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An analysis of seven films by female directors from Algeria, Morocco, and Tunisia. Examined within their economic, cultural, and political context, the work of women Maghrebi filmmakers forms a cohesive body of work. Florence Martin examines the intersections of nation and gender in seven films, showing how directors turn around the politics of the gaze as they play with the various meanings of the Arabic term hijab (veil, curtain, screen). Martin analyzes these films on their own theoretical terms, developing the notion of “transvergence” to examine how Maghrebi women’s cinema is flexible, playful, and transgressive in its themes, aesthetics, narratives, and modes of address. These are distinctive films that traverse multiple cultures, both borrowing from and resisting the discourses these cultures propose. “Produced by a diverse group of women filmmakers—Assia Djebar, Farida Benlyazid, Yamina Bachir-Chouikh, Raja Amari, Naida El Fani, Yasmine Kassari, and Selma Baccar—these movies reflect the Algerian civil war, colonialism, patriarchy, undocumented immigrants, sexuality, identity, and the social mores that have dominated the political, social, and economic spheres in the Maghreb. . . . This book inscribes a new chapter in women filmmaking on the Maghreb; it makes an important contribution to cinema, literature, and cultural studies. Summing Up: Highly recommended.” —Choice “An excellent presentation and analysis of women’s filmmaking from North Africa. . . . Its attention to contemporary film theory is matched by its presentation of materials derived from Martin’s interviews with filmmakers, interviews that reveal a sincere engagement with the filmmakers and a deep understanding of contemporary production. In short, this is a fine book that will be of interest to anyone working on or teaching film and gender studies in North African and Middle Eastern studies, and beyond.” —Journal of Arabic Literature, Issue 44, 2013
Examined within their economic, cultural, and political context, the work of women Maghrebi filmmakers forms a cohesive body of work. Florence Martin examines the intersections of nation and gender in seven films, showing how directors turn around the politics of the gaze as they play with the various meanings of the Arabic term hijab (veil, curtain, screen). Martin analyzes these films on their own theoretical terms, developing the notion of "transvergence" to examine how Maghrebi women's cinema is flexible, playful, and transgressive in its themes, aesthetics, narratives, and modes of address. These are distinctive films that traverse multiple cultures, both borrowing from and resisting the discourses these cultures propose.
This book shows that screens don’t just distribute the visible and the invisible, but have always mediated our body's relationships with the physical and anthropological-cultural environment. By combining a series of historical-genealogical reconstructions going back to prehistoric times with the analysis of present and near-future technologies, the authors show that screens have always incorporated not only the hiding/showing functions but also the protecting/exposing ones, as the Covid-19 pandemic retaught us. The intertwining of these functions allows the authors to criticize the mainstream ideas of images as inseparable from screens, of words as opposed to images, and of what they call “Transparency 2.0” ideology, which currently dominates our socio-political life. Moreover, they show how wearable technologies don’t approximate us to a presumed disappearance of screens but seem to draw a circular pathway back to using our bodies as screens. This raises new relational, ethical, and political questions, which this book helps to illuminate.
A rare and insightful account by a newsroom insider of how the news skews our perceptions and disorients society 'Fake news' has become a ubiquitous catchphrase and a worldwide obsession. Yet too few of us know that shades of falsehood have always run through the mainstream news media. As news organizations double-down in their efforts to shock and entertain, more people than ever before are tuning-out, disillusioned by negative and manipulative news cycles. In Veils of Distortion, John Zada draws on two decades of journalism experience to explain how and why the news has become broken. By depicting our world through a tiny sample of dramatized events that are often far-removed from our experiences, the news warps our picture of reality. What we see is not the world that actually is, but rather a caricature of it: a simple two-toned realm in which dangers and conflicts lurk around every corner. The societal angst that results can make the news a self-fulfilling prophecy, and can turn our minds into prisons of blinkered thought. Zada walks us through the newsroom to reveal these distorting 'veils.' He offers suggestions on how to mitigate the effects of this coarse infotainment, which, if left unchecked will continue to dumb down and polarize our society, causing it to further unravel.
Object Lessons is a series of short, beautifully designed books about the hidden lives of ordinary things. The veil can be an instrument of feminist empowerment, and veiled anonymity can confer power to women. Starting from her own marriage ceremony at which she first wore a full veil, Rafia Zakaria examines how veils do more than they get credit for. Part memoir and part philosophical investigation, Veil questions that what is seen is always good and free, and that what is veiled can only signal servility and subterfuge. From personal encounters with the veil in France (where it is banned) to Iran (where it is compulsory), Zakaria shows how the garment's reputation as a pre-modern relic is fraught and up for grabs. The veil is an object in constant transformation, whose myriad meanings challenge the absolute truths of patriarchy. Object Lessons is published in partnership with an essay series in The Atlantic.
This is the first book in any language about the writing of women in Iran. For centuries any sense that there could be a literary tradition among women was suppressed. Since the middle of the 19th century, however, a number a of pioneering women have defied the traditional order to produce poetry and novels of the highest quality; but many of them have paid for their courage with accusations of immorality, promiscuity, heresy and even lunacy.