The Agency of the Jewess and Her Palestinian Counterpart: Destabilizing Gender and Vulnerability as Resistance in Paradise Now and For My Father.
In this article I compare two twenty-first-century films that foreground the subversive agency of Israeli and Palestinian women within the military context of the Middle East conflict. Paradise Now (Abu-Assad, 2005) and For My Father (Zahavi, 2008) convey the subject of powerless women living on the...
| Publicado en: | Shofar: An Interdisciplinary Journal of Jewish Studies Vol. 39; no. 3; pp. 1 - 40 |
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| Formato: | Artículo |
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Purdue University Press
Winter2021
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=154542759&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 154542759 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 08828539 6A0 jtl: Shofar: An Interdisciplinary Journal of Jewish Studies issn: 08828539 maglogo: N pubinfo: dt: Winter2021 vid: 39 iid: 3 pid: 19334 pub: Purdue University Press artinfo: ui: 154542759 10.1353/sho.2021.0036 ppf: 1 ppct: 39 formats: fmt: – @attributes: type: T – @attributes: type: P size: 879KB tig: atl: The Agency of the Jewess and Her Palestinian Counterpart: Destabilizing Gender and Vulnerability as Resistance in Paradise Now and For My Father. aug: au: Orr, Meital su: Palestinians Gender Paradise Suicide bombings Women military personnel War films Middle East sug: subj: Middle East Palestinians Gender Paradise Suicide bombings Women military personnel War films keyword: cinema film Israel literature Palestine suicide terrorism war ab: In this article I compare two twenty-first-century films that foreground the subversive agency of Israeli and Palestinian women within the military context of the Middle East conflict. Paradise Now (Abu-Assad, 2005) and For My Father (Zahavi, 2008) convey the subject of powerless women living on the fringes of normative society, whose agency averts the maximal effects of a Palestinian suicide bombing. Coming from seemingly opposing perspectives—Palestinian and Israeli—these films' aesthetics nonetheless converge in both a redefinition of their genre and the place of gender and resistance within it. Not only do they collapse the spectacle of terrorism and humanize their bombers, they also destabilize the masculinity of men who self-sacrifice on the altar of the fatherland. In the process, they shift the expected locus of vulnerability as resistance—from men who implode the vulnerable body to women who risk everything to preserve it. The parallel roles of the Jewess and her Palestinian counterpart in these films implies the provocative idea that feminine intervention in the Middle East is not only admirable or "natural," but necessary, if there is to be any hope of lasting resolution. Viewing the two films in tandem on the backdrop of contemporaneous literature and film, points to the potential for a shared, feminist zeitgeist in the cultural production of the two nations at this crucial juncture in history. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Shofar: An Interdisciplinary Journal of Jewish Studies is the property of Purdue University Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Shofar: An Interdisciplinary Journal of Jewish Studies holder: Purdue University Press dt: @attributes: year: 2021 holdings: @attributes: islocal: N |
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