ﻣﻬﺮﺟﺎن ﺗﺮﻳﺒﻜﺎ ﻟ‪X‬ﻓﻼم ﺑﺎﻟﺪوﺣﺔ ‪ .٢٠٠٩‬وﻓﻴﻤﺎ ﻳﻠﻲ ﺑﻌﺾ‬ ‫اﻟﻤﻘﺘﻄﻔﺎت اﻟﺘﻲ ﻻ ﺗﻨﺴﻰ ﻣﻦ أﺟﻮاء اﻟﻤﺆﺗﻤﺮ‪..‬‬ ‫»ﻻ ﺗﻌﺎﻣﻞ أي ﺷﻲء ﻓﻨﻲ ﺗﻘﻮم ﺑﻪ ﻋﻠﻰ أﻧﻪ درﺟﺔ ﺳﻠﻢ ﺗﺮﺗﻘﻲ ﺑﻬﺎ إﻟﻰ ﻣﺎ‬ ‫ﻼ ﻓﻲ ذاﺗﻪ«‪.‬‬ ‫ﻼ ﻣﺘﻜﺎﻣ ً‬ ‫ﺳﻮاﻫﺎ‪ ،‬ﺑﻞ ﻗﻢ ﺑﻪ ﺑﻜﻞ ﻃﺎﻗﺘﻚ ﺑﺎﻋﺘﺒﺎره ﻋﻤ ً‬

‫‪4‬‬

‫رد ﻣﻴﺮا ﻧﺎﻳﺮ ﻋﻨﺪﻣﺎ ﺳﺄﻟﺖ ﻣﻦ ﻗﺒﻞ أﺣﺪ اﻟﻄﻼب اﻟﻤﻤﺜﻠﻮن ﺣﻮل ﻣﺎ إذا‬ ‫ﻛﺎﻧﺖ اﻟﻤﺸﺎرﻛﺔ ﻓﻲ ا‪L‬ﻧﺸﻄﺔ اﻟﻤﺴﺮﺣﻴﺔ ﻃﺮﻳﻘﺔ ﺟﻴﺪة »ﻟﻠﻮﺻﻮل« إﻟﻰ‬ ‫اﻟﺸﻬﺮة ﻓﻲ اﻟﻌﺮوض اﻟﺴﻴﻨﻤﺎﺋﻴﺔ‪.‬‬

‫وﺑﺸﻜﻞ ﻋﺎم‪ ،‬ﻓﺈن اﻟﻤﺆﺗﻤﺮ ﺟﺎء ﺧﻠﻴﻄ‪ f‬ﻣﺘﻤﺎزﺟ‪ f‬ﻣﻦ‬ ‫اﻟﺜﻘﺎﻓﺎت اﻟﻤﺨﺘﻠﻔﺔ وﻋﻜﺲ ﺑﺸﻜﻞ واﺿﺢ ذﻟﻚ‬ ‫اﻟﻤﺰﻳﺞ ﻣﻦ ﻋﺮب اﻟﺪوﺣﺔ اﻟﻤﺤﻠﻴﻴﻦ‪ ،‬و اﻟﻤﻘﻴﻤﻴﻦ‪ ،‬و‬ ‫اﻟﺴﻮاح‪ ،‬و زاﺋﺮي اﻟﻤﺆﺗﻤﺮ‪ .‬وﺗﺘﻮﻳﺠ‪ f‬ﻟﺬﻟﻚ ﻛﻠﻪ‪ ،‬آﺛﺮ‬ ‫اﻟﻤﻤﺜﻞ »روﺑﺮت دي ﻧﻴﺮو« أن ﻳﻜﻮن ﻇﻬﻮره ﻓﻲ اﻟﻠﻴﻠﺔ‬ ‫اﻟﺨﺘﺎﻣﻴﺔ أﻣﺎم اﻟﻤﻌﺠﺒﻴﻦ واﻟﻌﺪﻳﺪ ﻣﻦ اﻟﻤﻬﺘﻤﻴﻦ‪،‬‬ ‫واﻟﺬي ﺟﺎء ﻛﻤﺼﺎدﻗﺔ ﻣﻨﻪ ﻋﻠﻰ ﺟﻬﻮد اﻟﻤﺘﻄﻮﻋﻴﻦ‬ ‫اﻟﻄﻴﺒﺔ اﻟﺘﻲ ﺣﺮﺻﺖ ﻋﻠﻰ ﺟﻌﻞ ﻣﻬﺮﺟﺎن ﺗﺮﻳﺒﻜﺎ‬ ‫ﻟ‪X‬ﻓﻼم ﺑﺎﻟﺪوﺣﺔ ﻣﻬﺮﺟﺎﻧ‪ f‬ﻧﺎﺟﺤ‪ f‬ﻓﻲ ﻋﺎﻣﻪ ا‪L‬ول‪.‬‬ ‫وﻗﺪ اﺳﺘﺤﻖ دي ﻧﻴﺮو ﻣﺠﺪ اﻟﻠﻴﻠﺔ ا‪L‬ﺧﻴﺮة‪ ،‬واﺳﺘﺤﻖ‬ ‫اﻟﺸﻜﺮ ﻛﻞ ﻣﻦ ﻋﻤﻞ ﻣﻦ ﻣﻮﻇﻔﻴﻦ وﻣﺘﻄﻮﻋﻴﻦ أﻣﺎم‬ ‫و ﺧﻠﻒ اﻟﻜﻮاﻟﻴﺲ‪ ،‬ﻓﻲ اﻧﻄﻼﻗﺔ ذﻟﻚ اﻟﺤﺪث اﻟﺼﺎﺧﺐ‬ ‫ﺑﺎﻟﺪوﺣﺔ‪ .‬وأﺧﻴﺮ[‪ ،‬ﺗﻬﺎﻧﻴﻨﺎ ﻟﻘﻄﺮ‪ ،‬و ﻣﺮﺣﺒ‪ f‬ﺑﻜﻢ إﻟﻰ‬ ‫ﻋﺎﻟﻢ ﻣﻬﺮﺟﺎﻧﺎت ا‪L‬ﻓﻼم ﺑﺪول ﻣﺠﻠﺲ اﻟﺘﻌﺎون‪.‬‬ ‫ﺑﻘﻠﻢ‪ :‬ﻃﻼل اﻟﻤﻬﻨﺎ‬ ‫»ﻣﻬﺮﺟﺎن ﺗﺮﻳﺒﻜﺎ ﻟ‪X‬ﻓﻼم ﺑﺎﻟﺪوﺣﺔ« ﻋﺒﺎرة ﻋﻦ ﺷﺮاﻛﺔ‬ ‫ﺑﻴﻦ »ﻫﻴﺌﺔ ﻣﺘﺎﺣﻒ ﻗﻄﺮ« و »ﻣﻬﺮﺟﺎن ﺗﺮﻳﺒﻜﺎ ﻟ‪X‬ﻓﻼم‬ ‫ﺑﻨﻴﻮﻳﻮرك« ﻣﻦ اﻟﺠﺎﻧﺐ اﻟﻘﻄﺮي ﻫﻨﺎك اﻟﺮﺋﻴﺴﺔ ﻟﻬﻴﺌﺔ‬ ‫ﻣﺘﺎﺣﻒ ﻗﻄﺮ‪ ،‬ﺻﺎﺣﺒﺔ اﻟﻌﺼﻤﺔ اﻟﺸﻴﺨﺔ اﻟﻤﻴﺴﺎء‬ ‫ﺑﻨﺖ ﺣﻤﺪ ﺑﻦ ﺧﻠﻴﻔﺔ آل ﺛﺎﻧﻲ‪ ،‬و اﻟﺮﺋﻴﺲ اﻟﺘﻨﻔﻴﺬي‬ ‫ﻋﺒﺪ ا اﻟﻨﺠﺎر و اﻟﻤﺪﻳﺮ اﻟﺘﻨﻔﻴﺬي ﻟﻤﻬﺮﺟﺎن ﺗﺮﻳﺒﻴﻜﺎ‬ ‫ﻟ‪X‬ﻓﻼم ﺑﺎﻟﺪوﺣﺔ أﻣﺎﻧﺪا ﺑﺎﻟﻤﺮ‪ .‬وﻣﻦ ﺟﺎﻧﺐ ﺗﺮﻳﺒﻜﺎ‬ ‫ﻫﻨﺎك ﻣﺆﺳﺴﻲ اﻟﻤﻬﺮﺟﺎن‪ :‬ﻣﻨﺘﺞ ﻫﻮﻟﻴﻮد اﻟﺸﻬﻴﺮ‬ ‫ﺟﺎن روزﻧﺜﺎل‪ ،‬واﻟﻤﺴﺘﺜﻤﺮ ﻛﺮﻳﺞ ﻫﺎﺗﻜﻮف‪ ،‬و اﻟﻤﻤﺜﻞ‬ ‫اﻟﻤﺸﻬﻮر روﺑﺮت دي ﻧﻴﺮو‪.‬‬

‫»ﻛﺎن ﻣﻜﺘﺒﻲ ا‪L‬ول ﻣﺠﺮد ﻃﺎوﻟﺔ ﺑﺠﺎﻧﺐ ﻛﺸﻚ ﻫﺎﺗﻒ ﻋﻤﻮﻣﻲ« ﻛﺎن‬ ‫ﻟﺪﻳﻨﺎ اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﻌﻤﻼت‪ ،‬و ﻛﻨﺎ ﻧﻌﺮف اﻟﻌﺪد اﻟﺬي ﻋﻠﻴﻨﺎ أن ﻧﻌﻄﻴﻪ‬ ‫ﻟﻜﻲ ﻧﺘﻠﻘﻰ اﻟﻤﻜﺎﻟﻤﺎت« ﺻﺎﻧﻊ ا‪L‬ﻓﻼم اﻟﺤﺎﺋﺰ ﻋﻠﻰ ﺟﺎﺋﺰة »اﻟﻜﺮة ا‪L‬رﺿﻴﺔ‬ ‫اﻟﺬﻫﺒﻴﺔ« اﻟﺴﻴﺪ‪ /‬ﻫﺎﻧﻲ أﺑﻮ أﺳﻌﺪ )اﻟﺠﻨﺔ ا ن( ﻓﻲ ﺑﺪاﻳﺔ ﻣﺸﻮاره اﻟﻔﻨﻲ‬ ‫ﻓﻲ ﺻﻨﺎﻋﺔ ا‪L‬ﻓﻼم‪.‬‬ ‫»ﻧﻌﻢ‪ ،‬ﺣﻘﻴﻘﺔ ﺳﻴﻄﺮة اﻟﻐﺮب ﻓﻲ ﺻﻨﺎﻋﺔ ا‪L‬ﻓﻼم أﻣﺮ واﻗﻊ إﻻ أن ﺑﻌﺾ ﻣﻦ‬ ‫أﻓﻀﻞ اﻟﻨﺼﻮص اﻟﺘﻲ ﻗﺮأﺗﻬﺎ ﻣﺆﺧﺮ[ أﺗﺖ ﻣﻦ ﻣﻨﻄﻘﺔ اﻟﺸﺮق ا‪L‬وﺳﻂ‪.‬‬ ‫ﻣﻨﺘﺠﺔ ا‪L‬ﻓﻼم اﻟﻤﺴﺘﻘﻠﺔ ﻛﺎت ﻓﻴﻠﻠﺮز )ﻗﺒﻞ اﻟﻤﻄﺮ‪ ،‬أرض ﺑﻼ ﺑﺸﺮ‪ ،‬ﺣﻔﻆ‬ ‫ﻣﺎء اﻟﻮﺟﻪ( ﺧﻼل ﺟﻠﺴﺔ »ﻋﺎﻟﻢ واﺣﺪ ﻛﺒﻴﺮ« ﻓﻲ ﺳﻠﺴﻠﺔ أﺣﺎدﻳﺚ اﻟﺪوﺣﺔ‪:‬‬

‫‪5‬‬

‫»اﻧﺴﻮا اﻟﻮﻻﻳﺎت اﻟﻤﺘﺤﺪة – إن اﻟﺴﻮق ا‪L‬وروﺑﻲ ﻫﻮ ا‪L‬ﻛﺜﺮ ﻗﺒﻮﻻً ﻟﺪى ﻣﻌﻈﻢ‬ ‫ﺻﺎﻧﻌﻲ ا‪L‬ﻓﻼم اﻟﻌﺮب« ﻣﻨﺘﺞ ا‪L‬ﻓﻼم اﻟﺘﻮﻧﺴﻲ و ﻏﻮل اﻟﺘﻠﻔﺎز ﻃﺎرق ﺑﻦ‬ ‫ﻋﻤﺎر‪ ،‬و ﻧﺼﻴﺤﺘﻪ ﺣﻮل اﻟﻤﻜﺎن اﻟﺬي ﻣﻦ اﻟﻤﻤﻜﻦ ﻟﺼﺎﻧﻌﻲ ا‪L‬ﻓﻼم اﻟﻌﺮب‬ ‫أن ﻳﺴﻮﻗﻮا ﻓﻴﻪ أﻓﻼﻣﻬﻢ ﻛﺄﻓﻀﻞ ﺳﻮق ﻳﺠﺪون ﻓﻴﻪ اﻟﺠﻤﻬﻮر اﻟﻤﺴﺘﻬﺪف‬ ‫ﻟﻘﺼﺼﻬﻢ‪:‬‬ ‫»اﻟﻌﺎﻟﻢ ﻳﻤﻴﻞ ﺑﺎﺗﺠﺎه اﻟﺸﺮق‪ «..‬ﻫﻜﺬا ﻳﻘﻮل رﺋﻴﺲ ﻣﺠﻠﺲ إدارة ﺷﺮﻛﺔ آي‬ ‫ﻣﺎﻛﺲ اﻟﻌﻤﻼﻗﺔ ﺑﺮادﻟﻲ وﻳﺸﻠﺮ‪.‬‬ ‫»ﻧﻌﻢ اﻟﺴﺆال ﻫﻮ‪ :‬ﻫﻞ ﺳﺘﺬﻫﺐ أﻣﻮال اﻟﻨﻔﻂ اﻟﻌﺮﺑﻲ إﻟﻰ اﻟﺜﻘﺎﻓﺔ‬ ‫اﻟﻌﺮﺑﻴﺔ أم إﻟﻰ ﻫﻮﻟﻴﻮد‪ .‬ﻓﺮﻳﺪرﻳﻚ ﺷﻴﻠﻠﺮ‪ ،‬رﺋﻴﺲ »أﻓﻼم روﺗﺎﻧﺎ« ﻓﻲ رده‬ ‫ﻋﻠﻰ اﻗﺘﺮاﺣﺎت ﺑﺄن اﻟﻤﻤﻮﻟﻴﻦ اﻟﻌﺮب ﻻ ﻳﺴﺘﺜﻤﺮون ﺑﺎﻟﻘﺪر اﻟﻜﺎﻓﻲ ﻓﻲ‬ ‫اﻟﺜﻘﺎﻓﺔ اﻟﻌﺮﺑﻴﺔ‪.‬‬ ‫» ﻛﻞ ﻓﻴﻠﻢ ﻟﻐﺰ ﺧﺎص ﺑﺬاﺗﻪ‪ ..‬ﻟﻴﺲ ﻫﻨﺎك ﻣﻌﺎدﻟﺔ واﺣﺪة ﻟﻠﻘﻴﺎم ﺑﺎ‪L‬ﻣﻮر‬ ‫ﻋﻠﻰ اﻟﺸﻜﻞ اﻟﺼﺤﻴﺢ« اﻟﻤﻨﺘﺞ – اﻟﻤﺨﺮج آر ﺟﻴﻪ ﻛﺘﻠﺮ )ﻗﻀﻴﺔ ﺳﺒﺘﻤﺒﺮ‪،‬‬ ‫ﻏﺮﻓﺔ اﻟﺤﺮب( ﻋﻨﺪﻣﺎ ُﺳﺄل ﻣﺎ اﻟﺬي ﻳﺠﻌﻞ ﻓﻴﻠﻤ‪ f‬ﻣﺎ ﻧﺎﺟﺤ‪.f‬‬

