Refracted Filmmaking in Muhammad Malasâs The Dream and Kamal Aljafariâs The Roof
In: Middle East Journal of Culture and CommunicationSearch for other papers by Nadia Yaqub in
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This article analyzes two films, The Dream (Muhammad Malas, 1987) and The Roof (Kamal Aljafari, 2006) to define a particular mode of filmmaking. By avoiding direct representations of violence and employing what I call refraction, filmmakers create experiences for viewers that make agential understandings of particular Palestinian times, places and experiences possible. Through refraction, filmmakers refrain from providing new information or explanations, but rather create for spectators a new experience that leads to an affective understanding of a circumstance or event. Refraction can encompass different forms of counter-hegemonic practices. It can deconstruct or queer dominant discursive practices. Through refraction filmmakers can circumvent the discourse of claims-making that viewers have widely come to expect in the Palestinian context, instead creating a point of encounter through which characters and viewers can meet on the basis of equality.
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| All Time | Past 365 days | Past 30 Days | |
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| Abstract Views | 412 | 60 | 8 |
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Refracted Filmmaking in Muhammad Malasâs The Dream and Kamal Aljafariâs The Roof
In: Middle East Journal of Culture and CommunicationSearch for other papers by Nadia Yaqub in
Current site
Google Scholar
PubMed
This article analyzes two films, The Dream (Muhammad Malas, 1987) and The Roof (Kamal Aljafari, 2006) to define a particular mode of filmmaking. By avoiding direct representations of violence and employing what I call refraction, filmmakers create experiences for viewers that make agential understandings of particular Palestinian times, places and experiences possible. Through refraction, filmmakers refrain from providing new information or explanations, but rather create for spectators a new experience that leads to an affective understanding of a circumstance or event. Refraction can encompass different forms of counter-hegemonic practices. It can deconstruct or queer dominant discursive practices. Through refraction filmmakers can circumvent the discourse of claims-making that viewers have widely come to expect in the Palestinian context, instead creating a point of encounter through which characters and viewers can meet on the basis of equality.
| All Time | Past 365 days | Past 30 Days | |
|---|---|---|---|
| Abstract Views | 412 | 60 | 8 |
| Full Text Views | 255 | 17 | 1 |
| PDF Views & Downloads | 108 | 36 | 2 |
