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Both a summative description of the field and an exploration of new directions, this multidisciplinary reader addresses issues central to the fields of Arab American, US Muslim, and Southwest Asian and North African (SWANA) American studies. Taking a broad conception of the Americas, this collection simultaneously registers and critically reflects upon major themes in the field, including diaspora, migration, empire, race and racialization, securitization, and global South solidarity. The collection will be essential reading for scholars in Arab/SWANA American studies, Asian American studies, and race, ethnicity, and Indigenous studies, now and well into the future. Contributors include: Evelyn Alsultany, Carol W. N. Fadda, Hisham D. Aidi, Nadine Naber, Therí Pickens, Steven Salaita, Ella Shohat and Sarah M.A. Gualtieri.
What is a homeland and when does it become a national territory? Why have so many people been willing to die for such places throughout the twentieth century? What is the essence of the Promised Land? Following the acclaimed and controversial The Invention of the Jewish People, Shlomo Sand examines the mysterious sacred land that has become the site of the longest-running national struggle of the twentieth and twenty-first centuries. The Invention of the Land of Israel deconstructs the age-old legends surrounding the Holy Land and the prejudices that continue to suffocate it. Sand’s account dissects the concept of “historical right” and tracks the creation of the modern concept of the “Land of Israel” by nineteenth-century Evangelical Protestants and Jewish Zionists. This invention, he argues, not only facilitated the colonization of the Middle East and the establishment of the State of Israel; it is also threatening the existence of the Jewish state today.
Though the current political situation in Palestine is more serious than ever, contemporary Palestinian art and film is becoming, paradoxically, increasingly funny.In Laughter in Occupied Palestine, Chrisoula Lionis analyses both the impetus behind this shift toward laughter and its consequences, arguing that laughter comes as a response to political uncertainty and the decline in nationalist hope. Revealing the crucial role of laughter in responding to the failure of the peace process and ongoing occupation, she unearths the potential of humour to facilitate understanding and empathy in a time of division. This is the first book to provide a combined overview of Palestinian art and film, showing the ways in which both art forms have developed in response to critical moments in Palestinian history over the last century. These key moments, Lionis argues, have radically transformed contemporary Palestinian collective identity and in turn Palestinian cultural output. Mapping these critical junctions - beginning with the Balfour Declaration of 1917 to the Oslo Accords in 1993 - she explores the historical trajectory of Palestinian art and film, and explains how to the failure of the peace process has led to the present proliferation of humour in Palestinian visual culture.
This interdisciplinary collection of 82 articles is designed to bring today's most pressing issues into the classroom and help prepare college students to assume their roles as members of an increasingly global community.
Although in recent years, the entire world has been increasingly concerned with the Middle East and Israeli-Palestinian relationship, there are few truly reliable sources of information regarding Palestinian society and culture, either concerning its relationship with Israeli society, its position between east and west or its stances in times of war and peace. One of the best sources for understanding Palestinian culture is its cinema which has devoted itself to serving the national struggle. In this book, two scholars--an Israeli and a Palestinian--in a rare and welcome collaboration, follow the development of Palestinian cinema, commenting on its response to political and social transformations. They discover that the more the social, political and economic conditions worsen and chaos and pain prevail, the more Palestinian cinema becomes involved with the national struggle. As expected, Palestinian cinema has unfolded its national narrative against the Israeli narrative, which tried to silence it.
Intended for scholars of film and the contemporary Middle East, this title provides a comprehensive overview of cinema in the Arab world, tracing the industry's development, since colonial times. It analyzes the ambiguous relationship with commercial western cinema, and the effect of Egyptian market dominance in the region.
With top billing at many film forums around the world, as well as a string of prestigious prizes, including consecutive nominations for the Best Foreign Film Oscar, Israeli films have become one of the most visible and promising cinemas in the first decade of the twenty-first century, an intriguing and vibrant site for the representation of Israeli realities. Yet two decades have passed since the last wide-ranging scholarly overview of Israeli cinema, creating a need for a new, state-of-the-art analysis of this exciting cinematic oeuvre. The first anthology of its kind in English, Israeli Cinema: Identities in Motion presents a collection of specially commissioned articles in which leading Israeli film scholars examine Israeli cinema as a prism that refracts collective Israeli identities through the medium and art of motion pictures. The contributors address several broad themes: the nation imagined on film; war, conflict, and trauma; gender, sexuality, and ethnicity; religion and Judaism; discourses of place in the age of globalism; filming the Palestinian Other; and new cinematic discourses. The authors' illuminating readings of Israeli films reveal that Israeli cinema offers rare visual and narrative insights into the complex national, social, and multicultural Israeli universe, transcending the partial and superficial images of this culture in world media.
This edited volume is an open access title and assembles both the historical consciousness and transformation of the MENA region in various disciplinary and topical facets. At the same time, it aims to go beyond the MENA region, contributing to critical debates on area studies while pointing out transregional and cultural references in a broad and comparative manner.
With their powerful blend of political and aesthetic concerns, Edward W. Said's writings have transformed the field of literary studies. This long-awaited collection of literary and cultural essays offers evidence of how much the fully engaged critical mind can contribute to the reservoir of value, thought, and action essential to our lives and culture.