Palestinian 'roadblock movies'

Geopolitics

Volumn 10, Issue 2, 2005, Pages 316-334

  Gertz, Nurith ^a   Khleifi, George ^b  

^a TEL AVIV UNIVERSITY   (Israel)

^b AL QUDS UNIVERSITY   (Palestine)

Author keywords

[No Author keywords available]

Indexed keywords

NATIONAL POLITICS;

EID: 19744370634     PISSN: 14650045     EISSN: None     Source Type: Journal    
DOI: 10.1080/14650040590946601     Document Type: Article

References (104)

1. Safa'hat Min Mothakkaratin Khasba, 1980.
2. See Rashid Khalidi, Palestinian Identity (New York: Columbia University Press 1997);
3. Salim Tamari, 'The Local and the National in Palestinian Identity', in Kamel Abdel Malek and David Jacobson (eds), Israeli and Palestinian Identities in History and Literature (New York: St Martin's Press 1999) pp.3-9;
4. and Baruch Kimmerling and Joel Migdal, Palestinians: The Making of a People (Cambridge, MA: Harvard University Press 1993).
5. I b i d.
6. For this topic, see Edward Said, 'Afterword: The Consequences of 1948', in Eugene L. Rogan and Avi Shlaim (eds), The War for Palestine: Rewriting the History of 1948 (Cambridge: Cambridge University Press 2002 [2001]) pp.206-19.
7. Issam Nassar, 'Reflections on writing the History of Palestinian Identity', Palestine-Israel Journal, 8/4 & 9/1 (2002) pp.24-37.
8. See also Tamari (note 2).
9. I b i d.
10. Alexander B. Murphy, 'National Claims to Territory in the Modern State System: Geographical Considerations', Geopolitics, 7/2 (Autumn 2002) p.193.
11. Edward Said, 'Reflections on Exile', in R. Ferguson (ed.), Out There (New York: The New York Museum of Contemporary Art 1990) p.359.
12. Ibid. p.360.
13. Eric Hobsbawm and Terence Ranger (eds), The Invention of Tradition (Cambridge: Cambridge University Press 1983).
14. See Edward Said, 'Invention, Memory and Place', Critical Inquiry 26/2 (Winter 2000) pp.175-92, who describes similar processes of creating a collective memory at the expense of small units such as the family and the village, that have crumbled.
15. He does not refer directly to the Palestinian society but it is possible that his assumptions are true to it, and relate to the phenomenon described by many, among them, Khalidi (note 2).
16. Said, 'Reflections on Exile' (note 9) pp.357-67.
17. Hobsbawm (note 11).
18. Oren Yiftachel, 'Territory as the Kernel of the Nation: Space, Time and Nationalism in Israel/Palestine', Geopolitics, 7/2 (Autumn 2002) pp.215-48.
19. Ibid. p.215.
20. Ibid. p.216.
21. Like the land itself in the Palestinian culture, the home has become the answer to uprooting and exile. It has become a utopian symbol of the homeland, untouched by the ravages of time and an emblem of national unity, of the land and of the family, see Said, 'Reflections on Exile' (note 9) p.359.
22. On the importance of the home as a private space see David Morley, 'Bounded Realms: Household Family, Community, and Nation', in Hamid Naficy (ed.), Home, Exile, Homeland: Film, Media, and the Politics of Place (New York: Routledge 1999) pp.18-41.
23. For the term third space, as an intersection between cultures, identities, histories, see Edward Soja, Thirdspace (Oxford: Blackwell 1996);
24. Homi K. Bhabha, 'Dissemination: Time, Narrative and the Margins of the Modern Nation' in Homi K. Bhabha (ed.), Nation and Narration (London and New York: Routledge 1990) pp.291-323;
25. Hamid Naficy, An Accented Cinema (Princeton, NJ: Princeton University Press 2001).
26. Ella Shohat and Robert Stam, Unthinking Eurocentrism: Multiculturalism and the Media (New York and London: Routledge 1994).
27. See Gloria Anzaldua, Borderlands/La Frontera: The New Mestiza (San Francisco, CA: Aunt Lute Books 1987), who speaks of the possibility of a 'shifting and multiple identity and integrity'.
28. Director of The Milky Way (Darb-Et-Tabbanat, 1997)
29. The Ninth Month (Fish-Shahr-Et-Tassee', 2002).
30. Director of Austura (Ostura, 1998)
31. and Independence (Istiklal, 1994).
32. Director of The Olive Harvest (Mawsim Azaytoon, 2003).
33. Gearoid O Tuathail and Simon Dalby (eds), Rethinking Geopolitics (New York: Routledge 1998).
34. See also Anzaldua (note 21).
35. Tuathail and Dalby (note 25) p.1.
36. Irit Rogoff, Terra Infirma: Geography's Visual Culture (New York: Routledge 2000).
37. I b i d.
38. Tuathail and Dalby (note 25).
39. Ibid. p.3.
40. I b i d.
41. Joanne P. Sharp, 'Reel Geographies of the New World Order', in Tuathail and Dalby (note 25) p.153.
42. For this topic, see Murphy (note 8) pp.193-214.
43. 'Ors Rana, 2002.
44. For the role of journeys in cinema, see Naficy (note 19).
45. 2003 I b i d.
46. An Ta'bor Qualandia, 2002.
