梦想/电影/巴勒斯坦：《梦想》中无人居住的空间和我的爱在海边等着我

IF 0.2 2区艺术学 0 ART

ARTMargins Pub Date : 2022-02-01 DOI:10.1162/artm_a_00309

Greg Burris

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引用次数: 0

摘要

本文探讨了梦、电影和巴勒斯坦之间的联系。根据Ghassan Hage的作品，作者认为梦和电影不应该仅仅因为它们与抵抗的联系而受到重视，这些现象有时可以揭示未被占领的空间，甚至在被占领的巴勒斯坦。然后，作者转向两部纪录片:穆罕默德·马拉斯的《梦》(1987)和迈斯·达尔瓦扎的《我的爱在海边等着我》(2013)。前者记录了困扰巴勒斯坦人的夜间梦，后者调查了他们整天的梦。通过这些梦，两部电影都上演了一场与无主的相遇。

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Dreams/Cinema/Palestine: Unoccupied Spaces in The Dream and My Love Awaits Me by the Sea

Abstract This article explores the connections between dreams, cinema, and Palestine. Drawing upon the work of Ghassan Hage, the author argues that dreams and cinema should not be valued only for their connection to resistance and that these phenomena can sometimes reveal unoccupied spaces, even in occupied Palestine. The author then turns to two documentary films: Mohammad Malas’ The Dream (1987) and Mais Darwazah's My Love Awaits Me by the Sea (2013). Whereas the former film documents the dreams that haunt Palestinians at night, the latter investigates those dreams that follow them throughout the day. Through these dreams, both films stage an encounter with the unoccupied.

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来源期刊

ARTMargins ART-

CiteScore

0.10

自引率

0.00%

发文量

期刊介绍： ARTMargins publishes scholarly articles and essays about contemporary art, media, architecture, and critical theory. ARTMargins studies art practices and visual culture in the emerging global margins, from North Africa and the Middle East to the Americas, Eastern and Western Europe, Asia and Australasia. The journal acts as a forum for scholars, theoreticians, and critics from a variety of disciplines who are interested in art and politics in transitional countries and regions; postsocialism and neo-liberalism; postmodernism and postcolonialism, and their critiques; and the problem of global art and global art history and its methodologies.