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Modern Palestinian Filmmaking in a Global World

机译：全球化世界中的现代巴勒斯坦电影摄制

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摘要

This dissertation employs a comprehensive approach to analyze the cinematic accent of feature length, fictional Palestinian cinema and offers concrete criteria to define the genre of Palestinian fictional film that go beyond traditional, nation-centered approaches to defining films. Employing Arjun Appardurai's concepts of financescapes, technoscapes, mediascapes, ethnoscapes, and ideoscapes, I analyze the filmic accent of six Palestinian filmmakers: Michel Khleifi, Rashid Masharawi, Ali Nassar, Elia Suleiman, Hany Abu Assad, and Annemarie Jacir. After a detailed examination of each filmmaker's body of work, I examine the trends that occur across the genre that have the greatest impact on the Palestinian filmic accent and that differentiate the genre of Palestinian film from that of accented cinema more generally. These trends include the interstitial nature of Palestinian fictional filmmaking, the importance of relationships between Palestinian filmmakers, the seeming necessity of travel to the education and training of the directors, and the invasive nature of the Israeli occupation on any film made in or about the West Bank or Gaza. My analysis identifies a thematic shift within the genre from a focus on collective and nationalist themes to themes that center upon individual experiences of occupation. While other scholars argue this shift is the result of new directors entering the genre, my analysis identifies this trend within the corpus of individual directors whose work spans the entirety of the Palestinian fictional film genre, indicating this shift is the result of a change in accent rather than the result of the appearance of new directors. By examining both the individual accent of Palestinian filmmakers and the regional accent of Palestinian fictional film, I deduce that the thematic shift from collective to individual experiences is accompanied by a move toward increased reliance on Palestinian funding and personnel for these cinematic projects and increases in the availability of these films to Palestinians living in Israel proper as well as those living in the West Bank and Gaza. From this information, I have concluded that Palestinian fictional cinema is in the process of a significant change in accent, indicating that the accent of a regional cinema changes over time in addition to changing across areas and individuals, which Naficy has previously noted.
机译：本文采用一种综合的方法来分析特征长度的电影口音，虚构的巴勒斯坦电影，并提供了定义巴勒斯坦虚构电影类型的具体标准，超越了传统的以国家为中心的电影定义方法。我使用阿琼·阿帕杜赖（Arjun Appardurai）的财务景象，技术景象，媒体景象，民族风景和思想景象的概念，分析了六位巴勒斯坦电影制片人的电影重音：米歇尔·赫莱菲，拉希德·马萨拉维，阿里·纳萨尔，埃利亚·苏莱曼，汉尼·阿布·阿萨德和安妮·雅西。在详细检查了每个电影制片人的作品之后，我研究了这种类型的趋势，这些趋势对巴勒斯坦电影风格的影响最大，并且使巴勒斯坦电影风格与普通电影的风格有所不同。这些趋势包括巴勒斯坦虚构电影的插页式性质，巴勒斯坦电影制片人之间关系的重要性，对导演进行教育和培训的旅行的似乎必要性，以及以色列占领西方或在西方拍摄的任何电影的侵略性质。银行或加沙。我的分析确定了该主题的主题转变，从集中于集体和民族主义主题到以个人职业经历为中心的主题。虽然其他学者认为这种转变是新导演进入流派的结果，但我的分析发现这种趋势在个人导演的语料库中发挥了作用，这些导演的作品跨越了整个巴勒斯坦虚构电影类型，表明这种转变是口音变化的结果。而不是新董事出现的结果。通过考察巴勒斯坦电影制片人的个人口音和巴勒斯坦虚构电影的区域口音，我得出结论，从集体经历向个人经历的主题转变伴随着对这些电影项目越来越依赖巴勒斯坦资金和人员的转移，以及向居住在以色列境内的巴勒斯坦人以及在约旦河西岸和加沙地带的巴勒斯坦人提供这些电影。从这些信息中，我得出的结论是，巴勒斯坦虚构电影的口音正在发生重大变化，这表明区域电影院的口音除了随地区和个人的变化外，还随着时间而变化，这是纳菲西先前指出的。

著录项

  • 作者

    Hudson, Sarah.;

  • 作者单位

    University of Arkansas.;

  • 授予单位 University of Arkansas.;
  • 学科 Middle Eastern studies.;Film studies.;Near Eastern studies.
  • 学位 Ph.D.
  • 年度 2017
  • 页码 253 p.
  • 总页数 253
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

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