47. Tathkara Ila-l-Quds, 2002.
48. When inhabited by Jews and Arabs living in the same building.
49. Fintithar Salah-Eddin, 2001.
50. As in Elia Suleiman's Divine Intervention (Yad Elahiyya, 2002)
51. and in Rashid Masharawi's Curfew (Hatta Ish'aarin Aakhar, 1993)
52. and Haifa ('Haifa, 1995).
53. Tawattor, 1998.
54. Among them the previous films of Masharawi himself, Haifa and Curfew.
55. Thalathato Centimetratin Akall, 2002.
56. Ijtiah, 2003.
57. Waka'ee Sijill Ikhtifaa', 1996.
58. About the way to create a connection, a sense of belonging or ownership of the landscape, see W.J.T. Mitchell, 'Imperial Landscape', in W.J.T. Mitchell (ed.), Landscape and Power (Chicago, IL and London: The University of Chicago 1994) pp. 5-34.
59. In a private interview in Ramallah, 2002.
60. In a private interview in Jerusalem, 2003.
61. Sharp (note 33) p.153.
62. Hodoudo-l-Holm, Wal-Khaouf, 2001.
63. Anton Shamas, 'Autocartography: The Case of Palestine, Michigan', Palestine-Israel Journal 9/2 (2002) p.114.
64. For this subject, see Shohat and Stam (note 20).
65. The idea of re-territorialising the landscape is based on Gilles Deleuze and Felix Guattari, 'What is Minor Literature', in Russell (note 9) pp-59-71.
66. See also Rogoff (note 28).
67. Naficy (note 19).
68. Frederic Jameson, 'Third World Literature in the Era of Multinational Capitalism', Social Text 15 (Fall 1986) pp.65-88.
69. This term will serve us freely. In contrast to his declarations, defining the allegory of the Third World as a polysemic allegory, heterogeneous, multidimensional, ever changing, in Jameson's specific analyses, he reveals a one-dimensional relationship between the literary or cinematic signifier and the meaning it represents, which for him, in the third world, is always a national significance, see also Aijaz Ahmad, In Theory (London and New York: Verso 1992).
70. W.J.T. Mitchell, 'Holy Landscape: Israel, Palestine, and the American Wilderness', Critical Inquiry 26/2 (Winter 2000) pp.193-224.
71. As well as in those of other directors.
72. See for example Muhamad Bacri's 1948 (1998);
73. Aza El Hassan's Place/Out of Eden (Makan/Aw Kharij-1-Janna, 2000);
74. Liana Bader's Fadwa (1999),
75. Zaytounat (2002)
76. and Green Bird (At tayr-Ol-Akhdar 2002);
77. Azza El Hasan's Three Centimeters Less; Nizar Hassan's The Invasion; Elia Suleiman Divine Intervention,
78. Nizar Hassan's The Invasion;
79. Elia Suleiman Divine Intervention,
80. For example in Rashid Masharawi's A Ticket to Jerusalem.
81. Naficy (note 19).
82. Though the mosque is a religious symbol it has been appropriated by secular filmmakers, who have adopted the religious stance increasingly prevalent in Palestinian society.
83. Barbara Mckean Parmenter, Giving Voice to Stones: Place and Identity in Palestinian Literature (Austin, TX: University of Texas Press 1994) p.74.
84. The cinematic way to turn the olive tree into a fetish is by freezing its frames, by repetitions of the same shot, by taking it out of context or by slow motion photography.
85. In Liana Bader's Fadwa, and The Green Bird and inSubhi A-Zubeidi's Crossing Qualandia.
86. and inSubhi A-Zubeidi's Crossing Qualandia.
87. Hikayatil Jawaher Eth Thalath, 1994.
88. Michel Khleifi, 'Orso 1-Jaleel, 1987.
89. Subhi A-Zubeidi, Ad Daw' Fi Nihayatin-Nafak, 2002.
90. See note 39.
91. See note 52.
92. See note 60.
93. Raja Shehada, When the Bulbul Stopped Singing: A Diary of Ramallah Under Siege (Profile Books 2003) p.86.
94. Edward Said and Jean Mohr, After the Last Sky: Palestinian Lives (New York: Columbia University Press 1999 [1986]) p.4.
95. Elias Sanbar, 'De L'identite culturelle des Palestiniens', in Elias Sanbar, Subhi Hadidi and Jean Claude Pons (eds), Palestine: L'enjeu culturel (Paris: Circe, institute du monde arabe 1997) pp.26-7.
96. See also Said, 'Afterword' (note 4).
97. Michel Khleifi, 'La force du faible' (Entretien avec Michal Khleifi), Cahier du cinema 87/3 (November 1987).
98. Al Holmo-l-'Arabi, 1998.
99. Jean Baudriard, Simulacres et Simulation (Paris: Galilee 1981).
100. Frederic Jameson, Postmodernism or The Cultural Logic of Late Capitalism (Durham, NC: Duke University Press 1991).
101. On this matter, see Naficy (note 19).
102. Maqlouba, 2002. Maqlouba, Arabic for upside down, is the name of a traditional national dish which, when ready, is upturned from the pot onto the serving dish.
103. Anne Bourlond, 'A Cinema of Nowhere: Interview with Elia Suleiman', Journal of Palestine Studies 29/2 (Winter 2000) pp.95-101.
104. Samir Farid, The Palestinian Cinema and the Conquered Land (Cairo: Collection of Cinema 1997) (in Arabic).