2023-09-25 16:22:04
Some major production companies have begun purchasing the right to exploit the audio and video of a number of the world’s major late stars, to present dramatic and lyrical works, which will necessarily move to our Arab world, and through the use of artificial intelligence technology, this archival material will be employed in new artistic works.
Certainly, the financial temptations offered to the heirs are difficult to resist. We have recently witnessed the blatant exploitation of voices such as Umm Kulthum, Abdel Halim Hafez, Farid Al-Atrash, and others. It is certain that parallel legal legislation will be issued, setting limits to all these intrusions.
Did the great departed people expect that what they left scattered here or there would enter into the auction of supply and demand, and “ala una ala do ala tri,” and whoever paid the most would seize the deal?
We know, for example, that there are those who leave a will to donate their organs to save the sick, and there are those who recommend that their bodies be burned. Do they also have to recommend that their artistic assets be exploited or not exploited?
Recently, the journalist Dhifaf Karim Al-Iraqi told me that her father, the great Iraqi poet who left us a few weeks ago, left a number of poems, but she will not present them to the public, as she is not sure that her father has actually finished reviewing them and is satisfied with their circulation. Perhaps he will look at them. Once once more, he might change a word or add another, which is why she and the family decided to keep it, and only re-release his collections that he had published during his lifetime, sacrificing the huge expected gains.
After the passing of the great poet Mahmoud Darwish, his collection of poems, “I Don’t Want This Poem to End,” was published. The publication sparked widespread controversy, due to a number of mistakes that the great poet might not have made, and this confirms that he would have reconsidered once more before publishing the collection.
Some people believe that the literary and artistic works left by the creator are public property that people must know, and in doing so they tell him what he did not say. What makes you know that he was completely satisfied with what he wrote? Is there not even a one percent chance that he will tear up the poem?
About a year ago or a little more, Mrs. Umm Kulthum, daughter of the great writer Naguib Mahfouz, said that she found among her father’s papers a notebook, which he used to write down daily to organize his day’s schedule. The daughter indicated that she would review it and publish it, but so far she has not done so. I am not Are you sure whether it has backed away from implementation or is it waiting for an appropriate timing?
It is best to preserve these possessions for the time being, and it is possible by studying them to find a different analysis regarding Naguib Mahfouz, while they were put up for circulation in a book that needs reviewing. I do not feel at all that Naguib Mahfouz intended to do that. These personal diaries are written only in order for him to recover them. Its owner from time to time.
The late great director Shadi Abdel Salam entered the history of cinema in the broadest terms with his film “The Mummy”, which ranked first as the best Arab film in the Dubai International Film Festival poll.
Shadi was regarding to present his second feature film, “Akhenaten.” He wrote the script and nominated the heroes, Nadia Lotfy, Mohamed Sobhi, and Sawsan Badr. He also determined the dramatic composition and shots. The implementation faltered for production reasons, and when all these obstacles were overcome, they asked an engineer regarding 20 years ago. The late decorator Salah Merhi, Shadi’s closest friend, executed the film, as Shadi wanted, especially since he had outlined on paper all the directorial strokes. Salah apologized, saying: “There are still very precise details, and the only one capable of achieving them is Shadi,” and added: “If I did them.” “I would consider it a betrayal of a lifelong friend.”
The scenario prepared for filming remained in Shadi’s archive. It has not and will not see the light of day. Who would dare to embody Shadi’s spirit?
The creative dead have rights, and it is our duty to protect them, no matter the temptations!
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