Chris Lippard’s analysis of displacement and refusal in the Tunisian film, The Last of Us (Akher wahad fina), rearticulates the cinematic quest for an aesthetic means by which to express the refusal of migrant positionality. Taking a rhetorically performative approach, he suggests both the possibilities and pitfalls inherent in different forms of displacement, including disappearance and disassembly, as a means of refuting postcolonial categories and conceptions of migration. The film offers an opportunity for considering alternative aesthetics within the contemporary depiction of migration, and one for questioning the tropes of migration narratives in an imagined decolonized space where modernity and commoditization have not taken hold and an alternative migration journey is thus depicted: one that differently incorporates the experience of being other(ed) with which migration narratives have constantly to engage, though also one that, in its separation from national and transnational networks, risks a retreat into immanence.
{"title":"The refusal of the migrant in Ala Eddine Slim’s The Last of Us","authors":"Chris Lippard","doi":"10.1386/jciaw_00121_1","DOIUrl":"https://doi.org/10.1386/jciaw_00121_1","url":null,"abstract":"Chris Lippard’s analysis of displacement and refusal in the Tunisian film, The Last of Us (Akher wahad fina), rearticulates the cinematic quest for an aesthetic means by which to express the refusal of migrant positionality. Taking a rhetorically performative approach, he suggests both the possibilities and pitfalls inherent in different forms of displacement, including disappearance and disassembly, as a means of refuting postcolonial categories and conceptions of migration. The film offers an opportunity for considering alternative aesthetics within the contemporary depiction of migration, and one for questioning the tropes of migration narratives in an imagined decolonized space where modernity and commoditization have not taken hold and an alternative migration journey is thus depicted: one that differently incorporates the experience of being other(ed) with which migration narratives have constantly to engage, though also one that, in its separation from national and transnational networks, risks a retreat into immanence.","PeriodicalId":517541,"journal":{"name":"Journal of Contemporary Iraq & the Arab World","volume":"199 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140286374","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A substantial number of Lebanese films feature characters who speak French. While the inclusion of these characters is often justified at the narrative level, in certain instances, their presence cannot be solely explained by the narrative and appears to be more attributable to the context of the production of these films, particularly due to the dependence of Lebanese cinema on French funding. Many filmmakers have connected the use of the French language to the conditions set by French funds. However, it is noteworthy that these funds seldom explicitly mandate the use of French. A closer examination of this phenomenon reveals an implicit set of guidelines imposed by French funders, facilitated through French diplomatic institutions, and a tendency among some Lebanese filmmakers to conform to these expectations.
{"title":"Why do they speak French? About Lebanese cinema and French diplomacy","authors":"Wissam Mouawad","doi":"10.1386/jciaw_00117_1","DOIUrl":"https://doi.org/10.1386/jciaw_00117_1","url":null,"abstract":"A substantial number of Lebanese films feature characters who speak French. While the inclusion of these characters is often justified at the narrative level, in certain instances, their presence cannot be solely explained by the narrative and appears to be more attributable to the context of the production of these films, particularly due to the dependence of Lebanese cinema on French funding. Many filmmakers have connected the use of the French language to the conditions set by French funds. However, it is noteworthy that these funds seldom explicitly mandate the use of French. A closer examination of this phenomenon reveals an implicit set of guidelines imposed by French funders, facilitated through French diplomatic institutions, and a tendency among some Lebanese filmmakers to conform to these expectations.","PeriodicalId":517541,"journal":{"name":"Journal of Contemporary Iraq & the Arab World","volume":"22 9","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140401477","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Despite and perhaps because of Joseph Massad’s scathing critique of the ‘Gay International’, and of Israeli ‘pinkwashing’ efforts, scholarly theorization of sexuality in Arab cinema has been minimal. Within this context, upon which this article elaborates, I offer recommendations for scholarly movement forward in the area of Arab film sexualities, by analysing the intellectual limitations of extant allegorical and auteurist approaches to the subject, and in turn suggest conceptual means towards a more substantive film analytic praxis. In so doing, I draw from critiques of Massad’s position as well as of the pinkwashing agenda, both of which have emerged from and around an interdisciplinary array of texts focusing on homonationalism, homonormativity and homocapitalism; while critiquing the concomitant fact that the majority of such texts marginalize or absent Arab same sexualities and Middle Eastern cultures generally, insofar as they retain an unproblematized transnationalist orientation.