‫‪6‬‬

‫وﻛﺎﻧﺖ ﻧﺼﻴﺤﺔ ﻧﺎﻳﺮ ﻟﺼﺎﻧﻌﻲ ا‪L‬ﻓﻼم ﺑﺄن »ﻳﺘﺒﻨﻮا‬ ‫اﻟﻘﺼﺺ اﻟﺘﻲ ﺗﺠﻌﻞ ﻗﻠﺒﻬﻢ ﻳﺪق أﻛﺜﺮ«‪ ،‬ﻣﻦ ﺑﻴﻦ‬ ‫أﻛﺜﺮ اﻟﻤﻼﺣﻈﺎت ﻗﺒﻮﻻً ﻓﻲ اﻟﺤﻮار اﻟﻤﻤﺘﺪ ﻣﻊ ﺑﻌﺾ‬ ‫اﻟﺤﻀﻮر ﻣﻦ اﻟﺠﻤﻬﻮر‪ ،‬اﻟﺬﻳﻦ أﺑﺪوا ﺣﺮﺻ‪ f‬واﺿﺤ‪ f‬ﻋﻠﻰ‬ ‫ﻓﻬﻢ أﻋﻤﺎق اﻟﻌﻤﻠﻴﺔ اﻟﻔﻨﻴﺔ ﻟﺪى ﻧﺎﻳﺮ‪ .‬وﻗﺪ أﺷﺎرت‬ ‫ﻧﺼﻴﺤﺔ اﻟﻤﺨﺮﺟﺔ ﻟﻠﻌﺎﻣﻠﻴﻦ ﻣﻊ اﻟﻤﻤﺜﻠﻴﻦ ﺑﺄن ﻣﻬﻤﺔ‬ ‫اﻟﻤﺨﺮج أن »ﻳﺨﻠﻖ ﺑﻴﺌﺔ آﻣﻨﺔ ﺗﺤﺘﻀﻦ اﻟﻤﻤﺜﻞ وﺗﺠﻌﻠﻪ‬ ‫ﻋﻠﻰ ﺳﺠﻴﺘﻪ داﺧﻠﻬﺎ«‪ ،‬وﻫﻲ واﺣﺪة ﻣﻦ اﻟﻌﺪﻳﺪ ﻣﻦ‬ ‫اﻟﻠﻔﺘﺎت اﻟﺘﻲ ﺳﻮف ﺗﺠﻌﻞ ﻣﻦ اﻟﺤﻠﻘﺔ اﻟﺨﺎﺻﺔ ﻣﻦ‬ ‫ﺑﺮﻧﺎﻣﺞ اﻟﺠﺰﻳﺮة اﻟﺘﻠﻔﺰﻳﻮﻧﻲ »اﻟﻌﺮض اﻟﺴﻴﻨﻤﺎﺋﻲ‬ ‫اﻟﺮاﺋﻊ« )واﻟﺬي ﺗﻈﻬﺮ ﻓﻴﻪ ﺑﺎﻟﻤﺮ ﻛﻤﻀﻴﻒ ﻋﻠﻰ اﻟﻬﻮاء‬ ‫ﺑﺼﻮرة دورﻳﺔ(‪ ،‬ﺑﺮﻧﺎﻣﺠ‪ f‬ﻣﻤﻴﺰ[ دون ﺷﻚ‪.‬‬ ‫ﻛﺬﻟﻚ ﻓﻘﺪ ﺗﻢ ا‪s‬ﻋﻼن ﻋﻦ اﻟﺤﻠﻘﺎت اﻟﺨﺎﺻﺔ ﺑﻤﺤﺒﻲ‬ ‫أﻓﻼم داﻧﻲ ﺑﻮﻳﻞ )ﺑﻌﺪ ‪ ٢٨‬ﻳﻮﻣ‪ ،f‬ﻣﻠﻴﻮﻧﻴﺮ اﻟﺸﻮارع(‬ ‫وﻣﺤﺒﻲ أﻓﻼم إﻟﻴﺎس ﺳﻠﻴﻤﺎن )اﻟﺰﻣﻦ اﻟﺬي ﻳﺒﻘﻰ(‪،‬‬ ‫وذﻟﻚ ﻣﻦ ﺧﻼل ﺑﻌﺾ ا‪s‬ﻟﻐﺎءات اﻟﺘﻲ ﻧﺠﻤﺖ ﻋﻦ‬ ‫ﺗﻀﺎرﺑﺎت ﻓﻲ ﺟﺪول ا‪s‬دراج‪.‬‬ ‫»اﻟﻤﻮﻗﻊ‪ ،‬اﻟﻤﻮﻗﻊ‪ ،‬اﻟﻤﻮﻗﻊ«‬ ‫أﻣﺎ ﻣﻦ ﻧﺎﺣﻴﺔ اﻟﻤﻮﻗﻊ‪ ،‬ﻓﻘﺪ ﺗﻤﻴﺰ ﺑﻘﺪر ﻣﻦ اﻟﺴﻬﻮﻟﺔ‬ ‫ﻓﻲ اﻟﻮﺻﻮل إﻟﻴﻪ‪ ،‬ﺑﺎﺳﺘﺜﻨﺎء ﻣﻮل »ﻓﻴﻼﺟﻴﻮ« ﻟﻠﺘﺴﻮق‬ ‫اﻟﻮاﻗﻊ ﻓﻲ ﺷﺎرع اﻟﻮﻫﺎب‪ .‬إﻻ أن ﻣﻌﻈﻢ اﻟﻌﺮوض‪،‬‬ ‫ﻟﺤﺴﻦ اﻟﺤﻆ‪ ،‬ﻗﺪ ﺗﻤﺖ ﻓﻲ ﻣﻮل »ﺳﻴﺘﻲ ﺳﻨﺘﺮ«‬ ‫اﻟﻮاﻗﻊ ﻓﻲ ﺟﻮن اﻟﺪوﺣﺔ اﻟﻐﺮﺑﻲ‪ .‬ﺣﻴﺚ ﻗﺎﻣﺖ ﺑﺎﺻﺎت‬ ‫ﻣﺠﺎﻧﻴﺔ ﺗﺎﺑﻌﺔ ﻟﻤﻬﺮﺟﺎن ﺗﺮﻳﺒﻴﻜﺎ ﻟ‪X‬ﻓﻼم ﺑﺎﻟﺪوﺣﺔ‬ ‫ﺑﻨﻘﻞ اﻟﺤﻀﻮر وﻣﻮﻓﺪي ﺻﻨﺎﻋﺔ اﻟﺴﻴﻨﻤﺎ ﺑﻴﻦ إم آي‬ ‫إﻳﻪ‪ ،‬و ﻣﻮل ﺳﻴﺘﻲ ﺳﻨﺘﺮ‪ ،‬و ﺳﻮق واﺟﻒ‪ ،‬و ﺑﻌﺾ‬

‫إن ﺻﻨﺎﻋﺔ ا‪:‬ﻓﻼم‬ ‫ﻋﻠﻰ ﻫﺬا اﻟﻨﺤﻮ‬ ‫ ﺣﻴﺚ ﻳﺤﺎول‬‫اﻟﺠﻤﻴﻊ ﻛﺴﺐ اﻟﻤﺎل وﻳﻔﻜﺮون‬ ‫ﻓﻲ ذﻟﻚ ﻣﻨﺬ اﻟﺒﺪاﻳﺔ ‪ -‬أﻣﺮ ﺧﻄﻴﺮ‬ ‫وﻫﻮ اﻧﻌﻜﺎس ﻻزدﻳﺎد ﻧﻔﻮذ ﺛﻘﺎﻓﺔ‬ ‫ﺻﻨﺎﻋﺔ اﻟﺴﻴﻨﻤﺎ‬ ‫ا‪:‬ﻣﺮﻳﻜﻴﺔ‬

‫ﻣﻦ اﻟﻔﻨﺎدق اﻟﻤﻤﻴﺰة‪ .‬ﻫﺬا اﻟﻨﻘﻞ اﻟﻤﺠﺎﻧﻲ ﻛﺎن ﻣﻦ اﻟﻌﻮاﻣﻞ اﻟﻤﺴﺎﻋﺪة ﻟﻠﻐﺎﻳﺔ‬ ‫ﺑﺎﻟﻨﻈﺮ إﻟﻰ أن اﻟﻌﺜﻮر ﻋﻠﻰ ﺗﺎﻛﺴﻲ ﻳﻤﻜﻦ اﻻﻋﺘﻤﺎد ﻋﻠﻴﻪ ﻓﻲ ﻣﺪﻳﻨﺔ اﻟﺪوﺣﺔ ﻳﻌﺪ‬ ‫أﻣﺮ[ ﺷﺎﻗ‪.f‬‬

‫ﻛﺬﻟﻚ ﺗﻢ ﻧﺼﺐ ﺷﺎﺷﺔ ﺧﺎرﺟﻴﺔ ﻓﻲ ﻓﻨﺪق »ﻓﻮر‬ ‫ﺳﻴﺰوﻧﺰ« اﻟﻔﺨﻢ‪ ،‬ﺗﻌﺮض ﻓﻴﻠﻢ »أﺑﻮ راﺋﺪ« ﻟﺼﺎﻧﻊ ا‪L‬ﻓﻼم‬ ‫ا‪L‬ردﻧﻲ أﻣﻴﻦ ﻣﻄﺎﻟﻘﺔ‪ ،‬ﻛﺄﺣﺪ ا‪L‬ﻓﻼم اﻟﻤﻌﺮوﺿﺔ ﻋﻠﻰ‬ ‫ﻫﺎﻣﺶ اﻟﻤﺆﺗﻤﺮ‪ .‬وﻛﻤﺎ ﻓﻲ »أﻣﻴﻠﻴﺎ« ﻻ ﻳﻤﻠﻚ اﻟﻤﺮء‬ ‫ﺳﻮى أن ﻳﺮﺑﻂ ﺑﻴﻦ أﺻﻮات أزﻳﺰ اﻟﻄﺎﺋﺮات اﻟﻌﺎﺑﺮة ﻓﻮق‬ ‫اﻟﺮؤوس‪ ،‬وﺑﺒﻴﻦ ﺷﺨﺼﻴﺔ »اﻟﻜﺎﺑﺘﻦ« اﻟﺮﻣﺰﻳﺔ ﻓﻲ ﻫﺬا‬ ‫اﻟﻔﻴﻠﻢ ا‪L‬ردﻧﻲ اﻟﺬي ﻳﻌﺪ ﻋﻼﻣﺔ ﻣﻤﻴﺰة‪.‬‬ ‫ا‪:‬ﻓﻼم ﻏﻴﺮ اﻟﻤﻌﺮوﺿﺔ‪ ،‬و ﺷﻬﺮة اﻟﻠﻴﻠﺔ‬ ‫اﻟﺨﺘﺎﻣﻴﺔ‬ ‫ﺑﺎﺳﺘﺜﻨﺎء ﺑﻌﺾ اﻟﻬﻔﻮات اﻟﺘﻲ ﺗﺤﺪث ﻓﻲ اﻟﻤﻬﺮﺟﺎن‬ ‫ﻟﻠﻤﺮة ا‪L‬وﻟﻰ – ﻣﻦ ﻗﺒﻴﻞ اﻟﻼﻓﺘﺎت اﻟﺘﻲ أﺷﺎرت‬ ‫ﺑﺎﻻﺧﻄﺄ إﻟﻰ أن ﺑﻌﺾ اﻟﻌﺮوض ﻗﺪ ﺑﻴﻌﺖ ﺑﻄﺎﻗﺎﺗﻬﺎ‬ ‫ﺑﺎﻟﻜﺎﻣﻞ )ﺑﻴﻨﻤﺎ ﻟﻢ ﺗﻜﻦ ﻛﺬﻟﻚ(‪ ،‬و اﻟﻨﻈﺎم اﻟﺼﻮﺗﻲ‬ ‫اﻟﺬي اﻧﻄﻮى ﻋﻠﻰ ﻛﺜﻴﺮ ﻣﻦ اﻟﺼﺪى ﻓﻲ ﻟﻴﻠﺔ اﻻﻓﺘﺘﺎح‪،‬‬ ‫ا‪L‬ﻣﺮ اﻟﺬي ﺗﺪاﺧﻞ ﻣﻊ ا‪L‬داء اﻟﻤﻮﺳﻴﻘﻲ ‪ -‬ﻓﺈن ﻣﺎ ﻳﻠﻔﺖ‬ ‫اﻟﻨﻈﺮ ﻓﻲ اﻟﻤﻬﺮﺟﺎن ﻫﻮ إﺣﺴﺎس »اﻟﻤﺠﺘﻤﻊ اﻟﻮاﺣﺪ«‬ ‫اﻟﺬي ﺣﺮص اﻟﻤﻨﻈﻤﻮن واﻟﻤﺘﻄﻮﻋﻮن‪ ،‬واﻟﻤﻘﺪﻣﻮن‬ ‫ﻋﻠﻰ ﺧﻠﻘﻪ ﻟﺪى اﻟﺠﻤﻴﻊ ﺧﻼل ﻫﺬا اﻟﺤﺪث اﻟﺤﺎﻓﻞ‪.‬‬ ‫ﺑﺪء[ ﻣﻦ ﺗﺮﺣﺎب آﻣﺎﻧﺪا ﺑﺎﻟﻤﺮ اﻟﻌﺬب وﻣﺮور[ ﺑﺎ‪L‬داء‬ ‫اﻟﻤﻮﺳﻴﻘﻲ ا ﺳﺮ ‪L‬ﻃﻔﺎل وﺷﺒﺎب ﻗﻄﺮ‪ ،‬ﺳﺎدت‬ ‫اﻟﻤﻬﺮﺟﺎن ﻣﻮﺟﺔ ﻣﻦ ﻛﻞ ﻣﻦ اﻟﺮوح ا‪L‬ﺳﺮﻳﺔ اﻟﻮاﺣﺪة‪،‬‬ ‫واﻻﺳﺘﻤﺘﺎع ﺑﻜﻞ ﻣﺎ ﻳﻘﺪم‪ ،‬وﻣﻌﺎﻟﺠﺔ ا‪L‬ﻓﻼم ﺑﺎﻋﺘﺒﺎرﻫﺎ‬ ‫ﺷﻜﻞ ﻓﻨﻲ ﺟﺪﻳﺮ ﺑﺎﻟﺜﻘﺔ‪ ،‬ﻳﺴﺘﺤﻖ اﻻﺳﺘﺜﻤﺎر ﻓﻴﻪ‬ ‫ﻋﻠﻰ ا‪L‬ﺻﻌﺪة اﻟﺜﻘﺎﻓﻴﺔ واﻻﺟﺘﻤﺎﻋﻴﺔ واﻻﻗﺘﺼﺎدﻳﺔ‪.‬‬ ‫وﻣﺎ ﻣﻦ ﺷﻚ أن اﻟﺒﻮﻓﻴﻬﺎت اﻟﻤﺠﺎﻧﻴﺔ ﻟﻠﺤﻀﻮر ﻋﻠﻰ‬ ‫ﻛﺜﺮﺗﻬﻢ ﻓﻲ اﻟﻠﻴﻠﺔ اﻟﺨﺘﺎﻣﻴﺔ أﺿﺎﻓﺖ إﺣﺴﺎﺳ‪f‬‬ ‫ﺑﺎ‪L‬ﻟﻔﺔ واﻟﺘﻘﺎرب أﻳﻀ‪.f‬‬

‫‪2‬‬

‫‪1‬‬ ‫’‪1 Film still from ‘About Elly’ 2 ‘About Elly’ director, Asghar Farhadi 3 Film still from ‘About Elly’ 4 Film still from ‘Only when I dance‬‬ ‫‪5 Movie poster from ‘Only when I dance’ 6 ‘Only when I dance’ director, Beadie Finzi‬‬

