Locating Muslim Cinema(s)

IF 0.1 0 RELIGION
Kaveh Askari, M. Bernstein
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引用次数: 0

Abstract

Abstract: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.
定位穆斯林电影院
摘要:这里收集的四篇文章提出了一系列问题,这些问题扰乱并重新配置了世界电影研究中一些最持久的界限。Imed Ben Labidi在《好莱坞的坏穆斯林:虚假陈述和种族暴力的渠道》中强调了这种尝试性映射的潜在陷阱,重点关注好莱坞对穆斯林和阿拉伯人的本质化和本质化刻画。相反,在《塔吉克电影的诗学》中,Sharofat Arabova虽然仍停留在一个小的民族产业的范围内,但他超越了示意性分期的隐含扭曲,追踪了苏联和主权时期重大历史变革中不断演变的电影诗学传统。同样,尽管女权主义理论自成立以来一直是电影研究的核心,但本集中的两篇文章使人们对穆斯林电影院性别建构的理解变得复杂。西塔拉·托巴尼(Sitara Thobani)的《定位塔瓦伊夫宫廷——舞者:宗教和民族的电影建构》(Locating the Tawa'if Courtesan–Dancer:Cinematic Constructions of Religion and Nation)抵制了仅仅从性别奇观的角度来理解塔瓦伊芙的冲动,而是探索了这个人物的穆斯林身份这一不太受关注的问题。在最后一部作品《Defa’-e Moghaddas》(《神圣的防御》)、《Hamdeli va Mehrvarzi》(《Camaraderie》和《来自了解他人的爱》)以及后革命伊斯兰伊朗社会电影的制作中,Fakhri Haghani将伊朗“神圣防御”的一线男子主义电影与揭示牺牲和正义的社会戏剧进行了对比。因此,每一部作品都通过将穆斯林电影定位为一个交叉点,在这个交叉点上,穆斯林可以有效地参与电影的创作和观看,同时提供更广泛的、,通过关注电影在宗教团体成员日常生活中的作用,获得更普遍的替代视角。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
Journal of Religion and Popular Culture
Journal of Religion and Popular Culture Arts and Humanities-Religious Studies
CiteScore
0.30
自引率
0.00%
发文量
27
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