ABSTRACT
The camera turns its eyes to the ground, and starts to trace the trail of blood left by the body’s passage. The relationship between the filmer and the blood that the movement constructs is expressive of a kind of mutual fascination. In the video, the filmer tracks the line defined by the blood and the stones that mark it out, starting at one end, and continuing almost to the other. The excerpt from the video of Karika’s dried blood is then shown – reformatted, slowed down, and without any sync sound – while the names of the martyrs of the previous four days are superimposed in Arabic script upon the image. The conjunction of symbolic blood with the proper name recurs again at the end of the Mosireen video, Martyrs of the Egyptian Revolution, first uploaded on 1 December 2011.