‫‪96 97‬‬

‫‪3‬‬

‫‪KNOW HOW‬‬ ‫‪Sonic Branding‬‬

‫اﻟﺼﻮﺗﻲ‪ ،‬واﻟﺨﻠﻔﻴﺔ اﻟﻤﻮﺳﻴﻘﻴﺔ‪ ،‬واﻟﺸﻌﺎر اﻟﻤﺮﺋﻲ‪،‬‬ ‫واﻟﻌﻤﻞ اﻟﻔﻨﻲ ا‪s‬ﻋﻼﻧﻲ‪.‬‬ ‫ﺗﻠﻌﺐ ﻣﻮﺳﻴﻘﻰ اﻟﺨﻠﻔﻴﺔ ﻓﻲ ا‪s‬ﻋﻼن اﻟﺼﻮﺗﻲ ﻧﻔﺲ‬ ‫اﻟﺪور اﻟﺬي ﻳﻠﻌﺒﻪ اﻟﻌﻤﻞ اﻟﻔﻨﻲ ﻓﻲ ا‪s‬ﻋﻼن اﻟﻤﻄﺒﻮع‪،‬‬ ‫و ﻳﻠﻌﺐ اﻟﺸﻌﺎر اﻟﺼﻮﺗﻲ ﻧﻔﺲ اﻟﺪور اﻟﺬي ﻳﻠﻌﺒﻪ‬ ‫ﺷﻌﺎر اﻟﺸﺮﻛﺔ اﻟﻤﺮﺋﻲ‪ .‬وﻋﻠﻴﻪ ﻓﺈن ﻛﺎﻓﺔ اﻟﻤﻌﺎﻳﻴﺮ‬ ‫اﻟﺘﻲ ﻳﻨﺒﻐﻲ ﻟﻠﺸﻌﺎر اﻟﻤﺮﺋﻲ اﻟﻮﻓﺎء ﺑﻬﺎ‪ ،‬ﻛﺎﻟﺒﺴﺎﻃﺔ‪،‬‬ ‫واﻟﻮﺿﻮح‪ ،‬واﻟﺮﻣﺰﻳﺔ ﺗﻨﻄﺒﻖ ﻛﺬﻟﻚ ﻋﻠﻰ اﻟﺸﻌﺎر‬ ‫اﻟﺼﻮﺗﻲ‪.‬‬ ‫ﻓﺎﻟﻤﻮﺳﻴﻘﻰ )ا‪L‬ﻏﺎﻧﻲ( ﻛﺎﻧﺖ داﺋﻤ‪ f‬وﻻ ﺗﺰال اﻟﻤﻜﻮن‬ ‫اﻟﺮﺋﻴﺴﻲ ﻋﻨﺪ إﻧﺘﺎج ا‪s‬ﻋﻼﻧﺎت اﻟﺘﺠﺎرﻳﺔ‪ ،‬و ﻣﺎ ﻣﻦ ﺷﻚ‬ ‫ﻓﻲ أﻧﻬﺎ ﺗﺘﺤﺪث إﻟﻰ اﻟﺠﻤﻬﻮر‪ .‬وﻋﻠﻰ ﻣﺪى اﻟﺴﻨﻴﻦ‬ ‫اﺳﺘﺨﺪم اﻟﻘﺎﺋﻤﻮن ﻋﻠﻰ ﺻﻨﺎﻋﺔ ا‪s‬ﻋﻼﻧﺎت وﻣﻨﺘﺠﻲ‬ ‫ا‪L‬ﻓﻼم اﻟﻤﻮﺳﻴﻘﻰ اﻟﻤﻮﺟﻮدة ﺑﺎﻟﻔﻌﻞ أو اﺑﺘﻜﺮوا‬ ‫ﻣﻮﺳﻴﻘﻰ ﻟﺘﺮوﻳﺞ ﻣﻨﺘﺠﺎﺗﻬﻢ‪ .‬ﻟﻜﻦ ﻫﺬا ﻟﻴﺲ ﻓﻲ‬ ‫اﻟﻮاﻗﻊ ﺻﻨﺎﻋﺔ ﻣﺎرﻛﺎت ﺻﻮﺗﻴﺔ‪.‬‬ ‫ﺣﻴﺚ أن ﺻﻨﺎﻋﺔ اﻟﻤﺎرﻛﺎت اﻟﺼﻮﺗﻴﺔ ﻫﻮ ﻓﻲ اﻟﻮاﻗﻊ‬ ‫ﻣﻔﻬﻮم ﺧﻠﻖ ﺷﻌﺎر ﺻﻮﺗﻲ‪ ،‬ﻓﺈن اﻟﻤﺸﻜﻠﺔ اﻟﻤﺎﺛﻠﺔ‬ ‫ﻓﻲ اﺳﺘﺨﺪام ﻣﻮﺳﻴﻘﻰ ﺑﻌﻴﻨﻬﺎ ﻛﺸﻌﺎر ﻫﻮ أن‬ ‫ا‪L‬ﻏﺎﻧﻲ ﺗﻌﺘﺒﺮ ﻣﻌﻘﺪة ﻟﻠﻐﺎﻳﺔ ﺑﺎﻟﻨﺴﺒﺔ ﻟﺨﻠﻖ ﻫﺬا‬ ‫اﻟﺘﺄﺛﻴﺮ اﻟﻠﺤﻈﻲ اﻟﻤﺴﺘﻤﺮ ﻋﻠﻰ ﻣﺎدﺗﻚ اﻟﺮﻣﺎدﻳﺔ‪.١‬‬ ‫ﻟﻤﺎذا ﻳﺘﺮك اﻟﺸﻌﺎر اﻟﺼﻮﺗﻲ ﻫﺬا ا‪:‬ﺛﺮ ﻋﻠﻰ‬ ‫اﻟﺠﻤﻬﻮر اﻟﻤﺴﺘﻬﺪف؟‬ ‫ﺗﻮﺟﺪ ا‪L‬ﻟﺤﺎن ﻓﻲ ﻛﻞ ﻣﻜﺎن ﻓﻲ ﺣﻴﺎﺗﻨﺎ اﻟﻴﻮﻣﻴﺔ‪ .‬ﻓﻔﻲ‬ ‫اﻟﺪﻳﻦ ﻋﻠﻰ ﺳﺒﻴﻞ اﻟﻤﺜﺎل ﻳﺸﻜﻞ ا ذان ﻓﻲ اﻟﻤﺴﺎﺟﺪ‬ ‫ﺟﻮ[ ﺟﻤﻴ ً‬ ‫ﻼ ﻓﻲ اﻟﻤﺪﻳﻨﺔ‪ ،‬ﺧﺎﺻﺔ ﻓﻲ اﻟﻤﻨﺎﺳﺒﺎت اﻟﺪﻳﻨﻴﺔ‬ ‫ﻛﺮﻣﻀﺎن‪ .‬وأذان اﻟﻤﻐﺮب ﻋﻠﻰ ﺳﺒﻴﻞ اﻟﻤﺜﺎل ﻳﻤ‪X‬‬ ‫ﺷﻮارع اﻟﻤﺪﻳﻨﺔ ﺑﺄﻟﺤﺎن ﺟﻤﻴﻠﺔ ﺗﻌﻠﻦ ﺣﻠﻮل ا‪s‬ﻓﻄﺎر‪.‬‬ ‫ا ن‪ ،‬ﺗﺨﻴﻞ ﻫﺬه اﻟﻠﺤﻈﺔ اﻟﺴﺤﺮﻳﺔ ﺑﺪون ا‪L‬ﻟﺤﺎن‬ ‫اﻟﻤﺨﺘﻠﻔﺔ اﻟﺘﻲ ﺗﺪﻋﻮ إﻟﻰ اﻟﺼﻼة‪ ،‬وﻟﻜﻦ ﻣﺠﺮد ﻛﻼم‪.‬‬ ‫ﺑﺪون اﻟﻠﺤﻦ‪ ،‬ﻟﻦ ﻧﺤﺼﻞ ﻋﻠﻰ اﻟﺸﻌﻮر اﻟﻌﺎﻃﻔﻲ ﻛﻤﺎ‬ ‫ﻳﺤﺪث ﻋﻨﺪﻣﺎ ﻧﺴﻤﻊ ﻧﺪاء اﻟﺼﻼة ﻣﻊ اﻟﺘﺮﺗﻴﻞ )ﻟﺤﻦ(‬ ‫ﻻﺳﺘﺨﺪام اﻟﺼﻮت ﻛﺎﻣﺘﺪاد ﻟﺼﻨﺎﻋﺔ اﻟﻤﺎرﻛﺔ اﻟﻤﺮﺋﻴﺔ‬ ‫ﻣﻴﺰة اﺳﺘﻬﻼل رﺑﻂ ﻋﺎﻃﻔﻲ ﺑﻤﻨﺘﺞ ﻣﺎ‪ ،‬و ﺑﺎﻟﺘﺎﻟﻲ‬ ‫ﺗﺤﺴﻴﻦ ﻣﺴﺘﻮى اﻟﻮﻻء ﻟﻠﻤﺎرﻛﺔ‪ .‬وﻟﻨﻘﻞ ذﻟﻚ ﺑﻌﺒﺎرة‬ ‫أﺑﺴﻂ‪ :‬اﻟﺸﻌﺎر اﻟﺼﻮﺗﻲ اﻟﺬي ﻳﺄﻟﻔﻪ اﻟﻨﺎس ﻳﺠﺬب ﻗﺪر[‬ ‫أﻛﺒﺮ ﻣﻦ اﻟﻌﻤﻼء‪.‬‬ ‫اﻟﻤﻔﻬﻮم ﺳﻬﻞ ﻟﻠﻐﺎﻳﺔ‪ ،‬ﻋﻨﺪﻣﺎ ﻧﺴﻤﻊ ﺻﻮﺗ‪ f‬آﻟﻴ‪f‬‬ ‫أو ﺑﺸﺮﻳ‪ f‬ﻓﺈﻧﻨﺎ ﻧﺮﺑﻄﻪ ﻣﺒﺎﺷﺮة ﺑﺸﻌﻮر أو إﺣﺴﺎس‬ ‫ﻣﺼﺎﺣﺐ ﻟﻪ‪ .‬ﻫﺬا اﻟﺸﻌﻮر ﻳﺘﺤﺪث إﻟﻰ ﻏﺮاﺋﺰﻧﺎ و ﻧﺤﻦ‬ ‫ﻧﺘﺼﺮف ﺑﻨﺎء ﻋﻠﻰ ذﻟﻚ‪ .‬رﺑﻤﺎ ﺗﻜﻮن ﻗﺪ ﻻﺣﻈﺖ ذﻟﻚ‬ ‫ﻓﻲ ﻗﺎﺋﻤﺔ ”دﻧﺪﻧﺎﺗﻚ“ اﻟﻴﻮﻣﻴﺔ ﻓﻔﻲ ا‪L‬ﻳﺎم اﻟﺴﻌﻴﺪة‬ ‫ﺗﺪﻧﺪن ﺑﺎ‪s‬ﻏﺎﻧﻲ اﻟﺴﻌﻴﺪة اﻟﺘﻲ ﺗﺮﻓﻊ ﻣﻦ ﻣﺴﺘﻮى‬ ‫ﻓﺮﺣﻚ‪ ،‬و ﻓﻲ ا‪L‬ﻳﺎم اﻟﺴﻴﺌﺔ ﻧﻐﻨﻲ ﺑﺸﻜﻞ أﻛﺜﺮ‬ ‫ﺑﻄﺌ‪ ،f‬أﻏﺎﻧﻲ أﻛﺜﺮ ﺣﺰﻧ‪ .f‬ﻳﺒﻴﻦ ﻟﻚ ﻫﺬا ﻣﺪى اﻗﺘﺮاب‬ ‫اﻟﻤﻮﺳﻴﻘﻰ ﻣﻦ ﻧﻔﻮﺳﻨﺎ‪ ،‬و ﻫﻜﺬا ﻓﺈن ا‪L‬ﻟﺤﺎن ﻣﺮﺗﺒﻄﺔ‬ ‫ﺑﻤﺸﺎﻋﺮﻧﺎ‪.‬‬ ‫ﺗﺆﺛﺮ ﺻﻨﺎﻋﺔ اﻟﻤﺎرﻛﺎت اﻟﺼﻮﺗﻴﺔ ﻋﻠﻰ ﻣﺸﺎﻋﺮﻧﺎ و‬ ‫ﻋﻘﻮﻟﻨﺎ ﺑﺸﻜﻞ ﻗﻮي‪ ،‬ﻟﺪرﺟﺔ أن اﻟﺤﻜﻮﻣﺔ ا‪L‬ﻣﺮﻳﻜﻴﺔ‬ ‫ﻣﻨﻌﺖ ﺧﻠﻖ ﺷﻌﺎرات ﺻﻮﺗﻴﺔ ﻟﺼﻨﺎﻋﺔ اﻟﺘﺒﻎ ﻓﻲ‬

‫ﺑﺪاﻳﺔ اﻟﺴﺒﻌﻴﻨﺎت‪ .‬ﺗﺨﻴﻞ ا ن ﻛﻴﻒ ﻳﻤﻜﻦ ﻟﺼﻨﺎﻋﺔ‬ ‫اﻟﻤﺎرﻛﺎت اﻟﺼﻮﺗﻴﺔ أن ﺗﺤﺴﻦ ﻣﻦ اﺳﺘﺮاﺗﻴﺠﻴﺔ ﺻﻨﺎﻋﺔ‬ ‫اﻟﻤﺎرﻛﺎت ﻟﺪﻳﻚ‪.‬‬

‫‪Most familiar sonic logos‬‬

‫وﻋﻠﻴﻪ ﻓﺈن اﻟﻬﺪف ﻣﻦ ﺧﻠﻖ ﺷﻌﺎر ﺻﻮﺗﻲ ﻧﺎﺟﺢ‬ ‫ﻫﻮ اﻟﻌﺜﻮر ﻋﻠﻰ اﻟﺸﻌﻮر اﻟﻤﻨﺎﺳﺐ اﻟﺬي ﺗﺮﻳﺪه ﻣﻦ‬ ‫ﺟﻤﻬﻮرك اﻟﻤﺴﺘﻬﺪف رﺑﻄﻪ ﺑﻤﻨﺘﺠﻚ و ﺗﺮﺟﻤﺘﻪ إﻟﻰ‬ ‫ﻟﺤﻦ‪ ،‬أي إﻟﻰ ﺷﻌﺎر ﺻﻮﺗﻲ‪.‬‬ ‫ﻃﺮق ﺗﻄﺒﻴﻖ اﻟﺸﻌﺎر اﻟﺼﻮﺗﻲ‬ ‫ﻓﻲ ﻋﺼﺮ اﻟﺘﻘﻨﻴﺔ واﻻﺗﺼﺎﻻت‪ ،‬أﺻﺒﺢ اﺳﺘﺨﺪام اﻟﺸﻌﺎر‬ ‫اﻟﺼﻮﺗﻲ أﺳﻬﻞ‪ .‬وﻓﻲ ﻫﺬه ا‪L‬ﻳﺎم‪ ،‬أﺻﺒﺢ ﻣﻦ اﻟﺸﺎﺋﻊ‬ ‫اﺳﺘﻬﻼل اﻟﻌﺮوض اﻟﺘﻘﺪﻳﻤﻴﺔ ﺑﺎﺳﺘﺨﺪام ﻣﻘﺪﻣﺔ‬ ‫ﺑﺒﺮﻧﺎﻣﺞ ﻓﻼش‪ .‬ﻫﺬا ﻫﻮ اﻻﺗﺼﺎل ا‪L‬ول ﺑﻴﻨﻚ وﺑﻴﻦ‬ ‫ﻋﻤﻼءك ‪ ،‬ﻓﻠﻢ ﻻ ﺗﺠﻌﻞ ﺑﻪ ﺷﻌﺎر[ ﺻﻮﺗﻴ‪ f‬ﻋﻠﻰ ﺷﻜﻞ‬ ‫ﺗﺮﺣﻴﺐ ودي ﺑﺰوارك ودﻋﻮﺗﻬﻢ ﻟﻠﺪﺧﻮل؟‬ ‫وﻣﻦ اﻟﻤﺠﺎﻻت ا‪L‬ﺧﺮى اﻟﺸﺎﺋﻌﺔ واﻟﺘﻲ ﺗﺴﺘﺨﺪم‬ ‫ﻓﻴﻬﺎ اﻟﺸﻌﺎرات اﻟﺼﻮﺗﻴﺔ ﺑﻜﻔﺎءة ﻣﻮﺳﻴﻘﻰ اﻻﻧﺘﻈﺎر‬ ‫ﻋﻠﻰ اﻟﺨﻂ‪ .‬ﺣﻴﺚ ﻳﺼﺒﺢ ﻋﻠﻰ اﻟﻌﻤﻼء اﻻﺳﺘﻤﺎع إﻟﻰ‬ ‫اﻟﺸﻌﺎر اﻟﺼﻮﺗﻲ ﻣﺮار[ وﺗﻜﺮار[ أﺛﻨﺎء اﻧﺘﻈﺎرﻫﻢ ﻋﻠﻰ‬ ‫اﻟﺨﻂ‪ ،‬و ﻫﺬا ﻳﺠﻌﻠﻬﻢ ﻳﺘﺬﻛﺮون اﻟﻠﺤﻦ‪.‬‬ ‫وﺣﻴﺚ أﻧﻪ ﻟﻴﺲ ﻣﻦ اﻟﻤﻬﻢ أي ا‪L‬ﺻﻮات ﻳﺘﻢ‬ ‫ﺗﻀﻤﻴﻨﻬﺎ ﻓﻲ اﻟﺸﻌﺎر اﻟﺼﻮﺗﻲ‪ ،‬ﻳﻤﻜﻨﻚ اﺳﺘﺨﺪام‬ ‫ﻣﻮﻟﺪ ا‪L‬ﺻﻮات اﻟﺘﻘﻠﻴﺪي ﻓﻲ اﻟﻜﻤﺒﻴﻮﺗﺮ‪ ،‬و ﺗﻐﺬﻳﺘﻪ‬ ‫ﻣﻊ ﻣﻠﻒ ﻣﻦ ﺻﻴﻐﺔ ‪ midi‬ﻣﻦ ﻣﻮﻗﻌﻚ ا‪s‬ﻟﻜﺘﺮوﻧﻲ‬ ‫ﻟﺘﺸﻐﻴﻞ اﻟﺸﻌﺎر‪ .‬ا‪s‬ﻣﻜﺎﻧﺎت ﻣﺘﻌﺪدة‪ ،‬و اﻟﺤﺪ اﻟﻮﺣﻴﺪ‬ ‫ﻟﺘﻮزﻳﻊ ﺷﻌﺎرك ﻫﻮ ﺧﻴﺎﻟﻚ‪.‬‬ ‫ﻣﺎ اﻟﺬي ﻳﺘﻌﻴﻦ ﻋﻠﻴﻚ ﻣﻼﺣﻈﺘﻪ ﻋﻨﺪ ﺧﻠﻖ‬ ‫ﺷﻌﺎر ﺻﻮﺗﻲ‬ ‫ﺑﺎﺳﺘﻤﺎﻋﻲ إﻟﻰ أﻛﺜﺮ اﻟﺸﻌﺎرات اﻟﺼﻮﺗﻴﺔ ﻧﺠﺎﺣ‪f‬‬ ‫اﻛﺘﺸﻔﺖ أن أي ﻣﻨﻬﺎ ﻟﻢ ﻳﺘﺠﺎوز ‪ ١٠‬ﻧﻐﻤﺎت و زﻣﻦ‬ ‫ﺗﺸﻐﻴﻞ ﻗﺪره ﺛﺎﻧﻴﺘﻴﻦ‪ .‬واﻟﺘﺤﺪي إذ[ ﻫﻮ ﻓﻲ ﺗﻀﻤﻴﻦ‬ ‫أﻛﺒﺮ ﻗﺪر ﻣﻦ اﻟﻘﻴﻤﺔ اﻟﻌﺎﻃﻔﻴﺔ ﻓﻲ ذﻟﻚ ﻳﻤﻜﻨﻚ‬ ‫ﺗﺤﻘﻴﻖ ﻫﺬا ﻣﻦ ﺧﻼل ﺗﺄﻟﻴﻒ ﻟﺤﻦ ﻳﺘﺼﺎﻋﺪ ﻓﻲ ﺗﺪرج‬ ‫ﻧﻐﻤﺎﺗﻪ‪ .‬ﻳﻌﻨﻲ ﻫﺬا أن اﻟﻨﻐﻤﺔ ا‪L‬ﺧﻴﺮة ﻳﻨﺒﻐﻲ أن ﺗﻜﻮن‬ ‫ا‪L‬ﻋﻠﻰ ﻃﺒﻘﺔ ﻣﻦ اﻟﻨﻐﻤﺔ ا‪L‬وﻟﻰ‪ .‬ﻓﻬﺬا ﻳﺜﻴﺮ ﻓﻴﻨﺎ‬ ‫اﻟﻤﺸﺎﻋﺮ ا‪s‬ﻳﺠﺎﺑﻴﺔ ﻛﻤﺎ أن ﻣﻦ اﻟﻤﻬﻢ ﺗﺄﻟﻴﻒ اﻟﺸﻌﺎر‬ ‫اﻟﺼﻮﺗﻲ ﻋﻠﻰ اﻟﺴﻠﻢ اﻟﻤﻮﺳﻴﻘﻰ اﻟﺮﺋﻴﺴﻲ‪ .‬ﻓﻨﻐﻤﺎت‬ ‫اﻟﺴﻠﻢ اﻟﻤﻮﺳﻴﻘﻰ اﻟﺮﺋﻴﺴﻲ ﻣﺜﻞ ”ﺳﻲ“ ﺗﺮﺗﺒﻂ‬ ‫ﻛﺬﻟﻚ ﺑﺎﻟﻤﺸﺎﻋﺮ ا‪s‬ﻳﺠﺎﺑﻴﺔ‪ .‬وﺑﺎﻟﻤﻘﺎرﻧﺔ ﻓﺈن ﻧﻐﻤﺎت‬ ‫اﻟﺴﻠﻢ اﻟﻔﺮﻋﻲ و ا‪L‬ﻟﺤﺎن اﻟﻤﺘﻨﺎﻗﺼﺔ ﻓﻲ اﻟﻄﺒﻘﺔ‬ ‫ﺗﺮﺗﺒﻂ ﺑﺎﻟﻤﺸﺎﻋﺮ اﻟﺴﻠﺒﻴﺔ‪ ،‬واﻟﺤﺰﻳﻨﺔ‪ .‬وﺑﺎﻟﻄﺒﻊ ﻓﺈﻧﻨﺎ‬ ‫ﻻ ﻧﺰال ﻧﺘﺤﺪث ﻋﻦ اﻟﻘﺸﻮر اﻟﺨﺎرﺟﻴﺔ ﻟﻠﻤﻮﺿﻮع ﻫﻨﺎ‪،‬‬ ‫ﻓﻬﻨﺎك اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﺴﻤﺎت اﻟﻤﺨﺘﻠﻔﺔ اﻟﺘﻲ ﺗﺆدي‬ ‫إﻟﻰ ﺗﺄﻟﻴﻒ ﻟﺤﻦ إﻳﺠﺎﺑﻲ ﻳﺸﻌﺮ ا ﺧﺮﻳﻦ ﺑﺎﻟﻮد‪ ،‬وﻟﻜﻦ‬ ‫ا‪L‬ﻣﺮ ﻳﻌﺘﻤﺪ داﺋﻤ‪ f‬ﻋﻠﻰ اﻟﻤﻔﻬﻮم اﻟﻤﺬﻛﻮر‬ ‫أوﺻﻲ ﺑﺄن ﺗﺠﺮب ﺷﻌﺎر[ ﺻﻮﺗﻴ‪ f‬ﻋﻠﻰ واﺣﺪ ﻣﻦ ﻋﻤﻼﺋﻚ‬ ‫وﺳﺘﺮى اﻟﺘﺄﺛﻴﺮ ﺑﺎدﻳ‪ f‬ﻋﻠﻴﻬﻢ‪ .‬ﻓﺈذا ﻛﺎﻧﻮا ﻳﺪﻧﺪﻧﻮن‬ ‫ﺷﻌﺎرك اﻟﺼﻮﺗﻲ ﻋﻨﺪ ﺧﺮوﺟﻬﻢ ﻣﻦ ﻣﻜﺘﺒﻚ‪ ،‬ﻳﻤﻜﻨﻚ‬ ‫اﻟﻮﺛﻮق ﺑﺄﻧﻚ ﻗﺪ ﺻﺎدﻓﺖ اﻟﻨﺠﺎح اﻟﻤﻄﻠﻮب‪.‬‬

