By F. Laviosa
This provocative assortment elaborates a trans-cultural definition of being a girl in fight. the movies of ladies administrators in international locations within the Mediterranean rim, this booklet spurs a modern dialogue of ladies s human, civil, and social rights whereas situating feminist arguments on ladies s id, roles, psychology and sexuality. even though their methodologies are assorted, those artists are united of their use of cinema as a way of intervention, taking up the function as outspoken and top advocates for girls s difficulties. members learn the ways that cinematic paintings reproduces and buildings the discourses of realism and represents Mediterranean ladies s collective event of fight.
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Extra resources for Visions of Struggle in Women’s Filmmaking in the Mediterranean
The opening scene of My Land Zion establishes the film’s ideological tone. 15 She is wearing shorts and sports shoes and holding on tightly to the heavy and noisy lawn mower. Despite her contemporary attire, her image recalls the mythical image of the Zionist woman pioneer, the new Jewish woman (who actually appears in some of the archive footage used in the film). It is the image of a physically very strong and active woman literally occupied with the occupation of the land. This personal act of reclaiming the land, Cohen-Gerstel’s variation on the Palestinian Sumoud, assumes the symbolism associated with possessing and conquering the land, so typical of Zionism from its early beginnings.
Laviosa concludes her chapter explaining that men themselves are victims of social beliefs and cultural traditions as their families put the burden and pressure of committing the murder onto them. The contributors to this book discuss experiences of abuse, trauma, death, and atrocities against women, through the works of women directors who foreground private accounts of suffering and articulate global manifestations of violence. This book is an open-ended text with multiple entry points and pathways, it also constitutes an unmediated “working through” women’s collective testimony without providing answers, suggesting solutions, or attempting to give closure to the gender-based problems raised and the human rights violations discussed.
Mihyi is left “without biography or history” (Gold 2007, 97), with neither his personal biography nor the history of his people. Even the 10 Yosefa Loshitzky fact that Mihyi is not a Palestinian but an Iraqi who was mobilized into the Palestinian cause is not sufficient to motivate her to further explain and explore his life. ”14 Whereas My Terrorist might be characterized as an unusual personal story that brings into relief the crisis of Cohen-Gerstel’s questioning of her naïve belief in Zionism, My Land Zion’s emphasis is more on the relationships with the physical land, creating an interesting, though problematic, version of Israeli Sumoud (an Arabic word describing the Palestinian principle of stubborn and steadfast clinging to the land).