Demythologizing the Palestinian in Hany Abu-Assad’s Omar and Paradise Now
Demythologizing the Palestinian in Hany Abu-Assad’s Omar and Paradise Now
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哈尼·阿布·阿萨德的《奥马尔》和《现在的天堂》中对巴勒斯坦人的神话化
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发表时间：
2016
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通讯作者：
Hania A. M. Nashef
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作者：
Hania A. M. Nashef
摘要在过去，巴勒斯坦电影被一种围绕难民意识形态的民族主义话语所主导，这是失去家园的创伤造成的。由于过去通常是静态的，重温它成为一种怀旧的练习。然而，在过去十年中，出现了一些跨国巴勒斯坦电影，讲述了1948年后留在历史上的巴勒斯坦的故事。这种后期的描述不再是一种还原论，而是一种视觉叙事，揭示了人们在占领下面临的日常挑战，因为他们在缩小的家园和失去的家园之间波动。这些最新的电影依靠个人角度来讲述故事，与早期的电影描绘相反，早期的电影描绘了一个植根于民族主义，英雄主义和革命话语的神话般的同质社会。本文介绍了巴勒斯坦导演Hany Abu-Assad的两部国际知名电影，Al Janna Al Aan/Paradise Now和Omar。在这两部影片中，巴勒斯坦人徘徊在安全墙、难民营和被占领的空间之间，因为他们要处理背叛、挫折、殉难和叛国等问题，这些描绘最终使巴勒斯坦人失去了神话色彩。
Abstract In the past, Palestinian cinema was dominated by a nationalist discourse revolving around refugee ideology, resulting from the trauma of the lost homeland. As the past is generally static, revisiting it became an exercise in nostalgia. The last decade, however, has seen the emergence of a number of transnational Palestinian films telling stories of those who remained in historical Palestine post-1948. This late depiction is no longer one of reductionism but a visual narrative that exposes the daily challenges individuals face under occupation, as they fluctuate between a diminishing homeland and a lost one. These latest films have relied on a personal angle to tell the story, contrary to earlier film portrayals that favoured depictions of a mythical homogeneous society rooted in nationalist, heroic and revolutionary discourse. This article examines two internationally acclaimed films by Palestinian director Hany Abu-Assad, Al Janna Al Aan/Paradise Now and Omar. In both, Palestinians hover between security walls, refugee camps and occupied space, as they deal with issues of betrayal, frustration, martyrdom and treason, portrayals that ultimately demythologize the Palestinian individual.