‫‪Intel Processors‬‬

‫‪Windows Operating System‬‬

‫‪Cinescape Kuwait‬‬

‫ﻛﺎﻣﺘﺪاد‬ ‫ﻟﻠﺼﻨﺎﻋﺔ‬ ‫اﻟﺮﻗﻤﻴﺔ‬ ‫ﻟﻠﻤﺎرﻛﺎت‬ ‫ﻳﺘﻤﺜﻞ اﻟﻬﺪف اﻟﺮﺋﻴﺴﻲ ‪:‬ي ﺷﻌﺎر ﻓﻲ رﺑﻂ اﻟﻤﻨﺘﺞ أو اﻟﺨﺪﻣﺔ ﺑﺎﺳﻢ و‪/‬أو ﺷﻜﻞ‬ ‫ﻣﻌﻴﻦ ﻟﺨﻠﻖ ﻣﺎرﻛﺔ ﻣﻌﻴﻨﺔ‪ .‬وﻟﻨﺄﺧﺬ ‪” McDonald’s‬ﻣﺎﻛﺪوﻧﺎﻟﺪ“ ﻋﻠﻰ ﺳﺒﻴﻞ‬ ‫اﻟﻤﺜﺎل‪ ،‬ﻣﻊ ﺣﺮف ‪” M‬إم“ ا‪:‬ﺻﻔﺮ ﻛﺸﻌﺎر‪ .‬ﻳﻤﻜﻨﻚ اﻟﻘﻮل ﺑﺄن ﻫﻨﺎك ﻣﺤﻼ ﻣﻦ ﻣﺤﻼت‬ ‫ﻣﺎﻛﺪوﻧﺎﻟﺪ ﻣﻦ ﻋﻠﻰ ﺑﻌﺪ أﻣﻴﺎل ﻋﻨﺪ رؤﻳﺘﻚ ﻟﺬﻟﻚ اﻟﻠﻮن ا‪:‬ﺻﻔﺮ اﻟﻼﻣﻊ‪ ،‬ﻗﺒﻞ أن‬ ‫ﺗﻜﻮن ﺑﺎﻟﻔﻌﻞ ﻗﺎدر‪ E‬ﻋﻠﻰ ﻗﺮاءة ﺣﺮف ا‪P‬م‪ .‬وﻟﻜﻦ ﺟﺮب ﻣﺤﺎوﻟﺔ وﺻﻒ ﻫﺬا اﻟﺸﻌﺎر‬ ‫ﻟ‪u‬ﺻﺪﻗﺎء‪ ،‬وﺳﺘﺠﺪ ﺑﺄﻧﻪ ﻣﻦ ا‪:‬ﺳﻬﻞ اﻟﺘﻌﺮف ﻋﻠﻴﻪ ﻣﻘﺎرﻧﺔ ﺑﻤﺤﺎوﻟﺔ إﻋﺎدة إﻧﺘﺎﺟﻪ‪.‬‬ ‫ﻫﺬه ﻓﻲ اﻟﺤﻘﻴﻘﺔ ﻫﻲ اﻟﻤﺸﻜﻠﺔ اﻟﺘﻲ ﺗﺒﺮز ﻋﻨﺪ اﻟﻌﻤﻞ ﻣﻦ ﺧﻼل اﻟﺸﻌﺎرات‬ ‫اﻟﻤﺮﺋﻴﺔ ﻓﻘﻂ‪ .‬وﻫﻨﺎك اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﻨﻮادر اﻟﺘﻲ ﻳﻤﻜﻨﻨﻲ رواﻳﺘﻬﺎ ﺣﻮل اﻟﺘﻌﺮف‬ ‫اﻟﺴﻤﻌﻲ ﻋﻠﻰ اﻟﺸﻌﺎرات ﻣﻤﺎ ﺻﺎدﻓﻨﻲ ﻣﻦ ﻗﺒﻞ‪ .‬ﻋﻠﻰ ﺳﺒﻴﻞ اﻟﻤﺜﺎل‪ ،‬ﺧﻼل‬ ‫رﻣﻀﺎن ﻣﻦ ﻫﺬا اﻟﻌﺎم‪ ،‬اﻣﺘ‪X‬ت ﺷﺎﺷﺔ إم ﺑﻲ ﺳﻲ ﺑﺈﻋﻼﻧﺎت ﺷﺮﻛﺔ إس ﺗﻲ‬ ‫ﺳﻲ)ﺷﺮﻛﺔ اﻻﺗﺼﺎﻻت اﻟﺴﻌﻮدﻳﺔ(‪ ،‬إﻟﻰ اﻟﺤﺪ اﻟﺬي ﻟﻢ ﻳﻌﺪ ﺑﺈﻣﻜﺎﻧﻲ أن أﺗﺤﻤﻞ‬ ‫ﺳﻤﺎع ﺻﻮت ا‪s‬ﻋﻼﻧﺎت ﻣﺠﺪد[‪ .‬وﻟﻜﻦ ﻫﺬا اﻟﺘﻜﺮار اﻟﺬي ﻳﺴﺒﺐ اﻟﻀﻴﻖ ﻓﻲ ﺗﻠﻚ‬ ‫ا‪s‬ﻋﻼﻧﺎت‪ ،‬ﻳﺨﺪم ﻋﻤﻠﻴﺔ ﺻﻨﺎﻋﺔ اﻟﻤﺎرﻛﺔ‪ .‬ﻓﻠﻢ أﻋﺪ ﺑﺤﺎﺟﺔ إﻟﻰ ﻣﺸﺎﻫﺪة اﻟﺘﻠﻔﺎز‬ ‫ﻟﻤﻌﺮﻓﺔ أن إﻋﻼن إس ﺗﻲ ﺳﻲ ﻳﺠﺮي ﻋﺮﺿﻪ‪ .‬وأﻧﺎ ﻣﺘﺄﻛﺪ أﻧﻜﻢ رﺑﻤﺎ ﻣﺮرﺗﻢ ﺑﺸﻲء‬ ‫ﻣﻦ ﻫﺬا اﻟﻘﺒﻴﻞ ﻣﻊ ﻣﺎرﻛﺎت أﺧﺮى‪.‬‬ ‫ﻫﻞ ﺗﺪﻧﺪن ﺷﻌﺎر[ ﺻﻮﺗﻴ‪ f‬ا ن ﺑﻴﻨﻤﺎ ﺗﻘﺮأ ﻫﺬا اﻟﻤﻘﺎل؟ رﺑﻤﺎ ﺷﻌﺎر ”‪ “du‬اﻟﺼﻮﺗﻲ ﻋﻠﻰ‬ ‫ﻣﺎ أﻇﻦ؟ إذا ﻛﺎﻧﺖ ا‪s‬ﺟﺎﺑﺔ ﺑﻨﻌﻢ‪ ،‬ﻓﺈن اﻟﻮﻛﺎﻟﺔ ا‪s‬ﻋﻼﻧﻴﺔ ﻗﺪ ﻗﺎﻣﺖ ﺑﻌﻤﻞ ﻣﻤﺘﺎز‪.‬‬ ‫ﻓﻤﺎ ﺗﻤﺘﺎز ﺑﻪ اﻟﺸﻌﺎرات اﻟﺼﻮﺗﻴﺔ ﻋﻠﻰ اﻟﺸﻌﺎرات اﻟﻤﺼﻮرة ﻫﻲ أن ﺑﺎ‪s‬ﻣﻜﺎن إدراﺟﻬﺎ‬ ‫‪98 99‬‬

‫ﻓﻲ ﺣﻴﺎﺗﻨﺎ اﻟﻴﻮﻣﻴﺔ‪ .‬ﻓﺎﻟﺘﻮاﺻﻞ اﻟﻠﻔﻈﻲ ﻳﻌﺘﺒﺮ أﻛﺜﺮ‬ ‫ﺻﻮر اﻟﺘﻮاﺻﻞ ﺷﻴﻮﻋ‪ f‬ﺑﻴﻦ ﺑﻨﻲ اﻟﺒﺸﺮ‪ ،‬ﺣﺘﻰ إذا ﻟﻢ‬ ‫ﻳﻜﻮﻧﻮا ﻳﺘﺤﺪﺛﻮن ﻧﻔﺲ ﻟﻐﺔ اﻟﺸﺨﺺ اﻟﺬي ﻳﺘﺤﺪﺛﻮن‬ ‫إﻟﻴﻪ‪ ،‬وﻫﻮ ﻣﻔﺘﺎح اﻧﺘﺸﺎر اﻟﻤﺎرﻛﺎت ﻋﺒﺮ أﻧﺤﺎء اﻟﻌﺎﻟﻢ‬ ‫دون ﻣﺨﺎﻃﺮة ﺑﺨﺴﺎرة ﻫﻮﻳﺔ اﻟﺸﺮﻛﺔ ﻋﺒﺮ اﻟﺘﺮﺟﻤﺔ‪.‬‬ ‫ﻳﻀﻊ ﻫﺬا اﻟﻌﺎﻣﻞ اﻟﺮﺋﻴﺴﻲ اﻟﺸﻌﺎرات اﻟﺼﻮﺗﻴﺔ‬ ‫ﻓﻲ ﻣﺴﺎر ﻣﺨﺘﻠﻒ ﺗﻤﺎﻣ‪ f‬ﻓﻴﻤﺎ ﻳﺘﻌﻠﻖ ﺑﺎﻟﺘﻐﻠﺐ‬ ‫ﻋﻠﻰ اﻟﻌﻘﺒﺎت اﻟﺸﺎﺋﻌﺔ ﻋﻨﺪ ﺻﻨﺎﻋﺔ اﻟﻤﺎرﻛﺎت ﻋﻠﻰ‬ ‫اﻟﻤﺴﺘﻮى ا‪s‬ﻗﻠﻴﻤﻲ واﻟﻌﺎﻟﻤﻲ‪.‬‬ ‫وﻳﻌﻨﻲ ﻫﺬا أن اﺳﺘﺨﺪام ﺷﻌﺎر ﺻﻮﺗﻲ‪ ،‬ﻛﻤﺴﺎﻧﺪ‬ ‫ﻟﻠﺸﻌﺎر اﻟﻤﺮﺋﻲ‪ ،‬ﻳﺘﻴﺢ ﻓﻬﻤﻪ وﺗﺬﻛﺮه ﻣﻦ ﻗﺒﻞ ﻓﺌﺔ‬ ‫أﻛﺒﺮ ﻣﻦ اﻟﻨﺎس ﺑﻐﺾ اﻟﻨﻈﺮ ﻋﻦ اﻟﻤﻮﻗﻊ أو اﻟﻤﺴﺘﻮى‬

‫اﻟﺘﻌﻠﻴﻤﻲ‪ .‬وﻟﻨﺄﺧﺬ دﺑﻲ ﻋﻠﻰ ﺳﺒﻴﻞ اﻟﻤﺜﺎل‪ ،‬ﺣﻴﺚ‬ ‫ﻳﺘﺄﻟﻒ أﻛﺜﺮ ﻣﻦ ‪ ٪٧٠‬ﻣﻦ ﻗﺎﻃﻨﻴﻬﺎ ﻣﻦ ﻏﻴﺮ اﻟﺴﻜﺎن‬ ‫ا‪L‬ﺻﻠﻴﻴﻦ‪ ،‬وﻫﻢ ﻻ ﻳﺘﺤﺪﺛﻮن اﻟﻌﺮﺑﻴﺔ ﻛﻠﻐﺔ أم‪ ،‬ﻫﻨﺎ‬ ‫ﻳﻤﻜﻦ ﻟﻠﺸﻌﺎر اﻟﺼﻮﺗﻲ أن ﻳﻮﺻﻞ رﺳﺎﻟﺔ إﻟﻰ ﺷﺮﻳﺤﺔ‬ ‫أﻛﺒﺮ ﻣﻦ اﻟﻤﺠﺘﻤﻊ‪ ،‬وﻟﻜﻦ اﻟﻤﻬﻢ أن ﺗﺤﺎﻓﻆ ﻋﻠﻰ‬ ‫اﺳﺘﻤﺮارﻳﺔ ﻫﺬه اﻟﺮﺳﺎﻟﺔ ﻫﻨﺎك‪.‬‬ ‫ﻋﻠﻰ أﻧﻪ ﺧﻼل ﻋﻤﻠﻴﺔ ﺧﻠﻖ اﻟﺸﻌﺎر اﻟﺼﻮﺗﻲ‪ ،‬ﻳﺼﺒﺢ‬ ‫ﻣﻦ اﻟﻤﻬﻢ اﻟﺘﻔﺮﻗﺔ ﺑﻴﻦ اﻟﺸﻌﺎر اﻟﺼﻮﺗﻲ ﻧﻔﺴﻪ‬ ‫وﺑﻴﻦ ﻣﻮﺳﻴﻘﻰ اﻟﺨﻠﻔﻴﺔ‪ .‬ﻓﻤﻮﺳﻴﻘﻰ اﻟﺨﻠﻔﻴﺔ ﻫﻲ‬ ‫اﻟﻤﻮﺳﻴﻘﻰ اﻟﺘﻲ ﻳﺘﻢ ﻋﺰﻓﻬﺎ ﻃﻮال ا‪s‬ﻋﻼن‪ ،‬ﺑﻴﻨﻤﺎ‬ ‫ﻳﻈﻬﺮ اﻟﺸﻌﺎر اﻟﺼﻮﺗﻲ ﻓﻘﻂ ﺑﺎﻟﺘﺰاﻣﻦ ﻣﻊ ﺷﻌﺎر‬ ‫اﻟﺸﺮﻛﺔ‪ .‬وﻓﻴﻤﺎ ﻳﻠﻲ ﻣﻘﺎرﻧﺔ ﺑﻴﻦ اﺳﺘﺨﺪام اﻟﺸﻌﺎر‬