{"title":"Sexuality and/in Arab cinema: Problems in theory","authors":"Terri Ginsberg","doi":"10.1386/jciaw_00120_1","DOIUrl":"https://doi.org/10.1386/jciaw_00120_1","url":null,"abstract":"Despite and perhaps because of Joseph Massad’s scathing critique of the ‘Gay International’, and of Israeli ‘pinkwashing’ efforts, scholarly theorization of sexuality in Arab cinema has been minimal. Within this context, upon which this article elaborates, I offer recommendations for scholarly movement forward in the area of Arab film sexualities, by analysing the intellectual limitations of extant allegorical and auteurist approaches to the subject, and in turn suggest conceptual means towards a more substantive film analytic praxis. In so doing, I draw from critiques of Massad’s position as well as of the pinkwashing agenda, both of which have emerged from and around an interdisciplinary array of texts focusing on homonationalism, homonormativity and homocapitalism; while critiquing the concomitant fact that the majority of such texts marginalize or absent Arab same sexualities and Middle Eastern cultures generally, insofar as they retain an unproblematized transnationalist orientation.","PeriodicalId":517541,"journal":{"name":"Journal of Contemporary Iraq & the Arab World","volume":"74 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140286708","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article provides a critical review of the film Girls to Buy (Dziewczyny z Dubaju) (2021) by Maria Sadowska in the context of the Polish Dubai-gate scandal and the discourse of the sex trade and trafficking. The intersection of gender, ethnicity and class guides this inquiry into the ways in which both the conservative Polish nationalist agenda and the neo-liberal opposition to such an agenda rely on the phobic Orientalist tropes that configure the Arab world as the main culprit and the ‘face’ of the kleptocratic capitalism.
文章在波兰迪拜门丑闻以及性交易和人口贩卖的背景下，对玛丽亚-萨多夫斯卡（Maria Sadowska）的电影《买女孩》（Dziewczyny z Dubaju）（2021 年）进行了批判性评论。性别、种族和阶级的交织引导我们探究保守的波兰民族主义议程和新自由主义对这一议程的反对是如何依赖于将阿拉伯世界视为罪魁祸首和权贵资本主义的 "面孔 "的东方恐惧症的。
{"title":"Dubai-gate and the libidinal operations of nation-making in Girls from Dubai","authors":"Aga Skrodzka","doi":"10.1386/jciaw_00119_1","DOIUrl":"https://doi.org/10.1386/jciaw_00119_1","url":null,"abstract":"The article provides a critical review of the film Girls to Buy (Dziewczyny z Dubaju) (2021) by Maria Sadowska in the context of the Polish Dubai-gate scandal and the discourse of the sex trade and trafficking. The intersection of gender, ethnicity and class guides this inquiry into the ways in which both the conservative Polish nationalist agenda and the neo-liberal opposition to such an agenda rely on the phobic Orientalist tropes that configure the Arab world as the main culprit and the ‘face’ of the kleptocratic capitalism.","PeriodicalId":517541,"journal":{"name":"Journal of Contemporary Iraq & the Arab World","volume":"107 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140405171","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article explores how visible constructions and perceptions of sovereignty in the motion pictures of the United States Information Agency (USIA) factored into the dynamics of US Cold War foreign policy amidst the rise of the Non-Aligned Movement. Specifically, it focuses on agency films about and circulating within the Southwest Asian and North African (SWANA) region – such as the locally produced Iraq al-Youm newsreels (c.1956–58). By mapping the different policy contexts of the Eisenhower and Kennedy administrations onto the USIA films’ aesthetics and themes, the article illustrates continuities in the United States’s attempts to expressively leverage images and evocations of sovereignty to sell and consolidate its policy interests in the region.
{"title":"Screening sovereignty: Cold War mediations of nationhood in USIA motion picture operations in the SWANA region","authors":"Bret Vukoder","doi":"10.1386/jciaw_00118_1","DOIUrl":"https://doi.org/10.1386/jciaw_00118_1","url":null,"abstract":"This article explores how visible constructions and perceptions of sovereignty in the motion pictures of the United States Information Agency (USIA) factored into the dynamics of US Cold War foreign policy amidst the rise of the Non-Aligned Movement. Specifically, it focuses on agency films about and circulating within the Southwest Asian and North African (SWANA) region – such as the locally produced Iraq al-Youm newsreels (c.1956–58). By mapping the different policy contexts of the Eisenhower and Kennedy administrations onto the USIA films’ aesthetics and themes, the article illustrates continuities in the United States’s attempts to expressively leverage images and evocations of sovereignty to sell and consolidate its policy interests in the region.","PeriodicalId":517541,"journal":{"name":"Journal of Contemporary Iraq & the Arab World","volume":"30 12","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140400817","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Introduction: ‘Interventions in film studies’","authors":"Terri Ginsberg, Chris Lippard","doi":"10.1386/jciaw_00116_2","DOIUrl":"https://doi.org/10.1386/jciaw_00116_2","url":null,"abstract":"","PeriodicalId":517541,"journal":{"name":"Journal of Contemporary Iraq & the Arab World","volume":"68 9","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140403822","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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