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Representation of Terror and Terrorism in Two Arab Films

Paradise Now (2005) by Hany Abu-Assad and Horses of God (2012) by Nabil Ayouch

Datos Bibliográficos

ID21728909
AutoresMustapha Hamil (0000-0003-2236-5302, Purdue University West Lafayette, autor de correspondencia)
Año2021
Volumen23
Número3
Fecha de publicación2021-10-11
Peer ReviewedSí
Open AccessSí
TipoARTICLE
RevistaCLCWeb Comparative Literature and Culture (JOURNAL)
Identificadores de la revistaISSN: 1481-4374 • E-ISSN: 1481-4374
EditorialPurdue University (bepress) (PUBLISHER)
DOI10.7771/1481-4374.3587
OpenAlexW3205339320
IdiomaEN
Referencias citadas8

Middle Eastern violence and terrorism are not novel subjects in world cinema, especially American cinema. The Arab or Muslim other in these films is always presented as someone who epitomises a culture of violence, directed mostly against innocent civilians. Against the backdrop of Hollywood’s stereotypical representation of Middle-Easterners as advocate of indiscriminate terror and terrorism, Arab filmmakers have turned in recent years to the representation of terror and religious extremism. Paradise Now (Abu Assad 2005) and Horses of God (Ayouch 2012) address the controversial issue of suicide bombing with the same motivation: to examine the choice of suicide bombing within its immediate socio-economic and politico-religious milieu. Both works have raised eyebrows in the Arab world as well as in the West as to their unorthodox cinematographic representation of terrorism. For a reason. Both films tend to demystify the idea of martyrdom while still granting the suicide bombers their humanity

Ancient history · Archaeology · Art · Art history · Criminology · Hollywood · Humanity · Islam · Literature · Movie theater · Paradise · Political science · Politics · Sociology · Terrorism · History · Jewish and Middle Eastern Studies · Law · Middle East Politics and Society · Philosophy · Religious studies · Terrorism, Counterterrorism, and Political Violence

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Velocidad de citaciónhistorical
Altamente citadoNo
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