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A queer and cartographic exploration of the Palestinian diaspora in Randa Jarrar’s A Map of Home (2008) and Him, Me, Muhammad Ali (2016)

, the double orientation in Jarrar’s work ultimately complicates its effect. As she intimates: ‘One of my hopes as I was writing [ A Map of Home ] was for its audience to be both Arab and non-Arab; for it to work with both camps’ (Albakry and Siler, 2012 , p. 119). Jarrar’s writing is simultaneously meant to ring familiar to Arab readers, to disorientate both Arab and non-Arab readers unfamiliar with issues of sexual dissidence, and to generate readerly empathy for the queer Muslim diasporic subject of Palestinian heritage. It needs to be

in Queer Muslim diasporas in contemporary literature and film
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Blier’s ‘second career'

about self in the third person), and dramatic enactment. In Merci la vie the layering concept disorientates the spectator: we have a sense that we are watching a film within a film, but even this film seems to be part of another temporal and spatial mode. Here, the episodic dramatic situations of the earlier comic work are superseded by techniques of fragmentation and abstraction: movement between colour and black and white

in Bertrand Blier
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High epic style and politicising camp

feminine. She shows that there is more space between feminine and masculine gendered identities than we might think; there is space for more, for a greater range of gendered identities. She signifies the fluidity of sexual characteristics because she holds them together in one performance. As such she disorientates. The female androgyne does not simply dress as a man. She performs androgyny – an in

in The films of Luc Besson
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183 plotlines of his films suggest the style as of a piece with a notion of the world as alienating and threatening. The style is meant precisely to disorientate us. Later films are smoother at a time when the commercial vein had been found wanting. This, too, might arguably function as a form of cinematic dissidence in that breaching the divide between cine social and more commercially orientated genres problematises an over-simplistic divide between Spanish, European and Hollywood cinemas. Many Spanish directors do in fact utilise different genres and styles

in Daniel Calparsoro
Interstitial queerness and the Ismaili diaspora in Ian Iqbal Rashid’s poetry and films

wavelengths provided by diasporic and global histories, to the disorientations and reorientations involved in queer relationships across ethnic divides. It is these connections across ethnic and generational lines that will claim our attention in the forthcoming pages. Rashid was born in Dar es Salaam, Tanzania, in 1965 to Ismaili Muslim parents of Indian heritage. His family left Tanzania in 1970, unsuccessfully seeking asylum in London. They eventually settled in Canada. Rashid grew up in a majority white and violent suburb of inner-city Toronto

in Queer Muslim diasporas in contemporary literature and film
Historical cinema in post-Franco Spain

complexities of the novel are replaced by a conventional chronological order of events in the film. These alterations align Camus’s film with a classic narrative model, prioritising a simplifiednarrative coherence over some of the essential qualities of Cela’s original. Here, spatial and temporal fragmentation and disorientation and the hive-like existence of post-war Madrid inscribe a strongsense of

in Contemporary Spanish cinema

­– ­ ­ sometimes, disorientated­– ­ participant in the essential strangeness of both the foreign and the familiar, new landscapes and cities, experiences, and people. Like Chris Marker, he admired Robert Musil’s unfinished trilogy of novels, The Man Without Qualities­/Der Mann ohne Eigenschaften (1930–42), citing on one occasion­– t­ ellingly­– a­ remark in the novel that ‘we are motivated both by a strong desire to meet and make contact, and at the same time by an absolute horror of meeting someone else’.12 Locating places where art and documentary converge enabled Van der

in Regarding the real
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’ – or somesuch. It is also sadly true that not many years later it would have been considered important to show Letty arriving in town and crossing towards the front doors of the hotel. By first showing Roddy ambiguously – at the start we only see his back – Sjöström sustains the disorientation established in the first shot, and uses it to support the dramatic tension of the moment suddenly revealed in

in Film editing: history, theory and practice
The exposition scene in Buffy

uninterrupted, as well as for the first kiss between Tara and Willow to have its full force open to it. Not only this, though, but having Xander and Anya arriving from outside allows Whedon the chance to play with the interior and exterior in a fashion that hints at, even if it does not replicate, Buffy's perusal of the outside ‘real’ world during her confusion and disorientation in Act 1. The final shot of Act

in Joss Whedon

, ‘Hélène’s apartment is a masterpiece of disorienting space’ (Bersani and Dutoit 1993 : 190). Alienation and disorientation are captured too through Hélène’s actions and her restlessness. As the screenplay spécifiés: ‘Hélène ne s’arrêtera de bouger, d’aller et de venir. On va la sentir mal à l’aise, elle s’occupe, se perd dans mille gestes, se trompe, revient comme si elle avait oublié quelque chose

in Alain Resnais