Diana Keown Allan, 25 min. (2007)
Still Life examines the role that a series of personal photos that survived the 1948 displacement play in the life of Said, an elderly Palestinian from Acre now living in exile in Lebanon. The importance of preserving these intimate remnants of a history now largely invisible within a larger global frame of reference cannot be underestimated as Palestine as a historical signifier is in danger of losing it’s signified. Palestine as it was before 1948 has ceased to exist; Acre is no longer a Palestinian port and the other histories of this city now circulate as highly personal, scattered memories.
The photographs, around which this piece is structured, are not simply souvenirs or representations, but for their owner function as imprints of Palestine that still carry material traces of places and people from the past within them. For Said, they have become objects of affective transference, evoking memories that remain crucial to his present sense of self––sacred objects that record another history of relation and belonging. Still Life is the first segment of a video triptych that explores the different ways in which memory is being mediated among Palestinians in Lebanon.