1. I want to thank Dr. Laura Marks at the School of Contemporary Arts at Simon Fraser University, for her help and her valuable insights while writing this paper. [return to page 1 of essay]

2. Reuters, September 13, 2001.

(20 December 2006)

4. http://www.guardian.co.uk/flash/
(20 December 2006)

5. "Earth Presses Against Us" in Unfortunately it was Paradise, selected poems, trans. and ed. by Munir Akash and Carolyn Forche, University of California Press, 2003.

6. http://www.n-k.org.il/public/index.htm (26 December 2006).
[return to page 2 of essay]

7. Ibid

8. http://www.bible-history.com/
(10 January 2007)

9. Deleuze explains this movement from the "agent" to the "seer" as that of the movement from organic descriptions where an object exists independent of the description and this object becomes a source of orientation. This is where the actor is an agent, but when the description stands in for the object, replaces it, here the actor or the character becomes a "seer."(1989, 126)

10. In the Actual and the Virtual, Deleuze uses the metaphor of a falling fruit to describe the emergence of the actual. [return to page 3 of essay]

11. Henri Bergson, Creative Evolution, quoted in Deleuze on Cinema, by Ronald Bogue, Routledge, 2003, p. 21.

Works cited

Bergson, Henri. Matter and Memory. Translated by N. M. Paul and W. S. Palmer, New York, Zone Books, 1991.

Certeau, Michel De. The Practice of Everyday Life. Berkeley, CA: University of California Press, 1984.

Dabashi, Hamid, ed. Dreams of a Nation: On Palestinian Cinema. Preface by Edward Saïd. London: Verso, 2006

Darwish, Mahmoud. Unfortunately, It Was Paradise: Selected Poems. Translated and edited by Munir Akash and Carolyn Forché (with Sinan Antoon and Amira El-Zein), Berkeley: University of California Press, 2003

Deleuze, Gilles. Cinema 2: The Time-Image. Minneapolis, MN: University of Minnesota Press, 1989.

Deleuze, Gilles. Dialogues II. New York: Columbia University Press, 2002.

Gertz, Nurith and George Khleifi. “Palestinian Roadblock Movies,” Geopolitics vol. 10, no. 2, 2005.

Hanafi, Sari. “It Is a War Seeking the Abolition of Territory,” Outlook. Beirut: AUB, vol. 36, no. 4 (October 31, 2007) p.3.

Laplanche, J. and J.-B. Pontalis. The Language of Psychoanalysis. Trans. by Donald Nicholson-Smith with an introd. by Daniel Lagache. New York: Norton, 1974

Marks, Laura. “Mohamed Soueid’s Cinema of Immanence,” Jump Cut 49, 2007

Marks, Laura. The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses. Durham NC: Duke University Press, 2000.

Mitchell, W.J.T. “Holy Landscape: Israel, Palestine, and the American Wilderness. Critical Inquiry 26, winter 2000.

Naficy, Hamid. An Accented Cinema: Exilic and Diasporic Filmmaking. Princeton: Princeton University Press, 2001

Edward Saïd, “Invention, Memory, Place” in Critical Inquiry, No. 26, winter 2000.

Films cited

  • Like Twenty Impossibles (ka-Innana Ashrun Mustaheel). Dir. Annemarie Jacir, Palestine 2003, 17:00, 35 mm.
  • Diary of a Male Whore (Yawmiyat Ahir). Dir. Tawfik Abu Wael, Palestine 2001, fiction, 14:00, Arabic w. English subtitles
  • The Fourth Room. Dir. Nahed Awwad, Palestine, 2005, 25:00, digital video
  • Atash. Dir. Tawfik Abu Wael, Israel, 2004, 110, 35 mm, Axiom Films.
  • Be Quiet. Dir. Sameh Zubi, Palestine, 2004, 19 min., video.
  • Yasmin’s Song. Dir. Najwa Najjar, Palestine, 2005, 19 min, DigiBeta.
  • Ford Transit. Dir. Hani Abu Asaad, Palestine, 2002, Betacam, 80 min.
  • Looking Awry. Dir. Sobhi al-Zobaidi, Palestine, 2001, Betacam, 30 min.
  • My Very Private Map. Dir. Sobhi al-Zobaidi, Palestine, 1998, Betacam, 22 min.
  • About the Sea, Dir. Sobhi al-Zobaidi, Palestine, 2006, BetaCam, 9 min.

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