Representation and emancipation: Cinema of the oppressed
Representation and emancipation: Cinema of the oppressed
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再现与解放：被压迫者的电影
DOI：
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发表时间：
2020
期刊：
影响因子：
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通讯作者：
Imed Ben Labidi
中科院分区：
文献类型：
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作者：
Imed Ben Labidi
巴勒斯坦电影制作历来试图改变对其身份、被剥夺经历和争取解放斗争的偏见看法，利用电影传达以色列占领的残酷现实。通过仔细阅读陶菲克·萨利赫1972年的电影《骗局》、哈尼·阿布·阿萨德2002年的电影《拉纳的婚礼》和纳杰瓦·纳贾尔2014年的电影《盗贼之眼》，巴勒斯坦电影保留了多元和混合的性格，融合了第三部和第二部电影的不同类型（实验、新现实主义和跨国），反对西方媒体和电影中对巴勒斯坦人的单一形象和受害者或恐怖分子的描绘。借鉴爱德华·赛义德（Edward Said）对再现及其与占领的关系的分析，本文的目标是探讨电影叙事作为一种干预形式的观点，这种干预形式可以消除对殖民地人民的种族偏见，改变观众的政治意识，并制定策略以保持抵抗的合法性和持续性。
Palestinian cinematic productions have historically attempted to alter biased perceptions of their identity, experience of dispossession, and struggle for liberation, using films to communicate the harsh realities of Israeli occupation. While preserving a pluralistic and hybrid character, and blending different genres from Third and Second films (experimental, neorealist, and transnational), Palestinian cinema – as examined through a close reading of Tawfik Saleh’s 1972 film The Dupes, Hany Abu-Assad’s Rana’s Wedding from 2002, and Najwa Najjar’s 2014 Eyes of a Thief – contests monolithic tropes and representations of Palestinians as either victims or terrorists in Western media and films. Drawing on Edward Said’s analysis of representation and its ties to occupation, the goal of this article is to engage with the idea of film narratives as a form of intervention that demystifies racial bias against colonized people, transforms viewers’ political consciousness, and devises strategies to keep resistance legitimate and ongoing.