This stunning book of photographs captures the graffiti and art that have transformed Israel's wall into a living canvas of resistance and solidarity. Featuring the work of artists Banksy, Ron English, Blu, and others, as well as Palestinian artists and activists, these photographs express outrage, compassion, and touching humor. They illustrate the wall's toll on lives and livelihoods, showing the hardship it has brought to tens of thousands of people, preventing their access to work, education, and vital medical care. Mixed with the images are portraits and vignettes, offering a heartfelt and inspiring account of a people determined to uphold their dignity in the face of profound injustice.

Exploring visual culture, design and politics in 1960s Beirut, this compelling interdisciplinary study examines a critical period in Lebanon's history.

"This is a fascinating, great book." -- ROGER WATERS, founding member, Pink Floyd "These moving visions of a decolonized, democratic and free Palestine will resonate wherever collective yearnings for freedom have survived. Palestinian intellectuals, activists, and artists are a beacon both for the future of Palestine and the destiny of our globe." -- ANGELA DAVIS "Read this book and you will be strengthened and inspired. It’s a death knell to the Zionist fantasy and imperialist domination." -- RONNIE KASSRILS, South African anti-apartheid icon Our Vision for Liberation: Engaged Palestinian Leaders & Intellectuals Speak Out aims to challenge several strata of the current Palestine discourse that have led to the present dead end: the American pro-Israel political discourse, the Israeli colonial discourse, the Arab discourse of purported normalization, and the defunct discourse of the Palestinian factions. None promote justice, none have brought resolution; none bode well for any of the parties involved. Here, an alternative Palestinian view of liberation and decolonization is provided by engaged Palestinian leaders and intellectuals, those who been actively involved in generating an ongoing Palestinian discourse on liberation, taking into account the parameters of their struggle as it now stands. Drawing on their own remarkable personal experiences and successes -- as archaeologists, artists, authors, community leaders, educators, filmmakers, historians, human rights activists, journalists, lawyers, spiritual leaders, political prisoners, and the like -- they address what now, what next, is to be done, in a manner that reflects not only Palestinian aspirations, but their view of what is possible. 'Liberation' is a term that was dropped from the official Palestinian lexicon simply because it was incompatible with the US-championed political discourse, but it has resurfaced here because without its justice dimensions, there can be no peace. Now that the international community is able to see that Oslo, along with the 'two-state solution' model, has irreversibly failed, the paradigmatic void has opened space for the articulation of new possibilities. Our Vision for Liberation embraces this opportunity to introduce a new Palestinian discourse, one that is able to address current challenges and obstacles to Palestinian rights and freedom, and provide diverse paths, all leading forward

"The Dutch designer Annelys de Vet invited Palestinian artists, photographers and designers to map their country as they see it ... the contributions give an entirely different angle on a nation in occupied territory."--Back cover.

Palestinian cinema arose during the political cinema movements of the late 1960s and early 1970s, yet it was unique as an institutionalized, though modest, film effort within the national liberation campaign of a stateless people. Filmmakers working within the Palestinian Liberation Organization (PLO) and through other channels filmed the revolution as it unfolded, including the Israeli bombings of Palestinian refugee camps, the Jordanian and Lebanese civil wars, and Palestinian life under Israeli occupation, attempting to create a cinematic language consonant with the revolution and its needs. They experimented with form both to make effective use of limited material and to process violent events and loss as a means of sustaining active engagement in the Palestinian political project. Palestinian Cinema in the Days of Revolution presents an in-depth study of films made between 1968 and 1982, the filmmakers and their practices, the political and cultural contexts in which the films were created and seen, and their afterlives among Palestinian refugees and young filmmakers in the twenty-first century. Nadia Yaqub discusses how early Palestinian cinema operated within emerging public-sector cinema industries in the Arab world, as well as through coproductions and solidarity networks. Her findings aid in understanding the development of alternative cinema in the Arab world. Yaqub also demonstrates that Palestinian filmmaking, as a cinema movement created and sustained under conditions of extraordinary precarity, offers important lessons on the nature and possibilities of political filmmaking more generally.