Baghdad in My Shadow (2019): a Political Thriller in a Multireligious Europe: Gender Emancipation and Fundamentalism in a Fictive Iraqi Diaspora Community in London
This article presents the Swiss-Iraqi director Samir Jamal Aldin and his thriller Baghdad in My Shadow (2019) and puts it into a context of the re-negotiation of identities in a culturally diverse Europe. The director’s intention is presented as a wish to deal with taboo issues related to gay rights...
| Main Author: | |
|---|---|
| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Brill
2022
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| In: |
Journal of religion, media and digital culture
Year: 2022, Volume: 11, Issue: 2, Pages: 149-170 |
| Standardized Subjects / Keyword chains: | B
Baghdad in My Shadow
/ London
/ Iraqis
/ Islam
/ Fundamentalism
/ Sexism
|
| RelBib Classification: | AD Sociology of religion; religious policy AG Religious life; material religion BJ Islam KBF British Isles NBE Anthropology NCB Personal ethics NCF Sexual ethics |
| Further subjects: | B
Salafism
B honour culture B Religious Diversity B dynamic secularism B Film B Meaning-making B thick viewing |
| Online Access: |
Volltext (kostenfrei) Volltext (kostenfrei) |
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| 520 | |a This article presents the Swiss-Iraqi director Samir Jamal Aldin and his thriller Baghdad in My Shadow (2019) and puts it into a context of the re-negotiation of identities in a culturally diverse Europe. The director’s intention is presented as a wish to deal with taboo issues related to gay rights, women’s emancipation, and religious fundamentalism within an Iraqi community in contemporary London. The film is analysed with the help of (1) theories analysing tensions between liberal-secular and religious-fundamentalist standpoints, and (2) theories about film viewers’ engagement, amplifying audiences’ emotions and thoughts about complex societal issues. The film could be said to advocate a standpoint of dynamic secularism promoting individual rights. The article argues, furthermore, that Samir as a Swiss-Iraqi filmmaker encourages thick viewing through his thriller format and invites the audience to a deeper emotional and intellectual understanding of liberal principles, honour culture, and hybrid identity positions in contemporary Europe. | ||
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