Fabrics of Dislocation-Reference-Cited by-同舟云学术

Fabrics of Dislocation

Published:2017-01-01 Issue:1 Volume:3 Page:103-139
ISSN:2373-7492
Container-title:Feminist Media Histories
language:en
Short-container-title:

Author:

Schaber Bennet

Abstract

This photo essay is an attempt to register the complex political valences of certain shared formal preoccupations in the cinematic, photographic, videographic, and new media works/interventions of Shirin Neshat, Lalla Essaydi, Mona Hatoum, Ana Lily Amirpour, Amina Sboui, and Nadia El Fani. What is contested here is the so-called readability of images, especially those by Middle Eastern women, as these coalesced during the late colonial and postcolonial periods and as they continue today. The “photo-grams” that constitute the essay function neither as illustrations nor as counter-readings, but as frames of a lost or imagined film these filmmaker-photographer-new media activists might have made—despite or perhaps because of their political-geographical-temporal dispersion—as a kind of collective.

Publisher

University of California Press

Subject

History,Gender Studies

Link

http://online.ucpress.edu/fmh/article-pdf/3/1/103/273030/fmh_2017_3_1_103.pdf

Reference30 articles.

1. Fatima Mernissi, Women's Rebellion and Islamic Memory (London: Zed, 1996), 1–2.

2. The vocabulary is drawn from Gilles Deleuze, “Having an Idea in Cinema,” trans. Eleanor Kaufman, in Deleuze and Guattari: New Mappings in Politics, Philosophy, and Culture, ed. Eleanor Kaufman and Kevin Jon Heller (Minneapolis: University of Minnesota Press, 1998), 14–19.

3. Pierre Bourdieu, Picturing Algeria, foreword by Craig Calhoun (New York: Columbia University Press, 2003), xvi.

4. Ibid.

5. James C. Scott, Seeing Like a State (New Haven, CT: Yale University Press, 1998), 2. Today, nearly two decades after Scott's important conceptual accomplishment, we would need to add that legibility now extends beyond the visible itself into the real-time reading and sifting of global data flows.