Television and the Ethnographic Endeavor: The Case of Syrian Drama
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 In Lebanon, with a population of approximately four million, leading authors rarely sell more that 200-300 copies of their books (Wilson-Goldie 2004).
 In the epilogue to her detailed study of Indian television, Mankekar makes a similar point regarding the proliferation of both production and access (1999).
 Abu-Lughod promotes television production as a worthy object of ethnographic inquiry, but supplements her fieldwork among producers with the voices of more conventional subjects—working-class women (2005).
 Peterson points to the value of treating media producers as consumers (2003).
 Clifford argues that multi-sites fieldwork is oxymoronic, and notes that Marcus himself uses the term “ethnography” rather than “fieldwork” in his call for multiple localities, and thus evades issues of depth (1997, 190, 219).
 Marcus sees a shift from rapport to alliance in the forging of fieldwork relationships (1997, 214-215). In fieldwork in the Syrian television industry, these questions are inseparable—mutual assistance necessarily occurs within a context of affinities and articulated differences.
 I am grateful to Walter Armbrust for suggesting this formulation.
 This can be compared to the current nostalgia for the Nasserist project among Egyptian intellectuals.