‫ﻧﻔﺲ اﻟﻤﻬﺎم ﻟﻌﻼﻣﺎت ﺗﺠﺎرﻳﺔ ﻣﺨﺘﻠﻔﺔ‪ ،‬وﻫﻲ ﺣﺎﻟﺔ‬ ‫ﻳﻤﻜﻦ أن ﺗﺆدي إﻟﻰ ﺗﺤﻮل اﻟﻌﻼﻣﺔ اﻟﺘﺠﺎرﻳﺔ إﻟﻰ‬ ‫ﺳﻠﻌﺔ ﺗﺸﺒﻪ أي ﺳﻠﻌﺔ أﺧﺮى‪.‬‬ ‫ﻛﻤﺎ أوﻟﻴﻨﺎ ﻋﻨﺎﻳﺔ ﺧﺎﺻﺔ ﻟﻠﺘﺄﻛﺪ ﻣﻦ وﺟﻮد ﺗﻤﻴﻴﺰ‬ ‫واﺿﺢ ﺑﻴﻦ ﺟﻤﻴﻊ ﻋﻼﻣﺎﺗﻨﺎ اﻟﺘﺠﺎرﻳﺔ ﻟﺘﺠﻨﺐ اﻟﺘﻌﺎرض‬ ‫واﺿ‬ ‫ﺑﻴﻦ ﻫﺬه اﻟﻌﻼﻣﺎت اﻟﺘﺠﺎرﻳﺔ‪ .‬وﻗﺪ ﺗﻢ ﺗﺼﻤﻴﻢ ﻛﻞ‬ ‫ﻋﻼﻣﺔ ﺗﺠﺎرﻳﺔ ﺗﺎﺑﻌﺔ ﻟﺘﻴﻜﻮم ﻟﺘﻠﺒﻴﺔ اﻻﺣﺘﻴﺎﺟﺎت‬ ‫ﻋﻼ‬ ‫اﻟﻤﺘﺨﺼﺼﺔ ﻟﻘﻄﺎع ﻣﻌﻴﻦ‪ ،‬أو ﻓﻲ ﺑﻌﺾ اﻟﺤﺎﻻت‬ ‫اﻟﻤ‬ ‫ﻟﻘﻄﺎع ﻓﺮﻋﻲ‪ ،‬ﻻ ﺗﺴﺘﻬﺪﻓﻪ أي ﻋﻼﻣﺔ أﺧﺮى‪ .‬وﻻ ﺷﻚ‬ ‫ﻟﻘ‬ ‫أن ﺗﺄﺳﻴﺲ ﻋﻼﻣﺔ ﺗﺠﺎرﻳﺔ واﺿﺤﺔ اﻟﻤﻌﺎﻟﻢ ﻳﻌﺪ‬ ‫اﻟاﻟﻤﻔﺘﺎح ا‪L‬ﺳﺎﺳﻲ ﻟﺘﺠﻨﺐ اﻟﻐﻤﻮض اﻟﺬي ﻗﺪ ﻳﻮاﺟﻪ‬ ‫أأﺻﺤﺎب اﻟﻤﺼﻠﺤﺔ ﻓﻲ ﻓﻬﻢ ﻫﺬه اﻟﻌﻼﻣﺔ اﻟﺘﺠﺎرﻳﺔ‬ ‫وﺗﻮﺟﻬﺎﺗﻬﺎ‪ .‬وﻣﻦ اﻟﻮاﺿﺢ أن اﻟﺤﺪﻳﺚ ﻋﻦ ﻫﺬا ا‪L‬ﻣﺮ‬ ‫أﺳﻬﻞ ﺑﻜﺜﻴﺮ ﻣﻦ ﺗﻄﺒﻴﻘﻪ‪ ،‬وﻗﺪ ﺷﻬﺪﻧﺎ اﻟﻌﺪﻳﺪ‬ ‫ﻣﻦ اﻟﻤﺆﺳﺴﺎت اﻟﻜﺒﺮى ﺗﻔﺸﻞ ﻓﻲ اﻟﺘﻤﻴﻴﺰ ﺑﻴﻦ‬ ‫ﻋﻼﻣﺎﺗﻬﺎ اﻟﺘﺠﺎرﻳﺔ اﻟﻤﺨﺘﻠﻔﺔ‪.‬‬ ‫ﻣﺎ ﻫﻲ اﻟﻤﺒﺎدرات اﻟﺘﻲ أﻃﻠﻘﺘﻬﺎ ﺗﻴﻜﻮم‬ ‫ﻟﺪﻋﻢ اﻟﻤﻮاﻫﺐ اﻟﻤﺤﻠﻴﺔ؟‬ ‫ﺗﻌﺪ ﺟﻮاﺋﺰ إﺑﺪاع ﻟﻠﻄﻠﺒﺔ اﻟﺘﻲ أﻃﻠﻘﺘﻬﺎ ﻣﺪﻳﻨﺔ دﺑﻲ‬ ‫ﻟ ﻋﻼم إﺣﺪى أﻫﻢ ﻣﺒﺎدرات ﺗﻴﻜﻮم اﻟﺘﻲ ﺗﻬﺪف‬ ‫إﻟﻰ ﺗﺸﺠﻴﻊ اﻟﻤﻮاﻫﺐ اﻟﺸﺎﺑﺔ‪ ،‬وﺧﺎﺻﺔ اﻟﻤﻮاﻫﺐ‬ ‫اﻟﻮﻃﻨﻴﺔ‪ ،‬ﻓﻲ ‪ ١٢‬ﻣﺠﺎﻻً ﻣﻦ ﻣﺠﺎﻻت ا‪s‬ﻋﻼم ا‪s‬ﺑﺪاﻋﻲ‪.‬‬ ‫وﻗﺪ ﺷﻬﺪت اﻟﺪورة ا‪L‬ﺧﻴﺮة ﻟﻠﺠﻮاﺋﺰ ﻣﺸﺎرﻛﺔ ﻫﻲ‬ ‫ا‪L‬ﻋﻠﻰ ﻓﻲ ﺗﺎرﻳﺨﻬﺎ ﻣﻨﺬ اﻧﻄﻼﻗﻬﺎ ﻗﺒﻞ ﺛﻤﺎﻧﻴﺔ أﻋﻮام‬ ‫ﻣﻊ ﺗﻠﻘﻲ ‪ ٢٤٠٠‬ﻣﺸﺎرﻛﺔ ﻣﻦ ‪ ٢٠‬دوﻟﺔ‪.‬‬ ‫ﻛﺬﻟﻚ‪ ،‬ﺗﻨﻈﻢ ﻣﺪﻳﻨﺔ دﺑﻲ ﻟﻼﺳﺘﻮدﻳﻮﻫﺎت ﺑﺮﻧﺎﻣﺠ‪f‬‬ ‫ﻟﻠﺘﺪرﻳﺐ اﻟﺪاﺧﻠﻲ ﻳﻬﺪف إﻟﻰ إﺗﺎﺣﺔ اﻟﻔﺮﺻﺔ أﻣﺎم‬ ‫اﻟﺸﺒﺎب اﻟﻮاﻋﺪﻳﻦ اﻟﻤﻬﺘﻤﻴﻦ ﺑﺼﻨﺎﻋﺔ اﻟﺴﻴﻨﻤﺎ‬ ‫ﻻﻛﺘﺴﺎب ﺧﺒﺮة ﻋﻤﻠﻴﺔ ﻗ ّﻴﻤﺔ ﻓﻲ ﻣﺠﺎل ا‪s‬ﻧﺘﺎج‬ ‫ا‪s‬ﻋﻼﻣﻲ ﻣﻦ ﺧﻼل اﻟﻌﻤﻞ ﻣﻊ اﻟﻤﺠﻤﻊ وﺷﺮﻛﺎء‬ ‫ا‪L‬ﻋﻤﺎل‪ .‬وﻗﺪ اﺳﺘﻘﻄﺐ ﻫﺬا اﻟﺒﺮﻧﺎﻣﺞ ﻣﺸﺎرﻛﺔ‬ ‫واﺳﻌﺔ اﻟﻨﻄﺎق‪ ،‬وأﺳﻬﻢ ﻓﻲ ﺳﺪ اﻟﻔﺠﻮة ﺑﻴﻦ‬ ‫اﻟﻤﻌﺮﻓﺔ اﻟﻨﻈﺮﻳﺔ ﻓﻲ اﻟﺼﻔﻮف اﻟﺪراﺳﻴﺔ واﻟﺨﺒﺮة‬ ‫اﻟﺘﻄﺒﻴﻘﻴﺔ ﻓﻲ ﻣﻜﺎن اﻟﻌﻤﻞ‪.‬‬ ‫ﻣﺎ ﻫﻲ اﻟﺨﻄﻂ اﻟﻤﺴﺘﻘﺒﻠﻴﺔ ﺗﺤﺖ اﻟﻌﻼﻣﺔ‬ ‫اﻟﺘﺠﺎرﻳﺔ ﻟﺘﻴﻜﻮم؟‬ ‫َ‬ ‫ﺣﺎﻟﻴ‪ ١١ f‬ﻣﺠﻤﻌ‪f‬‬ ‫ﺗﺪﻳﺮ ﻣﺠﻤﻌﺎت ﺗﻴﻜﻮم ﻟ‪X‬ﻋﻤﺎل‬ ‫ﺗﻐﻄﻲ ﻃﻴﻔ‪ f‬واﺳﻌ‪ f‬ﻣﻦ اﻟﻘﻄﺎﻋﺎت‪ .‬وﺳﻨﺮﻛﺰ ﻓﻲ‬ ‫اﻟﻤﺴﺘﻘﺒﻞ اﻟﻘﺮﻳﺐ ﻋﻠﻰ ﻫﺪﻓﻴﻦ أﺳﺎﺳﻴﻴﻦ‪ .‬ا‪L‬ول‬ ‫ﻫﻮ ﺗﻌﺰﻳﺰ ﻋﻼﻣﺎﺗﻨﺎ اﻟﺘﺠﺎرﻳﺔ اﻟﺮاﺳﺨﺔ‪ ،‬واﻟﺤﻔﺎظ ﻋﻠﻰ‬ ‫ﻧﻔﺲ اﻟﻤﺴﺘﻮى ﻣﻦ اﻟﻨﻤﻮ‪ .‬ﻓﻘﺪ ﺣﻘﻘﺖ ﻋﻼﻣﺎﺗﻨﺎ‬ ‫اﻟﺘﺠﺎرﻳﺔ ﻣﻌﺪﻻت إﺷﻐﺎل ﻋﺎﻟﻴﺔ ﺗﺠﺎوزت ‪ ٩٠‬ﺑﺎﻟﻤﺎﺋﺔ‪،‬‬ ‫وﺳﻴﻨﺼﺐ ﺗﺮﻛﻴﺰﻧﺎ ﺧﻼل اﻟﻔﺘﺮة اﻟﻘﺎدﻣﺔ ﻋﻠﻰ‬ ‫اﻟﻤﺤﺎﻓﻈﺔ ﻋﻠﻰ ﻫﺬا اﻟﻤﺴﺘﻮى‪.‬‬

‫وﻻ ﺷﻚ أن ﻧﺠﺎح‬ ‫اﺳﺘﺮاﺗﻴﺠﻴﺔ‬ ‫اﻟﻌﻼﻣﺔ اﻟﺘﺠﺎرﻳﺔ‪،‬‬ ‫وﻛﺴﺐ ﺛﻘﺔ اﻟﺠﻤﻬﻮر اﻟﻤﺴﺘﻬﺪف‬ ‫ﺑﺎﻟﺮﺳﺎﺋﻞ اﻟﺘﻲ ﺗﻘﺪﻣﻬﺎ ﻫﺬه‬ ‫اﻟﻌﻼﻣﺔ اﻟﺘﺠﺎرﻳﺔ‪ ،‬ﻳﺘﻄﻠﺐ أﻛﺜﺮ ﻣﻦ‬ ‫ﻣﺠﺮد اﻟﺨﻄﺎﺑﺔ ﻟﻴﻜﻮن ﻣﺪﻋﻮﻣ‪B‬‬ ‫ﺑﺈﺟﺮاءات ﻣﻠﻤﻮﺳﺔ‪ .‬وﻳﻤﻜﻦ ‪:‬ي‬ ‫ﺗﺪﻋﻲ اﻟﺘﻤﻴﺰ‪،‬‬ ‫ﻋﻼﻣﺔ ﺗﺠﺎرﻳﺔ أن ّ‬ ‫وﻟﻜﻦ ﻫﺬا اﻟﺘﻤﻴﺰ ﻳﺠﺐ أن ﻳﻜﻮن‬ ‫ﻣﻌﺰز‪ E‬ﺑﺄﻓﻌﺎل ﻋﻠﻰ‬ ‫ا‪:‬رض‪.‬‬

‫ﻫﺪﻓﻨﺎ اﻟﺜﺎﻧﻲ ﻫﻮ ﺗﻌﺰﻳﺰ ﻋﻼﻣﺎﺗﻨﺎ اﻟﺘﺠﺎرﻳﺔ اﻟﻔﺘﻴﺔ‪ ،‬وﺗﻮﻓﻴﺮ اﻟﺪﻋﻢ اﻟﻼزم واﻟﺘﻮﺟﻴﻪ‬ ‫اﻻﺳﺘﺮاﺗﻴﺠﻲ واﻟﻤﺴﺎﻋﺪة ﻓﻲ ﺗﺮﺳﻴﺦ ﻣﻜﺎﻧﺘﻬﺎ ﻟﻠﻮﺻﻮل إﻟﻰ ﻧﻔﺲ اﻟﻤﻌﺎﻳﻴﺮ‬ ‫اﻟﻌﺎﻟﻴﺔ اﻟﻤﺘﻮﻗﻌﺔ ﻣﻦ ﻛﺎﻓﺔ ﻋﻼﻣﺎﺗﻨﺎ اﻟﺘﺠﺎرﻳﺔ‪ .‬ﺑﻌﺾ ﻣﻦ ﻋﻼﻣﺎﺗﻨﺎ اﻟﺘﺠﺎرﻳﺔ‬ ‫ا‪L‬ﺣﺪث ﺗﻨﺸﻂ ﻓﻲ ﻗﻄﺎﻋﺎت ﺣﻴﻮﻳﺔ ﺗﺘﻤﺘﻊ ﺑﺈﻣﻜﺎﻧﻴﺎت ﻧﻤﻮ ﻛﺒﻴﺮة ﻣﺜﻞ اﻟﻄﺎﻗﺔ‬ ‫اﻟﻨﻈﻴﻔﺔ‪ ،‬وﻧﺤﻦ ﺣﺮﻳﺼﻮن ﻋﻠﻰ اﻻﺳﺘﻔﺎدة ﺑﺸﻜﻞ ﻛﺎﻣﻞ ﻣﻦ اﻟﻨﻤﻮ اﻟﻤﺘﻮﻗﻊ‬ ‫ﻟﻬﺬه اﻟﻘﻄﺎﻋﺎت ﻋﻠﻰ اﻟﺼﻌﻴﺪ ا‪s‬ﻗﻠﻴﻤﻲ‪.‬‬ ‫أﻣﺎ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﻌﻼﻣﺔ اﻟﺘﺠﺎرﻳﺔ ا‪L‬م‪ ،‬ﺗﻴﻜﻮم ﻟﻼﺳﺘﺜﻤﺎرات‪ ،‬ﻓﺴﻨﻌﻤﻞ ﻋﻠﻰ ﺗﻌﺰﻳﺰ‬ ‫ﻓﻌﺎﻟﻴﺘﻨﺎ ‪s‬ﻇﻬﺎر اﻟﻘﻴﻤﺔ اﻟﻤﻀﺎﻓﺔ اﻟﺘﻲ ﻧﻘﺪﻣﻬﺎ ﻟﺸﺮﻛﺎء ا‪L‬ﻋﻤﺎل ﻣﻦ ﺧﻼل‬ ‫ﻋﻤﻠﻬﻢ ﻓﻲ اﻟﻤﻨﻄﻘﺔ اﻟﺤﺮة‪ .‬وﺗﻨﺒﻊ ﻫﺬه اﻟﻘﻴﻤﺔ اﻟﻤﻀﺎﻓﺔ ﻣﻦ اﻟﻤﺰاﻳﺎ اﻟﻔﺮﻳﺪة‬ ‫اﻟﺘﻲ ﺗﻘﺪﻣﻬﺎ ﻣﺠﻤﻌﺎت ا‪L‬ﻋﻤﺎل‪ ،‬وﻧﺤﻦ ﻧﻌﺘﺰم اﻻﺳﺘﻤﺮار ﻓﻲ اﻟﺘﻮاﺻﻞ اﻟﻔﻌﺎل ﻣﻊ‬ ‫ﻋﻤﻼﺋﻨﺎ اﻟﺤﺎﻟﻴﻴﻦ واﻟﻤﺴﺘﻘﺒﻠﻴﻴﻦ ‪s‬ﻃﻼﻋﻬﻢ ﻋﻠﻰ ﻫﺬه اﻟﻤﺰاﻳﺎ‪.‬‬ ‫ﻛﻤﺎ ﺳﻨﻘﻮم ﺑﺒﺬل اﻟﻤﺰﻳﺪ ﻣﻦ اﻟﺠﻬﻮد ﻟﺘﻮﻓﻴﺮ أﻋﻠﻰ درﺟﺎت اﻟﺘﻮاﺻﻞ واﻟﺘﻌﺎون‬ ‫ﺑﻴﻦ ﻛﺎﻓﺔ ﺷﺮﻛﺎء ا‪L‬ﻋﻤﺎل ﻓﻲ ﺟﻤﻴﻊ اﻟﻤﻨﺎﻃﻖ اﻟﺤﺮة ا‪s‬ﺣﺪى ﻋﺸﺮة‪ .‬وﻧﺤﻦ ﻧﻌﺘﻘﺪ‬ ‫أن ﻫﻨﺎك اﻟﻌﺪﻳﺪ ﻣﻦ ﻓﺮص اﻟﺘﻌﺎون ﺑﻴﻦ ﺷﺮﻛﺎء ا‪L‬ﻋﻤﺎل ﻓﻲ ﻣﺨﺘﻠﻒ اﻟﻘﻄﺎﻋﺎت‪،‬‬ ‫وﺑﺎﻟﺘﺎﻟﻲ ﺳﻨﻌﻤﻞ ﻋﻠﻰ ﻣﻀﺎﻋﻔﺔ ﺟﻬﻮدﻧﺎ ﻟﺘﺤﻘﻴﻖ ﻫﺬه اﻟﻔﺮص‪.‬‬ ‫ﻣﺎ ﻫﻲ ﻧﺼﻴﺤﺘﻜﻢ ﻟﻘﺮاﺋﻨﺎ ﺣﻮل ﺑﻨﺎء وﺗﻄﻮﻳﺮ‬ ‫وﺗﺴﻮﻳﻖ اﻟﻌﻼﻣﺔ اﻟﺘﺠﺎرﻳﺔ؟‬ ‫ﺗﻜﻤﻦ ﺟﺬور ﻗﻮة اﻟﻌﻼﻣﺔ اﻟﺘﺠﺎرﻳﺔ ورﺳﻮﺧﻬﺎ ﻓﻲ ا‪L‬ﺑﺤﺎث اﻟﺘﻲ ﺗﺘﻢ ﻓﻲ اﻟﻤﺮاﺣﻞ‬ ‫ا‪L‬وﻟﻴﺔ ﻟﺘﺄﺳﻴﺲ اﻟﻌﻼﻣﺔ اﻟﺘﺠﺎرﻳﺔ‪ .‬وﻗﺒﻞ أن ﻳﺘﻢ إﻃﻼق اﻟﻌﻼﻣﺔ اﻟﺘﺠﺎرﻳﺔ‪ ،‬ﻓﻬﻲ‬ ‫ﺑﺤﺎﺟﺔ إﻟﻰ دﻋﻢ ﻣﻦ ﺧﻼل اﻟﺒﺤﻮث اﻟﺘﺠﺮﻳﺒﻴﺔ اﻟﺘﻲ ﺗﺤﺪد ا‪L‬ﺟﻮﺑﺔ ‪L‬ﺳﺌﻠﺔ ﻣﺜﻞ‬ ‫ﻟﻤﺎذا وﻛﻴﻒ ﺳﺘﺘﻤﻜﻦ اﻟﻌﻼﻣﺔ اﻟﺘﺠﺎرﻳﺔ اﻟﺨﺎﺻﺔ ﺑﻚ ﻣﻦ أﺧﺬ ﻣﻜﺎﻧﻬﺎ ﻓﻲ ا‪L‬ﺳﻮاق‬

