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2020 •
One of 2019's most acclaimed documentaries, Waad Al-Kateab's For Sama is an extraordinary feminist representation of the Syrian civil war (2011−present). Al-Kateab impressively documents five years of the most traumatic contemporary conflict in the Middle East by focusing on personal confessions to Sama, her newborn daughter. Raw, dramatic, and sometimes unbearable to watch, it is a poetic tribute to a micro-level, "singularly unmanly", and painfully intimate portrayal of war and hope (Montgomery). A mixture of love and horror unfold through a kaleidoscopic personal narrative that broaches macro-political and religious subjects without centralising them in the cinematic experience. This article discusses how Al-Kateab's documentary is a novel and risky experiment that intermingles the female war gaze with a subtle, image-based Islamic feminism. Capitalising on Svetlana Alexievich's "female war gaze", which represents the invisible stories of women in war, I show how Al-Kateab's cinematography expands the scope of the female war experience through carefully selected visual refences to Islamic ethical praxis, as interiorised by the camerawoman. For Sama is simultaneously an intimate motherly confession and act of both "listening" and "remembrance" (as the praxis of the Sufi Samāʿ suggests). In short, it mediates an ethical truth about the human condition in ruins.
2021 •
Western cinema has rarely contributed to improving the knowledge of Muslim culture and many observers have even conflated Islam with terrorism since 9/11 (Mansouri and Akbarzadeh 2006, 7). Hollywood cinema, along with Western media, all too often promotes a negative perception of Arab Muslims as "malevolent stereotypes equating Islam and Arabs with violence" (Shaheen 2012, 3). On the contrary, French cinema avoids foregrounding Muslim characters all together for fear of alienating some groups of the audience (Cadé 2012, 49), while Algerian cinema has confronted radical fundamentalism by celebrating the resistance of Algerian women fighting for their rights during the dark decade-a conflict that caused more than 100,000 deaths in Algeria (Stora 2001, 7). The aim of this chapter is to compare the representations of Islamic fundamentalism in films made on both sides of the Mediterranean, which evoke periods (1990s Algeria and 2010s France) when the veil took on distinct connotations.
Journal of American Studies
Spectacular Expectations: Women, Law and Film2007 •
This article explores the contradiction between the ingrained belief that justice should be “blind” and the filmic tradition of positioning woman as spectacle. Recognizing that a law film does not offer a direct translation of material reality, it explores how these representations of the law work with and against popular understandings of femininity – and feminism. The article offers a reading of selected screen adaptations of real legal entanglements to show how a focus on appearance marks a woman's trial (and subsequent filming of it), before focusing on the case of Barbara Graham, immortalized in the award-winning film I Want to Live!
Law & Literature, Vol. 19 No.3. 358-376
To Kill a Songbird: A Community of Women, Feminist Jurisprudence, Conscientious Objection and Revolution in A Jury of Her Peers and Contemporary Film2007 •
The bombings on March 11, 2004 in Madrid and on July 7, 2005 in London brought terror to the heart of Europe and amplified the feelings of fear, disbelief and suspicion developed as a consequence of 9/11 trauma. This article departs from Hollywood discourses on international terrorism to investigate how European cinema reflected upon these tragedies. Focusing on the films Fremder Freund (The Friend, Elmar Fischer, 2003) and London River (Rachid Bouchareb, 2009), it outlines the peculiarities of European cinema in dealing with international terrorism and thus analyses the representation of Islamic fundamentalism and more generally, Muslim communities. The films stimulate the public debate about contemporary society and the role of British and German institutions in developing “home-grown” terrorists. The article argues that these films avoid any explicit attempts of commemorating and memorialising these tragic events, but they contextualise the attacks engaging with issues of multiculturalism rather than commenting on the problem of international crime and terrorism.
EJOTMAS: Ekpoma Journal of Theatre and Media Arts
Terror thrillers and tradition: a postcolonial reading of selected African cinemaNigeria, Kenya and Somalia are few of the countries in Africa faced with terrorism and militancy. The rise and expansion of terrorist groups such as Al-Shabaab, Boko Haram, the Niger-Delta Volunteer Force, the Islamic State West Africa Province (ISWAP) and recently, the Avengers, has risen to vent terror on the peoples of Nigeria, Kenya and Somalia. Whilst each of these countries has its own distinct challenges that led to the formation of such terrorist groups, the emergence of terrorism in Nigeria remains complex. One of the ways an explicit explanation has been given to these complexes in Nigeria is through thriller fiction. Nollywood as well as other film industries in Africa has produced several thriller fictions that attempt to explicate the reasons behind militancy and terrorism in Africa. October 1 and Eye in the Sky are two examples of African cinema that have attempted to film the recent rise of terrorism in Nigeria and Kenya. Within the lens of October 1, terrorism in Nig...
International Journal of the Legal Profession
The ideal Emirati woman lawyer: femininity and professionalism in Justice: Qalb Al Adala2023 •
This article analyzes how the 2017 Emirati legal drama Justice: Qalb Al Adala depicts its female lead character, young lawyer Farah Hassan Ahmed, as she establishes herself professionally in Abu Dhabi’s legal sector. As the first Emirati television show on Netflix, Justice: Qalb Al Adala targets a global audience that is invited to learn about Abu Dhabi’s legal and justice system. It was created by US producers Walter Parkes and William M. Finkelstein and written by US screenwriter Carol Wolper. The show was co-produced by the Abu Dhabi Judicial Department, the emirate’s highest judicial authority, and can thus be viewed as an “official” representation of the legal and justice system in the United Arab Emirates and its personnel. The present article argues that in portraying the woman lawyer Farah, Justice: Qalb Al Adala replicates several problematic themes that have been previously observed in US law-related screen productions, particularly from the 1980s and 1990s. Yet in other instances, the show advances a much more progressive and positive picture of female legal professionals. In addition, the article concludes that, as an idealized combination of “modernity” and “tradition”, Farah’s character can be understood as a visualization of a preferred contemporary Emirati national identity.
Gradus. Rivista di archeologia, beni culturali e restauro
Gades, las Dressel 20 y el aceite del Guadalquivir: entre un activo comercio intrarregional y la redistribución portuaria2022 •
World Language Studies(WLS)
JAMES JOYCE’UN SANATÇININ BİR GENÇ ADAM OLARAK PORTRESİ İSİMLİ ROMANININ EDEBİ ÇÖZÜMLEMESİ VE ÇEVİRİSİNİN EŞDEĞERLİK KURAMI ÇERÇEVESİNDE DEĞERLENDİRİLMESİ2021 •
Jurnal Balireso: Jurnal Pengabdian pada Masyarakat
Aplikasi Pupuk Organik Melalui Pemanfaatan Limbah Kulit Kakao (Pod) Pada Kebun Kakao DI Kecamatan Rilau Ale Kabupaten Bulukumba2023 •
Carcinogenesis
Mutagenesis induced by oral carcinogens in lacZ mouse (Muta™Mouse) tongue and other oral tissues1999 •
CPT and Lorentz Symmetry
Constraints on Violations of Lorentz Symmetry from Gravity Probe B2014 •
2015 •
2018 •
2010 •
2006 •
Journal of information technology & software engineering
A Soft Computing Model for Evaluating Teachers’Overall Performance using Fuzzy Logic2017 •
Brazilian Journal of Development
Teotihuacán y Sus Vínculos Culturales Con Los Valles Centrales De Oaxaca a Través Del Culto a Los Ancestros / Teotihuacán e Seus Vínculos Culturais Com Os Vales Centrais De Oaxaca a Través Do Culto Aos Ancestrais2020 •
2016 •