Visualizing the Palestinian Struggle: Towards a Critical Analytic of Palestine Solidarity Film PDF
Preview Visualizing the Palestinian Struggle: Towards a Critical Analytic of Palestine Solidarity Film
GLOBAL CINEMA Visualizing the Palestinian Struggle Towards a Critical Analytic of Palestine Solidarity Film Terri Ginsberg Global Cinema Series Editors Katarzyna Marciniak Ohio University USA Anikó Imre University of Southern California USA Áine O’Healy Loyola Marymount University USA Series Editors: Katarzyna Marciniak, Anikó Imre, Áine O’Healy The Global Cinema series publishes innovative scholarship on the transnational themes, industries, economies, and aesthetic elements that increasingly connect cinemas around the world. It promotes theoretically transfor- mative and politically challenging projects that rethink fi lm studies from cross-cultural, comparative perspectives, bringing into focus forms of cin- ematic production that resist nationalist or hegemonic frameworks. Rather than aiming at comprehensive geographical coverage, it foregrounds transnational interconnections in the production, distribution, exhibition, study, and teaching of fi lm. Dedicated to global aspects of cinema, this pioneering series combines original perspectives and new methodological paths with accessibility and coverage. Both ‘global’ and ‘cinema’ remain open to a range of approaches and interpretations, new and traditional. Books published in the series sustain a specifi c concern with the medium of cinema but do not defensively protect the boundaries of fi lm studies, recognizing that fi lm exists in a converging media environment. The series emphasizes a historically expanded rather than an exclusively presentist notion of globalization; it is mindful of repositioning ‘the global’ away from a US-centric/Eurocentric grid, and remains critical of celebratory notions of ‘globalizing fi lm studies.’ More information about this series at http://www.springer.com/series/15005 Terri Ginsberg Visualizing the Palestinian Struggle Towards a Critical Analytic of Palestine Solidarity Film Terri Ginsberg The American University in Cairo Cairo, Egypt Global Cinema ISBN 978-3-319-39776-4 ISBN 978-3-319-39777-1 (eBook) DOI 10.1007/978-3-319-39777-1 Library of Congress Control Number: 2016950760 © The Editor(s) (if applicable) and The Author(s) 2 016 This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifi cally the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfi lms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specifi c statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the pub- lisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. Cover illustration: “Occupied Palestine” (David R. Koff, U.S., 1981) Printed on acid-free paper This Palgrave Macmillan imprint is published by Springer Nature The registered company is Springer International Publishing AG Switzerland In memory of Fouzi El-Asmar and David Koff A CKNOWLEDGEMENTS This book was begun during the Al-Aqsa Intifada and was completed dur- ing the 2014 Israeli genocide of Gaza which augured the beginning of the Third Intifada. I could not have carried out the project vis-à-vis the extenuating circumstances without the encouragement, support, inspira- tion, and intellectual intervention—the solidarity—of colleagues, associ- ates, and friends in the struggle. Prominent among these are Palestinians, Arabs, Iranians, and Turks, in relation to whom I have only begun the painful process of (un)learning, and whose admirable steadfastness and graciousness I can only begin to emulate. My sincere thanks go to Tareq Ismael, Rima Kapitan, Norton Mezvinsky, Chris Lippard, Andrea Mensch, Hossein Khosrowjah, Dennis Broe, Hamid Dabashi, Elle Flanders, Cynthia Madansky, David Koff (in memoriam), Simon Louvish, Fouzi El-Asmar (in memoriam), Tania Kamal-Eldin, Haytham Nawar, Samirah Alkassim, Helga Tawil-Souri, Colleen Jankovic, Ghada Karmi, Kay Dickinson, Benjamin Beit-Hallahmi, Najat Rahman, Carl Schieren, Michael Pelias at Situations , Brian Drolet at Deep Dish TV, Ali Abunimah, Nora Barrows- Friedman and Asa Winstanley at T he Electronic Intifada , Philip Weiss at Mondoweiss , Cynthia Lucia and Richard Porton at C ineaste , Farhad Arshad at Olive Films, May Hossam at Misr International Films, Kathleen Dickson at the British Film Institute, Kristen Fitzpatrick at Women Make Movies, Meredith Miller at Icarus Films, Elena Rossi-Snook and Johnny Gore at the New York Public Library for the Performing Arts, Larry Rattner at Choices Video, Michael Zryd, Mark Westmoreland, Malek Khouri, Arab Loutfi , Greg Burris, Orayb Najjar, Joel Kovel, Fuad Sha’ban, Abdeen Jabara, Michael Smith, Mazin Qumsiyeh, Marguerite Rosenthal, William vii viii ACKNOWLEDGEMENTS Haddad, Linda Mokdad, Robert Lang, Yasmin Nair, Haim Bresheeth, Matthew Abraham, Ann Kibbey, Farshad Aminian, Sachiko Tankei, Isabelle Freda, Sibel Taylor, Nirit Ben-Ari, Riva Sura, and Pudden Pÿe. I am also very grateful to the Palgrave Macmillan Global Cinema series editors Katarzyna Marciniak, Áine O’Healy, and Anikó Imre, and to the Palgrave Macmillan Film, Cultural, and Media Studies Editor, Sean Vigil, for supporting this project; and to Project Manager Ulaganathan Abirami and her entire production crew for their astute editorial work. Needless to say, these persons bear no responsibility whatsoever for the content of this book. An earlier version of Chapter 1 was published as “Radical Rationalism as Cinema Aesthetics: The Palestinian–Israel Confl ict in North American Documentary and Experimental Film,” in S ituations: Project of the Radical Imagination 4.1 (fall/winter 2011): 91–115 ©2011 The Center for the Study of Culture, Technology and Work, CUNY Graduate Center, New York, NY. Portions of Interlude A are excerpts from my article, “Bordering on Disaster: Toward an Epistemology of Divided Cinematic Space,” S pectator 29.1 (spring 2009): 30–36 ©2009 SPECTATOR, USC School of Cinematic Arts, Los Angeles, CA. Portions of Chapter 2 are excerpts from my essay, “P laying for Time , Vanessa Redgrave, and the Labor of Performance,” which appears along with the re-mastered Blu- ray special edition of P laying for Time ©2013 Olive Films, USA— h ttp:// olivefi lms.com . Portions of Chapter 3 are excerpts from my review, “New fi lm on Nazi links to Zionism sidesteps the toughest questions,” The Electronic Intifada 7 November 2012, http://electronicintifada.net/con- tent/new-fi lm-nazi-links-zionism-sidesteps-toughest-questions/11811 . Portions of the Conclusion are excerpts from my review of T he Gatekeepers , Cineaste 38.3 (summer 2013): 48–50 ©2013 Cineaste Publishers, Inc., New York, NY. C ONTENTS Introduction: Modalities of Solidarity 1 1 After Al-Aqsa 5 Peace, Propaganda and the Promised Land 9 Zero Degrees of Separation 1 6 Still Life 24 Notes 31 Interlude A – The Global Indigenous 3 3 2 Revisiting Prior Commitments 3 7 Occupied Palestine 41 To Live in Freedom 53 The Palestinian 66 Notes 77 Interlude B – Causes and Effects 7 9 3 Distant Neighbors 85 Canary 88 Gate of the Sun 99 The Promise 1 08 Notes 119 ix x CONTENTS Conclusion: A Time for Change 1 21 Notes 125 Filmography 1 27 Bibliography 1 31 Index 1 49
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