‫ﺑﻮﺟﻮد اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﻌﻼﻣﺎت اﻟﺘﺠﺎرﻳﺔ اﻟﻤﻨﺎﻓﺴﺔ‪.‬‬ ‫وﺑﺎﻟﺘﺎﻟﻲ ﻓﺈن ﻣﺮﺣﻠﺔ اﻟﺒﺤﺚ ﺗﻤﻬﺪ ﻟﻌﻤﻠﻴﺔ ﺑﻨﺎء‬ ‫اﻟﻌﻼﻣﺔ اﻟﺘﺠﺎرﻳﺔ ﺑﺮﻣﺘﻬﺎ ﺣﻴﺚ أﻧﻬﺎ ﺗﺤﺪد ﻣﻮاﻃﻦ‬ ‫اﻟﻘﻮة واﻟﻀﻌﻒ ﺑﺎﻟﻤﻘﺎرﻧﺔ ﻣﻊ اﻟﻌﻼﻣﺎت اﻟﻤﻨﺎﻓﺴﺔ‪،‬‬ ‫ﻛﻤﺎ ﺗﺤﺪد اﺣﺘﻴﺎﺟﺎت اﻟﺠﻤﻬﻮر اﻟﻤﺴﺘﻬﺪف وﻛﻴﻒ‬ ‫ﺳﺘﻘﻮم اﻟﻌﻼﻣﺔ اﻟﺘﺠﺎرﻳﺔ ﺑﺘﻠﺒﻴﺔ ﻫﺬه اﻻﺣﺘﻴﺎﺟﺎت‪.‬‬ ‫ﺑﺎﺧﺘﺼﺎر‪ ،‬ﺗﻤﺜﻞ ا‪L‬ﺑﺤﺎث اﻟﺨﺎﺻﺔ ﺑﺎﻟﻌﻼﻣﺎت‬ ‫اﻟﺘﺠﺎرﻳﺔ أﻫﻤﻴﺔ ﻗﺼﻮى ﻓﻲ ﺑﻨﺎء وﺗﻄﻮﻳﺮ اﻟﻌﻼﻣﺔ‬ ‫اﻟﺘﺠﺎرﻳﺔ‪ ،‬ﺣﻴﺚ ﺗﻌﺪ اﻟﺨﻄﻮات ا‪L‬وﻟﻴﺔ اﻟﺘﻲ ﺗﻀﻊ‬ ‫أﺳﺎﺳ‪ f‬راﺳﺨ‪ f‬ﻟﻠﻤﺴﺘﻘﺒﻞ‪.‬‬ ‫ﻛﻤﺎ أن اﻟﻌﻼﻣﺎت اﻟﺘﺠﺎرﻳﺔ اﻟﺮاﺳﺨﺔ ﻳﺘﻢ ﺗﻄﻮﻳﺮﻫﺎ ﻣﻦ‬ ‫اﻟﺪاﺧﻞ إﻟﻰ اﻟﺨﺎرج‪ .‬ﻓﺒﻌﺪ ﺗﺤﺪﻳﺪ اﻟﻌﻼﻣﺔ اﻟﺘﺠﺎرﻳﺔ‬ ‫وﻣﻘﻮﻣﺎﺗﻬﺎ‪ ،‬واﻟﻮﻋﻮد اﻟﺘﻲ ﺳﺘﻠﺘﺰم ﺑﺘﻨﻔﻴﺬﻫﺎ‪،‬‬ ‫وﻗﺒﻞ إﻃﻼق ﻫﺬه اﻟﻌﻼﻣﺔ اﻟﺘﺠﺎرﻳﺔ إﻟﻰ اﻟﺨﺎرج‪ ،‬ﻳﺠﺐ‬ ‫أن ﻳﻜﻮن ﻫﻨﺎك ﺗﻮاﻓﻖ ﻓﻲ ا راء‪ ،‬وﻗﺒﻮل ﻟﻬﺬه‬ ‫اﻟﻌﻼﻣﺔ اﻟﺘﺠﺎرﻳﺔ ﻣﻦ ﻗﺒﻞ أﺻﺤﺎب اﻟﺸﺄن اﻟﺪاﺧﻠﻲ‪.‬‬ ‫ﻛﻤﺎ ﻳﻨﺒﻐﻲ أن ﻳﺘﻢ اﻟﺘﻨﺴﻴﻖ ﺑﻴﻦ اﻟﺮﺳﺎﺋﻞ اﻟﺘﻲ‬ ‫ﺳﺘﺮﺳﻠﻬﺎ اﻟﻌﻼﻣﺔ اﻟﺘﺠﺎرﻳﺔ إﻟﻰ أﺻﺤﺎب اﻟﻤﺼﻠﺤﺔ‬ ‫داﺧﻠﻴ‪ f‬وﺧﺎرﺟﻴ‪.f‬‬ ‫وﻻ ﻳﻤﻜﻦ إﻳﺼﺎل رﺳﺎﻟﺔ ﻣﻌﻴﻨﺔ إﻟﻰ ﺟﻤﻬﻮر اﻟﺨﺎرﺟﻲ‬ ‫إذا ﻛﺎن اﻟﺠﻤﻬﻮر اﻟﺪاﺧﻠﻲ ﻻ ﻳﺘﻮاﻓﻖ ﻣﻌﻬﺎ‪ .‬ﻋﻠﻰ‬ ‫ﺳﺒﻴﻞ اﻟﻤﺜﺎل‪ ،‬ﻻ ﺗﺴﺘﻄﻴﻊ أي ﻋﻼﻣﺔ ﺗﺠﺎرﻳﺔ أن‬ ‫ﺗﺮوج ﻟﻨﻔﺴﻬﺎ ﻋﻠﻰ أﻧﻬﺎ ﻣﻨﻔﺘﺤﺔ ﻋﻠﻰ ا ﺧﺮ ﻓﻲ‬ ‫ﺣﻴﻦ أن ﻣﺪﻳﺮي اﻟﺸﺮﻛﺔ ﺑﻌﻴﺪون ﻋﻦ ﻣﻮﻇﻔﻴﻬﺎ‬ ‫وراء أﺑﻮاب ﻣﻐﻠﻘﺔ‪.‬‬

‫<<<‬

‫‪KNOW WHO‬‬ ‫‪KN‬‬ ‫‪Dr. Amina‬‬ ‫‪Am‬‬ ‫‪Al Rustamani‬‬

‫أﺳﺌﻠﺔ وأﺟﻮﺑﺔ‬

‫ﻟﻠﺪﻛﺘﻮرة أﻣﻨﻴﺔ‬ ‫اﻟﺮﺳﺘﻤﺎﻧﻲ‬ ‫ﻛﻮﻧﻜﻢ اﻟﺮﺋﻴﺲ اﻟﺘﻨﻔﻴﺬي ﻟﻤﺠﻤﻌﺎت ﺗﻴﻜﻮم‬ ‫ﻟ‪u‬ﻋﻤﺎل‪ ،‬ﻻ ﺷﻚ أﻧﻜﻢ ﺗﺴﺎﻫﻤﻮن ﻓﻲ ﺗﻄﻮﻳﺮ‬ ‫اﻟﻌﻼﻣﺔ اﻟﺘﺠﺎرﻳﺔ‪ .‬ﻣﺎ ﻫﻲ اﺳﺘﺮاﺗﻴﺠﻴﺘﻜﻢ‬ ‫اﻟﺨﺎﺻﺔ ﺑﺎﻟﻌﻼﻣﺎت اﻟﺘﺠﺎرﻳﺔ‪ ،‬وﻛﻴﻒ ﺗﻘﻮم‬ ‫ﺗﻴﻜﻮم ﺑﺎﻟﺘﻮاﺻﻞ ﻣﻊ اﻟﻤﺴﺘﺜﻤﺮﻳﻦ اﻟﺠﺪد‬ ‫واﻟﺤﺎﻟﻴﻴﻦ وﺷﺮﻛﺎء ا‪:‬ﻋﻤﺎل؟‬ ‫ﻣﻨﺬ ﺗﺄﺳﻴﺴﻬﺎ‪ ،‬ﺳﻌﺖ ﺗﻴﻜﻮم ﻟﻼﺳﺘﺜﻤﺎرات‬ ‫ﺑﺎﺳﺘﻤﺮار ﻟﺒﻨﺎء وﺗﻄﻮﻳﺮ ﻫﻮﻳﺔ ﺗﺠﺎرﻳﺔ ﻣﺘﻔﺮدة ﺗﻤﻴﺰﻧﺎ‬ ‫ﻋﻦ ﻣﻨﺎﻓﺴﻴﻨﺎ‪ ،‬وﺗﺮﺳﻲ ﻋﻼﻗﺎت ﻗﻮﻳﺔ ﻣﻊ ﺷﺮﻛﺎء‬ ‫ا‪L‬ﻋﻤﺎل‪ .‬وﺗﻜﺘﺴﺐ ﻋﻼﻣﺘﻨﺎ اﻟﺘﺠﺎرﻳﺔ ﻃﺎﺑﻌ‪ f‬ﻓﺮﻳﺪ[‬ ‫ﻛﻮﻧﻬﺎ ﺗﻘﻮم ﻋﻠﻰ ﻧﻤﻮذج ﺗﻴﻜﻮم ﻟﻠﻤﻨﺎﻃﻖ اﻟﺤﺮة‪،‬‬ ‫وﻫﻮ ﺗﻔﺮد ﻳﻨﺒﻊ ﻣﻦ اﻟﻤﺰاﻳﺎ اﻟﺘﻲ ﻳﻮﻓﺮﻫﺎ ﻧﻤﻮذج‬ ‫ﻣﺠﻤﻌﺎت ا‪L‬ﻋﻤﺎل اﻟﺬي ﻧﻌﺘﻤﺪه‪.‬‬ ‫وﻻ ﺷﻚ أن ﻧﺠﺎح اﺳﺘﺮاﺗﻴﺠﻴﺔ اﻟﻌﻼﻣﺔ اﻟﺘﺠﺎرﻳﺔ‪،‬‬ ‫وﻛﺴﺐ ﺛﻘﺔ اﻟﺠﻤﻬﻮر اﻟﻤﺴﺘﻬﺪف ﺑﺎﻟﺮﺳﺎﺋﻞ اﻟﺘﻲ‬ ‫ﺗﻘﺪﻣﻬﺎ ﻫﺬه اﻟﻌﻼﻣﺔ اﻟﺘﺠﺎرﻳﺔ‪ ،‬ﻳﺘﻄﻠﺐ أﻛﺜﺮ ﻣﻦ‬ ‫ﻣﺠﺮد اﻟﺨﻄﺎﺑﺔ ﻟﻴﻜﻮن ﻣﺪﻋﻮﻣ‪ f‬ﺑﺈﺟﺮاءات ﻣﻠﻤﻮﺳﺔ‪.‬‬ ‫ﺗﺪﻋﻲ اﻟﺘﻤﻴﺰ‪ ،‬وﻟﻜﻦ‬ ‫وﻳﻤﻜﻦ ‪L‬ي ﻋﻼﻣﺔ ﺗﺠﺎرﻳﺔ أن ّ‬ ‫‪100 101‬‬

‫ﻫﺬا اﻟﺘﻤﻴﺰ ﻳﺠﺐ أن ﻳﻜﻮن ﻣﻌﺰز[ ﺑﺄﻓﻌﺎل ﻋﻠﻰ ا‪L‬رض‪ .‬ﻋﻠﻰ ﺳﺒﻴﻞ اﻟﻤﺜﺎل‪،‬‬ ‫ﻗﻤﻨﺎ ﻓﻲ اﻟﺴﻨﺔ اﻟﻤﺎﺿﻴﺔ ﺑﺈﻃﻼق ﺟﻮاﺋﺰ اﻟﻠﺆﻟﺆة ﻟﺘﻜﺮﻳﻢ أﺑﺮز ﺷﺮﻛﺎء ا‪L‬ﻋﻤﺎل‪،‬‬ ‫وﻗﺪ ﺟﺎءت ﻫﺬه اﻟﺨﻄﻮة اﻧﻄﻼﻗ‪ f‬ﻣﻦ إﻳﻤﺎﻧﻨﺎ ﺑﺄن ﺗﺼﺮﻳﺢ ﺗﻴﻜﻮم ﺑﺄﻧﻬﺎ ﺗﺴﻌﻰ‬ ‫ﻟﻨﺠﺎح ﺷﺮﻛﺎء ا‪L‬ﻋﻤﺎل ﻟﻦ ﻳﻜﻮن ﻛﺎﻓﻴ‪ f‬ﻣﺎ ﻟﻢ ﻳﺮاﻓﻘﻪ أﻓﻌﺎل ﻣﻠﻤﻮﺳﺔ وإﺟﺮاءات‬ ‫ﻋﻤﻠﻴﺔ ‪s‬ﺛﺒﺎت ذﻟﻚ‪.‬‬ ‫وﺑﺎﻟﻤﺜﻞ‪ ،‬ﺗﺮﻛﺰ اﺳﺘﺮاﺗﻴﺠﻴﺘﻨﺎ اﻟﺨﺎﺻﺔ ﺑﺎﻟﻌﻼﻣﺔ اﻟﺘﺠﺎرﻳﺔ ﻋﻠﻰ اﻟﺘﺮاﺑﻂ ﻣﻊ اﻟﻌﻼﻣﺎت‬ ‫اﻟﺘﺠﺎرﻳﺔ اﻟﺮاﺋﺪة ا‪L‬ﺧﺮى ﻟﺨﻠﻖ ﻣﻨﺼﺎت ﻟﻠﺘﻔﺎﻋﻞ واﻟﺘﻮاﺻﻞ‪ .‬واﻟﻬﺪف ﻣﻦ وراء ذﻟﻚ‪،‬‬ ‫ﻣﺮة أﺧﺮى‪ ،‬ﻫﻮ ﺗﺴﻠﻴﻂ اﻟﻀﻮء ﻋﻠﻰ ﻋﺮوض اﻟﻘﻴﻤﺔ اﻟﻤﺘﻔﺮدة اﻟﺘﻲ ﺗﻮﻓﺮﻫﺎ ﻋﻼﻣﺘﻨﺎ‬ ‫اﻟﺘﺠﺎرﻳﺔ ﻛﻮﻧﻬﺎ ﺗﻤﺜﻞ ﻣﺠﻤﻌ‪ f‬ﻳﺴﻬﻢ ﻓﻲ ﺗﻌﺰﻳﺰ اﻟﻌﻼﻣﺎت اﻟﺘﺠﺎرﻳﺔ اﻟﻤﺘﻤﻴﺰة اﻟﺘﻲ‬ ‫ﻳﻤﻜﻦ أن ﻧﻌﻤﻞ ﻣﻌﻬﺎ ﻟﺘﺤﻘﻴﻖ ﻣﻨﺎﻓﻊ ﻣﺘﺒﺎدﻟﺔ‪.‬‬ ‫ﺑﻌﺪ إﻧﺸﺎء ﻣﺪﻳﻨﺔ دﺑﻲ ﻟ‪m‬ﻧﺘﺮﻧﺖ‪ ،‬ﺣﻘﻘﺖ ﺗﻴﻜﻮم ﻟﻼﺳﺘﺜﻤﺎرات ﻧﻤﻮ‪E‬‬ ‫ﻛﺒﻴﺮ‪ E‬ﻟﺘﺼﺒﺢ ﻣﺆﺳﺴﺔ ﻛﺒﺮى ﺗﻮﻓﺮ ﻣﺮﻛﺰ‪ E‬ﻟ‪u‬ﻋﻤﺎل ﻟﺸﺮﻛﺎت ا‪P‬ﻋﻼم‬ ‫وﺗﻜﻨﻮﻟﻮﺟﻴﺎ اﻟﻤﻌﻠﻮﻣﺎت اﻟﻤﺤﻠﻴﺔ واﻟﺪوﻟﻴﺔ‪ .‬ﻣﺎ اﻟﺬي ﻳﻨﺒﻐﻲ اﻟﻘﻴﺎم‬ ‫ﺑﻪ ﻟﺪﻣﺞ ﺟﻤﻴﻊ ﻣﺠﻤﻌﺎت اﻟﻤﻨﻄﻘﺔ اﻟﺤﺮة ﺗﺤﺖ ﻣﻈﻠﺔ واﺣﺪة‪ ،‬وﻓﻲ‬ ‫ﻧﻔﺲ اﻟﻮﻗﺖ اﻟﺤﻔﺎظ ﻋﻠﻰ ﻃﺎﺑﻊ اﻟﻌﻼﻣﺔ اﻟﺘﺠﺎرﻳﺔ اﻟﻔﺮدﻳﺔ؟‬ ‫ﻓﻲ ﻣﻨﺘﺼﻒ ﻋﺎم ‪ ،٢٠٠٨‬أﺳﺴﺖ ﺗﻴﻜﻮم ﻟﻼﺳﺘﺜﻤﺎرات ﻣﺠﻤﻌﺎت ﺗﻴﻜﻮم ﻟ‪X‬ﻋﻤﺎل‪،‬‬ ‫وﻫﻲ ﻋﺒﺎرة ﻋﻦ ﻣﻈﻠﺔ ﺟﺎﻣﻌﺔ ﻣﺴﺆوﻟﺔ ﻋﻦ ا‪s‬ﺷﺮاف ﻋﻠﻰ ﻋﻤﻠﻴﺎت اﻟﻨﻤﻮ‬

