Response for 11-23

Richard Porton, “Notes from the Palestinian Diaspora”

1. Based upon the interview as a whole, summarize Suleiman’s perspective on nationalism, both in terms of Palestinian identity and the concept of Zionism.

He says he’s Palestinian. Now if Israel accepts Palestinians in government positions and the state is called Israel, he says he would be Israeli. It doesn’t matter to him whether he’s Palestinian or Israeli, but as long as religion and radicalism is a norm in Israel, he’ll stay a Palestinian because they are who he identifies with most.

2. Also summarize Suleiman’s perspective on storytelling and film style. Which filmmakers does he tend to identify with, and why? Which filmmakers does he not identify with (including other Palestinian filmmakers) and why?

He likes Bressen, Ozu and Hou because of their self-reflexive manner of filmmaking. But he’s “indifferent” to Khleifi or Chahine because their films are just not as interesting to him.

Gertz and Khleifi, “Between Exile and Homeland”

3. What are some of the essential differences between Sulieman’s two feature films, Chronicle of a Disappearance and Divine Intervention, and what had changed in the Israeli/Palestinian conflict between the release of the two films?

The first film has implicit violence/passivism and the second has explicit violence. Chronicles of a Disappearance uses more indoor spaces of homes; while in Divine Intervention, the home is mostly removed from the film. Divine Intervention also uses more Palestinian symbols. In between the release of the two films little has changed for the Palestinian people as promised by the Oslo Accords, in fact things have become worse for the Palestinians.

4. What is Suleiman’s position on showing violence (or the aftermath of violence) in the cinema? How does his position relate to our discussion of the end of Waltz with Bashir?

He no problem with violence in the cinema, but doesn’t like real violence. There’s violence all around in Israel/Palestine, so it’s something everyone is used to and deals with daily.

5. How does Suleiman use images and symbols common to Palestinian culture and Palestinian cinema in unique ways in Divine Intervention?

He uses them in ways to envelope pride and patriotism for the Palestinian people. One example is the “Ninja” scene where symbols like the kaffryah, a gun, hand grenades, a map of Palestine, and a Crescent Moon and Star are all used to show Palestine’s struggle and to induce thoughts of pride in one’s people.