‘Are we on the same wavelength?’
Interstitial queerness and the Ismaili diaspora in Ian Iqbal Rashid’s poetry and films
in Queer Muslim diasporas in contemporary literature and film
Abstract only
Get Access to Full Text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Access Tokens

If you have an access token for this content, you can redeem this via the link below:

Redeem token

This chapter examines the poetry and film of Canadian Ismaili Ian Iqbal Rashid. It argues that Rashid’s debut feature film, Touch of Pink (2004), queers the heteronormative genre of the Hollywood romantic comedy while focusing on an underrepresented community, namely the East African Ismaili diaspora in Canada and Britain. The chapter suggests Rashid’s characters are placed at the interstices between Ismaili traditionalism, colonial and postcolonial modernity, and diasporic postmodernity. It begins with an analysis of Stag (2002), a short film resonating with Rashid’s poetry, and its critique of the lingering legacies of colonialism in postcolonial Britain. It also analyses Rashid’s first short film, Surviving Sabu (1997), arguing that it rehearses a building of bridges between two generations of diasporic Muslims. Lastly, it undertakes a reading of Touch of Pink suggesting that it constructs migrant Muslim women as less imperviously traditional than Muslims brought up in the West would want us to believe. It is argues that Alim, the film’s protagonist, needs to outgrow the constraining colonial legacies of Western film, while his white British boyfriend Giles is required to become attuned to the cultural distinctiveness of Alim’s experience as a member of an ethno-religious minority.

INFORMATION

TABLE OF CONTENTS
METRICS

Metrics

All Time Past Year Past 30 Days
Abstract Views 50 50 8
Full Text Views 15 15 0
PDF Downloads 3 3 0
RELATED CONTENT