‫واﻟﺘﻄﻮﻳﺮ ﻟﺠﻤﻴﻊ اﻟﻌﻼﻣﺎت اﻟﺘﺠﺎرﻳﺔ اﻟﺘﺎﺑﻌﺔ ﻟﺘﻴﻜﻮم‬ ‫)واﻟﺘﻲ ﺷﻤﻠﺖ ﻓﻲ ذﻟﻚ اﻟﻮﻗﺖ ﺗﺴﻌﺔ ﻣﺠﻤﻌﺎت‬ ‫أﻋﻤﺎل‪ ،‬وﺻﻞ ﻋﺪدﻫﺎ اﻟﻴﻮم إﻟﻰ ‪ ١١‬ﻣﺠﻤﻌ‪ f‬ﻣﻊ اﻧﻀﻤﺎم‬ ‫ﻣﺪﻳﻨﺔ دﺑﻲ اﻟﻄﺒﻴﺔ وﻣﺪﻳﻨﺔ دﺑﻲ اﻟﺼﻨﺎﻋﻴﺔ(‪ .‬ﻟﻘﺪ ﻛﻨﺎ‬ ‫ﻣﺪرﻛﻴﻦ ﺗﻤﺎﻣ‪ f‬ﻟﻠﺘﺤﺪي اﻟﺬي ﻳﻮاﺟﻬﻨﺎ وﻫﻮ اﻻﺳﺘﻔﺎدة‬ ‫ﻣﻦ أوﺟﻪ اﻟﺘﻌﺎون اﻟﻤﺸﺘﺮك ﺑﻴﻦ اﻟﻌﻼﻣﺎت اﻟﺘﺠﺎرﻳﺔ‪،‬‬ ‫ﻣﻊ اﻟﺤﻔﺎظ ﻋﻠﻰ اﻟﻬﻮﻳﺔ اﻟﻤﻤﻴﺰة ﻟﻜﻞ ﻣﻨﻬﺎ‪ .‬وﻗﺪ‬ ‫اﺗﺨﺬﻧﺎ ﻗﺮارا اﺳﺘﺮاﺗﻴﺠﻴﺎ ﻓﻲ ذﻟﻚ اﻟﻮﻗﺖ ﺑﻨﻘﻞ ﺟﻤﻴﻊ‬ ‫اﻟﻌﻤﻠﻴﺎت اﻟﺘﻲ ﺗﺆﺛﺮ ﺑﺸﻜﻞ ﻣﺒﺎﺷﺮ ﻋﻠﻰ اﻟﻌﻼﻣﺔ‬ ‫اﻟﺘﺠﺎرﻳﺔ إﻟﻰ ﻣﺠﻤﻌﺎت ا‪L‬ﻋﻤﺎل ﻛﻞ ﻋﻠﻰ ﺣﺪة‪ ،‬ﻓﻲ‬ ‫ﺣﻴﻦ ﺗﻢ ﺗﻮﺣﻴﺪ ﻋﻤﻠﻴﺎت اﻟﻤﻜﺎﺗﺐ اﻟﺨﻠﻔﻴﺔ ﻓﻲ ﻣﺮﻛﺰ‬ ‫واﺣﺪ ﺗﺘﻮﻟﻰ إدارﺗﻪ ﻣﺠﻤﻌﺎت ﺗﻴﻜﻮم ﻟ‪X‬ﻋﻤﺎل‪.‬‬ ‫وﻗﺪ ﺗﻮﻟﻰ ﻛﻞ ﻣﺠﻤﻊ أﻋﻤﺎل اﻟﻌﻤﻠﻴﺎت اﻟﻤﺘﻌﻠﻘﺔ‬ ‫ﺑﺎﻟﺘﺴﻮﻳﻖ‪ ،‬واﻟﻤﺒﻴﻌﺎت‪ ،‬وﺧﺪﻣﺔ اﻟﻌﻤﻼء‪ ،‬وﺟﻤﻴﻊ‬ ‫اﻻﺗﺼﺎﻻت ﻣﻊ ﺷﺮﻛﺎء ا‪L‬ﻋﻤﺎل‪ .‬وأﺳﻬﻢ وﺟﻮد ﻓﺮﻳﻖ‬ ‫ﻋﻤﻞ ﻣﺘﺨﺼﺺ ﻟﻜﻞ ﻋﻼﻣﺔ ﺗﺠﺎرﻳﺔ ﻓﻲ ﺿﻤﺎن‬ ‫اﻟﺤﻔﺎظ ﻋﻠﻰ ﺟﻮﻫﺮ ﻫﺬه اﻟﻌﻼﻣﺔ وﻫﻮﻳﺘﻬﺎ اﻟﺨﺎﺻﺔ‬ ‫وﺳﻤﺎﺗﻬﺎ اﻟﻤﻤﻴﺰة‪ ،‬واﻟﺘﻲ ﻛﺎن ﻣﻦ اﻟﻤﻤﻜﻦ أن‬ ‫ﺗﺘﻌﺮض ﻟ ﻫﻤﺎل ﻓﻲ ﺣﺎل ﺗﻮﻟﻰ ﻧﻔﺲ ا‪L‬ﻓﺮاد أداء‬

‫‪KNOW WHO‬‬ ‫‪Dr. Amina Al Rustamani‬‬

‫ﻛﻤﺎ ﻳﻤﺘﺎز ﺷﻌﺎر دو ﺑﺎﻟﺘﻔﺮد‪،‬‬ ‫ﻓﺒﻴﻨﻤﺎ ﺗﺆﻛﺪ ﻧﻈﺮﻳﺔ اﻟﺘﺴﻮﻳﻖ‬ ‫اﻟﺘﻘﻠﻴﺪﻳﺔ أن اﻟﺸﻌﺎر ﻳﺠﺐ‬ ‫أن ﻳﻜﻮن ﻫﻮ ﻧﻔﺴﻪ ﻓﻲ ﻛﻞ‬ ‫وﻗﺖ‪ ،‬أﺛﺒﺘﺖ دو إﻣﻜﺎﻧﻴﺔ ﺗﻐﻴﻴﺮ ﺑﻌﺾ ﺟﻮاﻧﺐ‬ ‫اﻟﺸﻌﺎر – ا‪:‬ﻟﻮان ﻓﻲ ﻫﺬه اﻟﺤﺎﻟﺔ‪ -‬ﻣﻊ اﻟﺤﻔﺎظ‬ ‫ﻋﻠﻰ اﻧﺴﺠﺎم اﻟﺸﻌﺎر ﻣﻊ‬ ‫اﻟﻌﻼﻣﺔ اﻟﺘﺠﺎرﻳﺔ‪.‬‬

‫واﻟﻌﻼﻣﺎت اﻟﺘﺠﺎرﻳﺔ ﻓﻲ اﻟﻤﻘﺎم ا‪L‬ول ﻋﻠﻰ ﺣﺎﺳﺘﻲ اﻟﺴﻤﻊ واﻟﺒﺼﺮ )اﻟﺸﻌﺎر‬ ‫وا‪L‬ﻟﻮان واﻟﺨﻄﻮط‪ ،‬اﻟﺦ(‪ ،‬ﻓﻲ ﺣﻴﻦ ﻻ ﻳﻬﺘﻢ أﺣﺪ ﺑﺎﻟﺤﻮاس ا‪L‬ﺧﺮى‪ ،‬واﻟﺘﻲ ﺗﻠﻌﺐ‬ ‫ذات اﻟﺪور اﻟﻬﺎم ﻓﻲ ﺟﺬب اﻟﻌﻤﻼء )أو ﻧﻔﻮرﻫﻢ( إﻟﻰ ﻋﻼﻣﺎت ﺗﺠﺎرﻳﺔ ﻣﻌﻴﻨﺔ‪ .‬وﻗﺪ‬ ‫ﻧﺠﺤﺖ دو ﻓﻲ ﺗﺼﻤﻴﻢ ﻧﻐﻤﺔ ﺧﺎﺻﺔ ﻣﺎ أن ﻳﺴﺘﻤﻊ إﻟﻴﻬﺎ اﻟﻌﻤﻴﻞ ﺣﺘﻰ ﻳﺪرك‬ ‫أﻧﻬﺎ ﺗﺨﺺ اﻟﺸﺮﻛﺔ‪ .‬وﻳﻌﺪ ﻫﺬا إﻧﺠﺎز[ ﻓﺮﻳﺪ[ ﻣﻦ ﻧﻮﻋﻪ‪ ،‬وﻳﻨﺒﻐﻲ ﻋﻠﻰ اﻟﻌﺪﻳﺪ ﻣﻦ‬ ‫اﻟﺸﺮﻛﺎت أن ﺗﺴﻌﻰ ﻟﺘﻜﺮار ﻫﺬه اﻟﺘﺠﺮﺑﺔ اﻻﺳﺘﺜﻨﺎﺋﻴﺔ إذا رﻏﺒﻮا ﻓﻲ ﺗﻌﺰﻳﺰ ﻗﺪرات‬ ‫ﻋﻼﻣﺎﺗﻬﻢ اﻟﺘﺠﺎرﻳﺔ ﻋﻠﻰ اﻟﻤﻨﺎﻓﺴﺔ‪.‬‬ ‫ﻫﻞ ﻳﻤﻜﻦ أن ﺗﻄﻠﻌﻮﻧﺎ ﻋﻠﻰ ﻛﻴﻔﻴﺔ ﺗﺼﻤﻴﻢ ﺷﻌﺎر ﺗﻴﻜﻮم‪ ،‬وﻛﻴﻒ ﺗﻢ‬ ‫ﺗﻨﻔﻴﺬ اﻟﻤﺮﺣﻠﺔ ا‪:‬وﻟﻴﺔ ﻻﺳﺘﺮاﺗﻴﺠﻴﺔ اﻟﻌﻼﻣﺔ اﻟﺘﺠﺎرﻳﺔ؟‬ ‫ﺷﻌﺎر ﺗﻴﻜﻮم ﺟﺰء ﻣﻦ ﺷﻌﺎر دﺑﻲ اﻟﻘﺎﺑﻀﺔ‪ ،‬اﻟﺸﺮﻛﺔ ا‪L‬م‪ .‬وﺟﻤﻴﻊ ﺷﻌﺎرات‬ ‫اﻟﺸﺮﻛﺎت اﻟﺘﺎﺑﻌﺔ ﻟﺪﺑﻲ اﻟﻘﺎﺑﻀﺔ ﺗﺘﻀﻤﻦ ﻋﻼﻣﺔ ﺣﻤﺮاء ﺗﺆﻛﺪ اﻟﺘﺰاﻣﻬﺎ ﺑﺎﻟﺘﻤﻴﺰ‪.‬‬

‫ﻓﻲ ﺗﻴﻜﻮم ﻟﻼﺳﺘﺜﻤﺎرات‪ ،‬ﺗﻘﻮم ﻓﻠﺴﻔﺔ ﺧﺪﻣﺔ‬ ‫اﻟﻌﻤﻼء ﻋﻠﻰ ﺷﻌﺎر »ﻣﻠﺘﺰﻣﻮن ﺑﻨﺠﺎﺣﻜﻢ«‪ .‬ﻫﺬا ﻫﻮ‬ ‫اﻟﻮﻋﺪ اﻟﺬي ﻗﻄﻌﻨﺎه ﻟﺸﺮﻛﺎء ا‪L‬ﻋﻤﺎل‪ .‬وﻣﻊ ذﻟﻚ‪ ،‬إذا‬ ‫ﻛﻨﺎ ﺷﺮﻛﺔ ﻟﻴﺲ ﻟﺪﻳﻬﺎ ﻧﻈﻢ وآﻟﻴﺎت ﻟﺘﺤﻘﻴﻖ اﻟﻨﻤﻮ‬ ‫واﻟﻨﺠﺎح ﻟﻤﻮﻇﻔﻴﻨﺎ‪ ،‬ﻋﻨﺪﻫﺎ ﻻ أﻋﺘﻘﺪ أﻧﻨﺎ ﺳﻨﻨﺠﺢ ﻓﻲ‬ ‫إﻳﺼﺎل ﻫﺬه اﻟﺮﺳﺎﻟﺔ إﻟﻰ ا ﺧﺮﻳﻦ ﺧﺎرج اﻟﺸﺮﻛﺔ‪ .‬ﻫﺬا‬ ‫ﻫﻮ اﻟﺨﻄﺄ ا‪L‬ﺳﺎﺳﻲ اﻟﺬي ﺗﺮﺗﻜﺒﻪ ﺑﻌﺾ اﻟﻤﺆﺳﺴﺎت‬ ‫ﻋﺎدة‪ ،‬ﻓﻬﻲ ﺗﺤﺎول إﻳﺼﺎل اﻟﺮﺳﺎﺋﻞ إﻟﻰ اﻟﺨﺎرج دون‬ ‫أن ﺗﻜﻮن ﻣﺪﻋﻮﻣﺔ داﺧﻠﻴ‪.f‬‬ ‫أﺧﻴﺮ[‪ ،‬ﻳﻨﺒﻐﻲ أن ﺗﺴﺎﻫﻢ ﻛﺎﻓﺔ اﻟﻘﻨﻮات اﻟﻤﻔﺘﻮﺣﺔ‬ ‫ﺑﻴﻦ اﻟﻌﻼﻣﺔ اﻟﺘﺠﺎرﻳﺔ واﻟﺠﻤﻬﻮر ﻓﻲ ﺗﻌﺰﻳﺰ اﻟﻬﻮﻳﺔ‬ ‫اﻟﺨﺎﺻﺔ ﻟﻬﺬه اﻟﻌﻼﻣﺔ اﻟﺘﺠﺎرﻳﺔ‪ .‬وﻫﺬه اﻟﻘﻨﻮات‬ ‫ﻣﻮﺟﻮدة ﻓﻲ ﻛﻞ ﻣﻜﺎن‪ ،‬ﻟﻴﺲ ﻓﻘﻂ ﻋﺒﺮ ا‪s‬ﻋﻼن أو‬ ‫اﻟﻤﻮﻗﻊ ا‪s‬ﻟﻜﺘﺮوﻧﻲ‪ ،‬وﻟﻜﻦ ﻓﻲ اﻟﻔﻮاﺗﻴﺮ اﻟﻤﺮﺳﻠﺔ‬ ‫إﻟﻰ ﺷﺮﻛﺎء ا‪L‬ﻋﻤﺎل‪ ،‬وﻃﺮﻳﻘﺔ اﻟﻤﻜﺎﻟﻤﺎت اﻟﻬﺎﺗﻔﻴﺔ‬ ‫واﻟﺮد ﻋﻠﻴﻬﺎ‪ ،‬وﻧﻈﺎﻓﺔ اﻟﻤﻜﺎﺗﺐ وأﻣﺎﻛﻦ اﻟﻌﻤﻞ‪.‬‬ ‫ﻛﻞ ﻫﺬه اﻟﺠﻮاﻧﺐ ﻫﻲ ﺟﺰء ﻣﻦ ﻋﻤﻠﻴﺔ ﺗﺴﻮﻳﻖ‬ ‫اﻟﻌﻼﻣﺔ اﻟﺘﺠﺎرﻳﺔ‪ ،‬وﻳﺠﺐ أن ﻧﺘﺄﻛﺪ ﻣﻦ أﻧﻬﺎ‬ ‫ﺗﻌﻤﻞ ﻣﻌ‪ f‬ﻟﺘﺠﺴﻴﺪ اﻟﺴﻤﺎت اﻟﻤﻤﻴﺰة ﻟﻠﻌﻼﻣﺔ‬ ‫ﺗﺪﻋﻲ‬ ‫اﻟﺘﺠﺎرﻳﺔ‪ .‬ﻋﻠﻰ ﺳﺒﻴﻞ اﻟﻤﺜﺎل‪ ،‬ﻻ ﻳﻤﻜﻦ أن ّ‬ ‫ﻋﻼﻣﺔ ﺗﺠﺎرﻳﺔ ﻟﺸﺮﻛﺔ ﻣﺎ اﻟﻔﺨﺎﻣﺔ واﻟﺮﻗﻲ ﻓﻲ‬ ‫ﺣﻴﻦ ﺗﺴﺘﺨﺪم ﻣﻔﺮوﺷﺎت رﺧﻴﺼﺔ ﻓﻲ ﻣﺮاﻛﺰ‬ ‫اﻻﺳﺘﻘﺒﺎل ﺿﻤﻦ اﻟﺸﺮﻛﺔ‪.‬‬ ‫ﻣﺎ ﻫﻲ ﺑﺮأﻳﻜﻢ ﻋﻮاﻣﻞ ﻧﺠﺎح اﻟﺤﻤﻼت‬ ‫اﻟﺘﺴﻮﻳﻘﻴﺔ ﻟﻠﻌﻼﻣﺎت اﻟﺘﺠﺎرﻳﺔ‪ ،‬ﺑﺪء‪ E‬ﻣﻦ‬ ‫اﻟﺸﻌﺎر واﻟﺤﻤﻠﺔ واﻟﺘﺮوﻳﺞ؟‬ ‫رﺑﻤﺎ‪ ،‬ﺗﻜﻮن ﺷﻬﺎدﺗﻲ ﻫﻨﺎ ﻣﻨﺤﺎزة ﻗﻠﻴ ً‬ ‫ﻼ ﻛﻮن‬ ‫ﻫﺬه اﻟﺸﺮﻛﺔ ﺗﺄﺳﺴﺖ ﻓﻲ ﺗﻴﻜﻮم ﻟﻼﺳﺘﺜﻤﺎرات‪،‬‬ ‫وﻟﻜﻨﻨﻲ أﻋﺘﺒﺮ أن أﺣﺪ أﻓﻀﻞ ا‪L‬ﻣﺜﻠﺔ ﻋﻠﻰ ﻧﺠﺎح‬ ‫‪102 103‬‬

