Remaining Palestinian: Annemarie Jacir's Films and Protagonists as "Unruly Subjects".
Palestinian filmmakers are largely dependent on foreign funding for production and on foreign festivals for publicity. Making a Palestinian film can seem as "impossible" as remaining Palestinian amid fragmenting effects of occupation/war and peace accords. Against such pressures, Palestinian filmmak...
| Published in: | Afterimage Vol. 51; no. 1; pp. 70 - 96 |
|---|---|
| Main Author: | |
| Format: | Article |
| Published: |
University of California Press
Mar2024
|
| Subjects: | |
| Online Access: | View this record in EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=176363217&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 176363217 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 03007472 ATF jtl: Afterimage issn: 03007472 maglogo: N pubinfo: dt: Mar2024 vid: 51 iid: 1 pid: 414 pub: University of California Press artinfo: ui: 176363217 10.1525/aft.2024.51.1.70 ppf: 70 ppct: 26 formats: fmt: – @attributes: type: T – @attributes: type: P size: 1.2MB tig: atl: Remaining Palestinian: Annemarie Jacir's Films and Protagonists as "Unruly Subjects". aug: au: Hudson, Dale su: Jacir, Annemarie Protagonists (Persons) Filmmakers Palestinian history, 1917-1948 Film critics sug: subj: Jacir, Annemarie Protagonists (Persons) Filmmakers Palestinian history, 1917-1948 Film critics keyword: Annemarie Jacir Arab filmmaking film festivals film funding history Middle Eastern cinema Palestine Palestinian filmmaking ab: Palestinian filmmakers are largely dependent on foreign funding for production and on foreign festivals for publicity. Making a Palestinian film can seem as "impossible" as remaining Palestinian amid fragmenting effects of occupation/war and peace accords. Against such pressures, Palestinian filmmaker Annemarie Jacir tells stories with protagonists, who, for foreign funders, can seem like "unruly subjects" for remaining Palestinian. As a consequence, her films themselves can seem like "unruly subjects" to industry film critics. Her films like twenty impossibles (ka'inana ashrun mustaheel, 2003), Salt of This Sea (Milh Hadha al-Bahr, 2008), When I Saw You (Lamma Shoftak, 2012), and Wajib (2017) tell stories about Palestinians debating each other (rather than Israelis via US negotiators) during key moments in Palestinian history, including the Nakba (1948), the Naksa (1967), the Oslo Accords (1993), and Al-Aqsa or second Intifada (2000–05). Jacir's protagonists refuse the limiting choices on offer. They demand to be recognized as Palestinian, as does Jacir as a Palestinian filmmaker against the efforts of Western industry critics, festivals, and funders to label her as an "Arab woman filmmaker," often carrying colonial assumptions of "oppressed" or "exceptional" women throughout Southwest Asia ("the Middle East"). Her films do more than offer a glimpse of everyday life to "humanize" Palestinians; they are "unruly subjects" that unsettle assumptions to reframe the debates. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Afterimage is the property of University of California 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: Afterimage holder: University of California Press dt: @attributes: year: 2024 holdings: @attributes: islocal: N |
|---|