The stories of several other characters revolve around him, including those of Roueida, a young woman with whom he falls in love, and Chadi, an enigmatic character who is somehow responsible for allowing Sleimane to work. In other words, Web dramas emerge largely from the interaction between the narrator and his or her audience. Each episode is accompanied by a short comedy show, Waheed El-Booz , which presents the twists and turns in the life of a Beiruti electrician named Booz. These characters and many others, whose roles are played by professionals and amateurs alike, find themselves caught up in adventures blending comedy and tragedy, reflecting the daily life of the Lebanese capital with all of its contradictions: From the same author. With its dynamic editing, realistic settings, engaging music and use of regional, idiomatic Arabic, the result is a story that young Lebanese can identify with — one that is a world away from the usual locally produced or imported series that use more formal, literary Arabic. This page is not available. The subjects handled are varied, ranging from fiction to past memories e.
Alongside its production activities it offers its expertise, as was the case with Shankaboot. At the Digital Emmys , it was awarded the top digital fiction prize in the category Digital Program: Digital interactive storytelling commonly encourages the listener or user to become a joint creator via amateur contribution to enrich the narrative universe, beyond simply pasting on comments and photos. The five seasons available online comprise some thirty episodes, each minutes long. In season two, which is being edited now, the series discusses topics that are normally taboo in the Arab world, like corruption, drugs or prostitution. The production house bore in mind the unsatisfactory Internet connections currently available in Lebanon for quick and effective downloading of the episodes.
Web drama development and features Shankaboot forms part of the Web drama concept that has been developing for more than a decade, particularly in the USA and the UK.
Shankaboot – Episode 23: Showdown at the Sugar Factory
This series was launched in March and portrays the daily life of young Beirut residents shankbaoot Sleimane, a year-old courier who roams Beirut and its suburbs on his scooter, called Shankaboot; Roueida, a young woman who fled a violent husband and is trying to become a singing star; Chadi, her best friend with a shady background, etc.
Accordingly, Shankaboot forms part of the social network movement like Facebook, Twitter, YouTube, etc.
One thing is sure: New forms of web communication, from community sharing They make use of a specific camera style, close-ups or frequent direct-in-the-face shots.
Would you like to add or correct something? Subscribe to the newsletter. Its promoters are hoping that this big event will allow their Web drama to compete with the Turkish and Latin American televised series that are popular in the region.
Leading actor of the series, Assan Akil Suleiman.
They are growing in importance with the dissemination of video blogs, or vlogs, on Youtube and other platforms like Dailymotion and Kewego. While the shortcomings of episdoe network will be dealt with imminently, in the meantime, the Lebanese Web has become a primary means for political, economic and media players, and particularly young Lebanese and Arabs, to promote their individual institutions and initiatives and achieve their objectives in terms of democratisation, social justice and the respect for fundamental freedoms.
The production house bore in mind the unsatisfactory Internet connections currently available in Lebanon for quick and effective downloading of the episodes. From the same author. Shankbaoot videoor even Girl Number Nine. However, the movement is epksode just beginning, and we will have to prove that there is potential for the long-term survival of the local transmedia productions and new storytelling genres up against the traditional mentality of the entertainment and media industry.
The question of financing independent local productions remains unsolved.
Shankaboot – Episode Showdown at the Sugar Factory – video dailymotion
Fiction — in competition with high quality multimedia productions from the UK, the Netherlands and Brazil. The stories of several other characters revolve around him, including those of Roueida, a young woman with whom he falls in love, and Chadi, an enigmatic character who is somehow responsible for allowing Sleimane to work. In these terms, the project aims at fostering freedom of expression and human rights, and encouraging young people to use new technologies, and the Internet in particular, to promote their world view and peaceful practices.
Digital interactive storytelling commonly encourages the listener or user shnkaboot become a joint creator via amateur shankaboor to enrich the narrative universe, beyond simply pasting on comments and photos.
As a result, the sluggishness of the Internet connection in Lebanonfor example, does not allow for the development of episodes lasting more than five minutes each. T he project aims at fostering freedom of expression and human rights and encouraging young people to use new technologies and the Internet to promote their world view and peaceful practices.
Shankaboot is an interactive video series on the Web or a Web series filmed in Beirut, the Lebanese epissode. Less than two months after its first broadcast, the 11 episodes of season one, each of which is between four and five minutes long, have been viewed more than 24, times on YouTube. These characters and many others, whose roles are played by professionals and amateurs alike, find themselves caught up in adventures blending comedy and tragedy, reflecting the daily life of the Lebanese capital with all of its contradictions: The dialogues are in Shaankaboot dialect and the plots attract an audience of young people keen to get away from locally-produced televised series and imported series — Turkish and Mexican particularly — dubbed into literary Arabic.
Obstacles and future prospects Web dramas and the Shankaboot project in particular face a number of obstacles in the Arab world, such as the slowness of Internet connections compared to international standards, hacking attacks, censorship and the lack of funding for local productions.
An alliance with major Arab media groups ready to invest in projects that for them represent a great marketing lever for capturing new audiences would not come about without a loss of independence and freedom of expression. As for censorship, it is still practised by several governments in the Arab world and the Middle East.
Moreover, one of the messages carried by the Shankaboot project is the importance of information and communication technologies in constructing a climate for dialogue shanlaboot building bridges for understanding. The official launch of Shankaboot will take place on June 12 in Beirut, and a large concert with many Lebanese artists has been planned for the occasion.
In other words, Web dramas emerge largely from the interaction between the narrator and his or her audience. Produced in the Lebanese Arab dialect, it handles social topics that are taboo in the Arab world and opens the gates to an exchange of opinions amongst young Web users in the region.
The project won the prize for best online content in the Arab world in the entertainment and games category of the World Summit Awardan initiative of the United Nations. Press A short history of long-form journalism Does long-form journalism still have its place in the