‫ﺣﻤﻼت ﺗﺴﻮﻳﻖ اﻟﻌﻼﻣﺔ اﻟﺘﺠﺎرﻳﺔ ﻫﻲ ﺗﻠﻚ اﻟﺘﻲ‬ ‫راﻓﻘﺖ إﻃﻼق ﺷﺮﻛﺔ دو‪.‬‬ ‫وﻣﻨﺬ ﺗﺄﺳﻴﺴﻬﺎ‪ ،‬ﻋﻤﻠﺖ دو ﻋﻠﻰ ﺗﺮﺳﻴﺦ ﻣﻜﺎﻧﺘﻬﺎ‬ ‫ﻛﺠﺰء أﺳﺎﺳﻲ ﻣﻦ ﺛﻘﺎﻓﺔ وﺗﺮاث ا‪s‬ﻣﺎرات‪ ،‬وﻳﺘﻢ إﻳﺼﺎل‬ ‫ﻫﺬه اﻟﺮﺳﺎﻟﺔ ﺑﺸﻜﻞ داﺋﻢ وﻣﺴﺘﻤﺮ إﻟﻰ ﺟﻤﻴﻊ‬ ‫اﻟﺠﻬﺎت اﻟﻤﻌﻨﻴﺔ ﺑﻨﺸﺎط اﻟﺸﺮﻛﺔ‪ .‬وﺗﻌﻤﻞ دو ﻋﻠﻰ‬ ‫دﻋﻢ ﻫﺬه اﻟﺮﺳﺎﻟﺔ‪ ،‬ﻟﻴﺲ ﻓﻘﻂ ﻣﻦ ﺧﻼل ﻣﺸﺎرﻛﺔ‬ ‫ﻣﻮاﻃﻨﻲ دوﻟﺔ ا‪s‬ﻣﺎرات ﻓﻲ إﻋﻼﻧﺎت اﻟﺸﺮﻛﺔ‪،‬‬ ‫وإﻧﻤﺎ أﻳﻀﺎ ﻣﻦ ﺧﻼل إﻃﻼق ﺑﺮاﻣﺞ ﺗﻠﻔﺰﻳﻮﻧﻴﺔ‬ ‫ﺗﺮﻛﺰ ﻋﻠﻰ اﻟﺘﺮاث ﻓﻲ دوﻟﺔ ا‪s‬ﻣﺎرات‪ ،‬ﻓﻀ ً‬ ‫ﻼ ﻋﻦ‬ ‫وﺟﻮد ﻋﺪد ﻛﺒﻴﺮ ﻣﻦ ﻛﺒﺎر اﻟﻤﺪﻳﺮﻳﻦ ﻓﻲ اﻟﺸﺮﻛﺔ‬ ‫ﻣﻦ ﻣﻮاﻃﻨﻲ دوﻟﺔ ا‪s‬ﻣﺎرات‪ .‬ﻣﺮة أﺧﺮى‪ ،‬أؤﻛﺪ‬ ‫ﻋﻠﻰ أﻫﻤﻴﺔ اﻟﻨﺠﺎح ﻓﻲ إﻳﺼﺎل اﻟﺮﺳﺎﻟﺔ داﺧﻠﻴ‪f‬‬ ‫وﺧﺎرﺟﻴ‪ ،f‬وﺗﻨﺎﺳﻖ ﻫﺬه اﻟﺮﺳﺎﺋﻞ‪ ،‬وﻫﻮ ﻣﺎ ﻧﺠﺤﺖ‬ ‫دو ﻓﻲ ﺗﺤﻘﻴﻘﻪ ﺑﺎ‪L‬ﻗﻮال وا‪L‬ﻓﻌﺎل‪.‬‬ ‫ﻛﻤﺎ ﻳﻤﺘﺎز ﺷﻌﺎر دو ﺑﺎﻟﺘﻔﺮد‪ ،‬ﻓﺒﻴﻨﻤﺎ ﺗﺆﻛﺪ ﻧﻈﺮﻳﺔ‬ ‫اﻟﺘﺴﻮﻳﻖ اﻟﺘﻘﻠﻴﺪﻳﺔ أن اﻟﺸﻌﺎر ﻳﺠﺐ أن ﻳﻜﻮن ﻫﻮ‬ ‫ﻧﻔﺴﻪ ﻓﻲ ﻛﻞ وﻗﺖ‪ ،‬أﺛﺒﺘﺖ دو إﻣﻜﺎﻧﻴﺔ ﺗﻐﻴﻴﺮ‬ ‫ﺑﻌﺾ ﺟﻮاﻧﺐ اﻟﺸﻌﺎر – ا‪L‬ﻟﻮان ﻓﻲ ﻫﺬه اﻟﺤﺎﻟﺔ‪-‬‬ ‫ﻣﻊ اﻟﺤﻔﺎظ ﻋﻠﻰ اﻧﺴﺠﺎم اﻟﺸﻌﺎر ﻣﻊ اﻟﻌﻼﻣﺔ‬ ‫اﻟﺘﺠﺎرﻳﺔ‪ .‬وﻓﻲ ﺣﻴﻦ أن ﻣﻌﻈﻢ ﺷﻌﺎرات اﻟﺸﺮﻛﺎت‬ ‫ﻣﻘﻴﺪة ﺑﻤﻌﺎﻳﻴﺮ ﺻﺎرﻣﺔ وﺟﺎﻣﺪة‪ ،‬ﻓﺈن ﺷﻌﺎر دو‬ ‫ﻳﺘﺴﻢ ﺑﺎﻟﻤﺮوﻧﺔ واﻟﻘﺎﺑﻠﻴﺔ ﻋﻠﻰ اﻟﺘﻜﻴﻒ‪.‬‬ ‫ﻏﻴﺮ أن اﻟﻌﺎﻣﻞ ا‪L‬ﻫﻢ اﻟﺬي ﺳﺎﻫﻢ ﻓﻲ ﻧﺠﺎح ﺣﻤﻠﺔ‬ ‫دو ﻳﺘﻤﺜﻞ ﻓﻲ اﺳﺘﺨﺪام اﻟﺤﻮاس ﻟﺘﻌﺰﻳﺰ ﻣﻜﺎﻧﺔ‬ ‫اﻟﻌﻼﻣﺔ اﻟﺘﺠﺎرﻳﺔ‪ ،‬وﻫﻮ أﻣﺮ ﻻ ﻳﺴﺘﺨﺪم ﻓﻲ اﻟﺤﻤﻼت‬ ‫اﻟﺘﺴﻮﻳﻘﻴﺔ ﻟﻠﻌﻼﻣﺎت اﻟﺘﺠﺎرﻳﺔ ﻋﻠﻰ ﻣﺴﺘﻮى‬ ‫اﻟﻤﻨﻄﻘﺔ‪ ،‬وﻧﺎدر[ ﻣﺎ ﻳﺘﻢ اﺳﺘﺨﺪاﻣﻪ ﻋﻠﻰ ﻣﺴﺘﻮى‬ ‫اﻟﻌﺎﻟﻢ ﻛﺬﻟﻚ‪ .‬ﺗﺮﻛﺰ ا‪L‬ﻏﻠﺒﻴﺔ اﻟﺴﺎﺣﻘﺔ ﻣﻦ اﻟﺸﺮﻛﺎت‬

‫وﺗﻌﻮد ﺟﺬور اﺳﻢ ﺗﻴﻜﻮم ﻟﻼﺳﺘﺜﻤﺎرات إﻟﻰ اﻟﻤﺮﺳﻮم اﻟﺬي أﺻﺪره ﺣﺎﻛﻢ دﺑﻲ‬ ‫اﻟﺮاﺣﻞ اﻟﺸﻴﺦ ﻣﻜﺘﻮم ﺑﻦ راﺷﺪ آل ﻣﻜﺘﻮم ﺑﺸﺄن ﺗﺄﺳﻴﺲ ﻣﻨﻄﻘﺔ دﺑﻲ‬ ‫اﻟﺤﺮة ﻟﻠﺘﻜﻨﻮﻟﻮﺟﻴﺎ واﻟﺘﺠﺎرة ا‪s‬ﻟﻜﺘﺮوﻧﻴﺔ وا‪s‬ﻋﻼم ﻓﻲ ﻋﺎم ‪ .٢٠٠٠‬وﻗﺪ رﻛﺰت‬ ‫اﺳﺘﺮاﺗﻴﺠﻴﺔ ﻋﻼﻣﺎﺗﻨﺎ اﻟﺘﺠﺎرﻳﺔ ﻓﻲ ﺗﻠﻚ اﻟﻤﺮﺣﻠﺔ ﻋﻠﻰ ﺗﺮﺳﻴﺦ ﻣﻜﺎﻧﺘﻨﺎ ﻛﻤﺤﻔﺰ‬ ‫وﻣﺤﺮك ﻟﻨﻤﻮ ﺗﻠﻚ اﻟﻘﻄﺎﻋﺎت‪.‬‬ ‫وﺧﻼل اﻟﺴﻨﻮات اﻟﻤﺎﺿﻴﺔ‪ ،‬ﺗﻄﻮرت ﻋﻼﻣﺘﻨﺎ اﻟﺘﺠﺎرﻳﺔ‪ ،‬وﺑﺎﻟﺘﺎﻟﻲ اﺳﺘﺮاﺗﻴﺠﻴﺘﻨﺎ‪،‬‬ ‫ﻟﺘﺸﻤﻞ ﻋﻼﻣﺎت ﺗﺠﺎرﻳﺔ ﺧﺎرج ﻧﻄﺎق ﻫﺬه اﻟﻘﻄﺎﻋﺎت‪ ،‬ﻣﺜﻞ اﻟﻄﺎﻗﺔ اﻟﻨﻈﻴﻔﺔ‪،‬‬ ‫واﻟﺘﻌﻬﻴﺪ‪ .‬وﺗﺮﻛﺰ اﺳﺘﺮاﺗﻴﺠﻴﺘﻨﺎ ﺣﺎﻟﻴ‪ f‬ﻋﻠﻰ ﺑﻨﺎء ﺳﻤﻌﺔ ﻣﺘﻤﻴﺰة ﻟﻌﻼﻣﺘﻨﺎ‬ ‫اﻟﺘﺠﺎرﻳﺔ ﻛﻤﻄﻮر رﺋﻴﺴﻲ ﻟﻤﺠﻤﻌﺎت ا‪L‬ﻋﻤﺎل اﻟﻘﺎﺋﻤﺔ ﻋﻠﻰ اﻟﻤﻌﺮﻓﺔ‪.‬‬ ‫ﻣﻊ ﻇﻬﻮر ﺗﻘﻨﻴﺎت ﺟﺪﻳﺪة وﺗﻐﻴﺮ ﻣﺼﺎدر اﻟﻤﻌﻠﻮﻣﺎت‪ ،‬ﻣﺎ ﻫﻲ ﺑﺮأﻳﻚ‬ ‫ﻃﺮق اﻟﺘﺴﻮﻳﻖ اﻟﺒﺪﻳﻠﺔ ﻟﻠﺘﺮوﻳﺞ ﻟﻠﻌﻼﻣﺔ اﻟﺘﺠﺎرﻳﺔ‪ ،‬وﻫﻞ ﺗﻌﺘﻤﺪون أي‬ ‫ﻣﻦ ﻫﺬه اﻟﻄﺮق؟‬ ‫ﻛﻤﺎ ﻗﻠﺖ ﺳﺎﺑﻘ‪ ،f‬ﻛﻞ ﻋﻼﻣﺔ ﺗﺠﺎرﻳﺔ ﺗﺘﻤﺘﻊ ﺑﺎﻻﺳﺘﻘﻼﻟﻴﺔ ﻟﺘﺴﻮﻳﻖ ﻋﻼﻣﺎﺗﻬﺎ اﻟﺘﺠﺎرﻳﺔ‬ ‫ﺗﺒﻌ‪ f‬ﻻﺳﺘﺮاﺗﻴﺠﻴﺘﻬﺎ اﻟﺨﺎﺻﺔ وﺟﻤﻬﻮرﻫﺎ اﻟﻤﺴﺘﻬﺪف‪ .‬وﻟﻴﺲ ﻟﺪﻳﻨﺎ اﺳﺘﺮاﺗﻴﺠﻴﺔ‬ ‫ﺗﺴﻮﻳﻖ ﻣﻮﺣﺪة ﻳﺘﻢ ﺗﻤﺮﻳﺮﻫﺎ إﻟﻰ اﻟﻌﻼﻣﺎت اﻟﺘﺠﺎرﻳﺔ ﻟﺘﻨﻔﻴﺬﻫﺎ‪ .‬وﻟﺬﻟﻚ‪ ،‬ﻛﻞ ﻋﻼﻣﺔ‬ ‫ﺗﺠﺎرﻳﺔ ﺗﺴﺘﺨﺪم أدواﺗﻬﺎ اﻟﺨﺎﺻﺔ ﺑﻬﺎ‪ ،‬ﺳﻮاء ﻛﺎﻧﺖ ﺷﺒﻜﺎت ا‪s‬ﻋﻼم اﻻﺟﺘﻤﺎﻋﻴﺔ‪ ،‬أو‬ ‫وﺳﺎﺋﻂ ا‪s‬ﻋﻼم اﻟﺘﻘﻠﻴﺪﻳﺔ‪ ،‬أو أي آﻟﻴﺎت ﺗﺴﻮﻳﻖ أﺧﺮى‪ ،‬ﺑﻨﺎء ﻋﻠﻰ ﻣﺎ ﻳﻨﺎﺳﺐ ﻛﻞ‬ ‫ﻋﻼﻣﺔ ﺗﺠﺎرﻳﺔ ﻋﻠﻰ ﺣﺪة‪.‬‬ ‫وﻣﻤﺎ ﻻ ﺷﻚ ﻓﻴﻪ أن اﻻﻧﺘﺸﺎر اﻟﻤﺘﺰاﻳﺪ ﻟﻠﺘﻜﻨﻮﻟﻮﺟﻴﺎ ﻳﻌﻨﻲ أن اﻟﻔﺮص واﻟﺨﻴﺎرات‬ ‫اﻟﻤﺘﻮﻓﺮة اﻟﻴﻮم ﻫﻲ أﻛﺜﺮ ﻣﻦ أي وﻗﺖ ﻣﻀﻰ‪ .‬وﻋﻠﻰ وﺟﻪ اﻟﺨﺼﻮص‪ ،‬أﺻﺤﺒﺖ‬ ‫ﺷﺒﻜﺎت ا‪s‬ﻋﻼم اﻻﺟﺘﻤﺎﻋﻴﺔ أﻛﺜﺮ اﻧﺘﺸﺎر[‪ ،‬وﻧﺤﻦ اﻟﻴﻮم ﺑﺼﺪد ﻣﺸﺎرﻛﺔ أوﺳﻊ‬ ‫ﻓﻲ ﻫﺬا اﻟﻤﺠﺎل‪ ،‬وإن ﻛﺎن ﻫﺬا ﻳﺘﻢ ﻋﻠﻰ ﻣﺴﺘﻮى اﻟﻌﻼﻣﺎت اﻟﺘﺠﺎرﻳﺔ وﻟﻴﺲ‬ ‫ﻋﻠﻰ ﻣﺴﺘﻮى اﻟﺸﺮﻛﺔ ا‪L‬م‪ .‬وﻗﺪ ﻗﺎﻣﺖ ﺑﻌﺾ ﻋﻼﻣﺎﺗﻨﺎ اﻟﺘﺠﺎرﻳﺔ ﺑﺈﻃﻼق‬ ‫اﺳﺘﺮاﺗﻴﺠﻴﺔ ﺧﺎﺻﺔ ﻟﻠﺘﻌﺎﻣﻞ ﻣﻊ وﺳﺎﺋﻞ ا‪s‬ﻋﻼم اﻻﺟﺘﻤﺎﻋﻴﺔ‪ ،‬ﻓﻲ ﺣﻴﻦ ﺗﻘﻮم‬ ‫ﻋﻼﻣﺎت ﺗﺠﺎرﻳﺔ أﺧﺮى ﺑﺎﺳﺘﺨﺪام ﺑﻌﺾ ﺟﻮاﻧﺐ ﻫﺬه ا ﻟﻴﺔ اﻟﺠﺪﻳﺪة‪ .‬وﺑﺎﻟﻄﺒﻊ‪،‬‬ ‫ﻓﺈﻧﻨﺎ ﻧﺪرك أﻧﻪ ﻻ وﺟﻮد ﻻﺳﺘﺮاﺗﻴﺠﻴﺔ ﺗﻨﺎﺳﺐ اﻟﺠﻤﻴﻊ‪ ،‬وأن ﻛﻞ ﻋﻼﻣﺔ ﺗﺠﺎرﻳﺔ‬ ‫ﺗﻌﻤﻞ وﻓﻘ‪ f‬ﻟﺨﻄﻄﻬﺎ اﻟﺨﺎﺻﺔ‪.‬‬