Locating Muslim Cinema(s)
The four essays collected here raise a series of questions that unsettle and reconfigure some of the most persistent boundaries in studies of world cinema. In "Hollywood's Bad Muslims: Misrepresentations and the Channeling of Racial Violence," Imed Ben Labidi highlights the potential...
| Published in: | Journal of religion and popular culture |
|---|---|
| Authors: | ; |
| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
|
| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
University of Saskatchewan
2021
|
| In: |
Journal of religion and popular culture
|
| Further subjects: | B
Iranian Cinema
B Hollywood portrayal of Muslims B Defa-e Moghadas B tawa'if courtesan–dancer B Indian and Pakistani cinema B Muslim cinema B Tajik cinema |
| Online Access: |
Volltext (lizenzpflichtig) |
| Summary: | The four essays collected here raise a series of questions that unsettle and reconfigure some of the most persistent boundaries in studies of world cinema. In "Hollywood's Bad Muslims: Misrepresentations and the Channeling of Racial Violence," Imed Ben Labidi highlights the potential pitfalls of such an attempted mapping, focusing on Hollywood's essentialized and essentializing portrayal of Muslims and Arabs. Conversely, while remaining within the confines of a small national industry, in "The Poetics of Tajik Cinema," Sharofat Arabova transcends the implicit distortions of schematic periodization, tracing evolving traditions of film poetics across the major historical transformations of the Soviet and sovereign periods. Similarly, while feminist theory has been at the core of film studies since its inception, the two pieces in this collection complicate understandings of the construction of gender in Muslim cinemas. Sitara Thobani's "Locating the Tawa'if Courtesan–Dancer: Cinematic Constructions of Religion and Nation" resists the impulse to understand tawa'if solely in terms of gendered spectacle, instead exploring the less examined question of this figure's Muslim identity. In the final piece, "Defa'-e Moghaddas (The Sacred Defense), Hamdeli va Mehrvarzi (Camaraderie and Love from Knowing the Other), and the Making of Social Cinema in Post-Revolutionary Islamic Iran," Fakhri Haghani contrasts the front-line masculinist cinema of the Iranian "sacred defense" with social dramas that reveal undertheorized gender dynamics of sacrifice and justice. Each of these pieces, then, invigorates core questions within the field of religion and popular culture by positing Muslim cinema as a point of intersection at which Muslim participation in the creation and viewing of film may productively be explored, while simultaneously offering a broader, more universal alternative perspective by attending to cinema's functions in the quotidian lives of members of religious communities. |
|---|---|
| ISSN: | 1703-289X |
| Contains: | Enthalten in: Journal of religion and popular culture
|