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93
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99
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100
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101
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A National Oedipus Complex: Space, Gender, and

Nationalism in Contemporary Palestinian Cinema
ABSTRACT

This thesis deals with the interactions among gender, nationalism, and space in
contemporary Palestinian cinema. The key questions raised have to do with the
reciprocal influences of two salient issues in Palestinian cinema: the national struggle
and womens liberation. How does the national struggle impact the gender struggle?
What gender relationships are constituted by the national narrative? In what way do
national sentiments and family relations influence each other? How is the national
space gendered?
An analysis of dozens of Palestinian films, both features and documentaries,
turned up a recurrent pattern. This pattern can be seen in the cinematographic
approach, the plot, the construction of the space in which the films are set, and the
relations among their various elements. A substantial number of Palestinian films are
based on an Oedipal paradigm that shapes the national narrative and structures it as a
male coming-of-age narrative.
Palestinian cinema focuses on individual families, most of whom live in a
village setting. Because the national narrative is recounted through the experiences of
individual families it is woven on the basis of family relationships. In this tapestry,
family figures represent national elements. The main character in many films is a
young man (sometimes the director himself takes this role, in both feature films and
documentaries) who discovers the injustice that Israel is wreaking on the Palestinian
people and fights against it. He clearly represents the Palestinian people fighting for
independence, and his coming-of-age struggle has Oedipal features. Because he
represents the Palestinian people, this Oedipal structure is projected on the national
narrative. But even in films without a central male character, the Palestinian people
appears implicitly (not embodied in a character) and its struggle for independence
informs the plot.
The thesis traces the stages of the national struggle in Palestinian cinema and
demonstrates how they are the stages of a male Oedipal coming-of-age process. The
first chapter, which considers the identification of the mother with the pre-Oedipal
village, looks at the identification of women with the soil, the image of the bride as
the homeland, and womans role as the mother of the nation. The equation of woman

and the soil works in both directions: not only are women compared to the soil, but
the soilespecially that of the Palestinian villageis imagined as the pre-Oedipal
mother. The vanished Palestinian village is the core of the historical memory of the
authentic Palestinian identity that has been lost. The portrayal of the village as the
pre-Oedipal mother genderizes space and underlies the evolution of the national
narrative as an Oedipal narrative.
Because the land is defined as the mother, the agent who stole that landthe
Israeli occupieris cast as the Oedipal father. The Israeli occupier who stole the
mother (the land) from the son (the Palestinian people) becomes the target of the
conflict. The second chapter addresses the national struggle, which Palestinian cinema
defines explicitly as male. The weak and submissive Palestinian father is depicted as
castrated and feminine. Consequently, the struggle is not against him but against the
Israeli occupier. The battle against the Zionist occupier is strongly associated with a
rebellion against the fathers spinelessness; in other words, the fight against Israel also
embodies a rebellion against the paterfamilias.
Chapter Two also looks at the image of al-Aqsa as a (specious) solution to the
Oedipal conflict. Although the Oedipal conflict is wages against the Zionist occupier,
the latter does not function as a male role model who brings the conflict to its
conclusion, as the father does in Freuds Oedipal family. Palestinian cinema imagines
a mythological Palestinian leadership that can unite the people and lead it to
independencea vision it embodies in the symbol of al-Aqsa. The ideal national
leadership, for which al-Aqsa serves as a metaphor, is indeed an ideal male model, but
remains in the realm of imagination.
This chapter also considers the ways in which the Oedipal structure makes it
possible to repress inner conflicts but also to recover what has been repressed: the
murder of the father, which represents, among other things, a political killingthe
assassination of the current Palestinian leadership. In contemporary Palestinian
cinema, the fulfillment of the Oedipal fantasy has allegorical associations with the
disappointment engendered by the disparity between the ideal leadership imagined by
these films and the anger at the helplessness of the current Palestinian leadership.
In addition to the Oedipal and national model that is unmistakably present in
Palestinian cinema, the films contain another currentan-Other cinemadiscussed
in Chapter Three. This current uses feminist techniques and meanings to deconstruct
the male national unity. Although it is found mainly in documentaries and in films

made in the Palestinian diaspora, it sometimes appears in the same films (features and
documentaries) that present the male-Oedipal model. This other Palestinian cinema
proposes multiplicity in place of unity. It turns a complex critical eye on the whole of
Palestinian society, whereas the Oedipal films merely reject the leadership as
incompetent. Its inward-directed criticism refers, among other things, to the
repression of women and the silencing of distinctive voices in society.
The content and filmic rhetoric of this current deconstruct the male national
unity. It parodies the national symbols, deconstructs the narrative by way of
deconstructing authorial authority, and rejects binary gender and national oppositions.
Although some of these films have a male and Oedipal starting point, they divert the
national effort into the realm of discourse and deconstruct the Zionist and Western
discourses that reject the Palestinian perspective. They do not offer some alternative
monolithic discourse to replace them, but show that these discoursesindeed all
discoursesare texts that exist alongside other texts written from other perspectives.
This discursive deconstruction permits not only a multiplicity of national identities,
but also a multiplicity of individual and gender identities. In this sense, when this
current destroys the phallic principle of unity, it is proposing not only national
coexistence but also a feminist platform.
The study is located at the intersection of many disciplines. It draws on
psychoanalytic theories (Freud and Lacan) and on feminist readings of these theories
(Kristeva, Irigary, Moi, Lewis Herman). Kristevas writings, and in particular her
analysis of the pre-Oedipal relations between mother and infant, are drawn on
extensively. These relations find allegorical expression in the national narrative of
Palestinian cinema. The comparison of the mother of the family to the soil in these
films preserves each family members direct link to the homeland. The bond to the
mother is analogous to the bond with Palestine itself. The lost Palestinian village is
preserved in the national memory as the harmonious source from which the nation
emerges. Contemporary films depict the Palestinians life in the past as one of
symbiosis with nature and with the metaphorical motherthe soil.
In this sense, and in other complex ways, Palestinian cinema preserves
colonialist concepts that distinguish East from West and view the former as authentic
and natural, whereas the latter is artificial and progressive. The present study applies
post-colonial theories in several ways. For example, they are used to show how the
national narrative in Palestinian cinema retains notions employed by the Zionist and

Western discourses to reject its existence. In addition, through the Oedipal narrative
Palestinian cinema preserves elements of the Zionist discourse that are used against it,
such as the demographic conflict. The films based on an Oedipal narrative uphold the
principle of phallocentric, unified male control of space, but seek to modify the
balance of power within itto place the Palestinian man as one who rules from the
top of the tower (in al-Aqsa, for example), instead of the Israeli soldier weighed down
with his phallic accoutrements (his gun) whose gaze pierces through the Palestinians
from the top of a tall structure. In this sense they preserve the principles of Israeli
control (as depicted in Palestinian cinema) while seeking to invert the balance of
power.
The feminist, Other current deconstructs both the Israeli and the Palestinian
phallocentric discourses. It wages the struggle on the field of discourse using a
combination of post-colonial and feminist tools. It offers a multifold hybrid identity
that is a parody of the hegemonic discourse (like Irigarys writing and Butlers
proposal). In this way it neutralizes the principle of the one and of the binary
perspective and offers a third space (to use Bhabhas term).
A substantial part of the filmic models used in the thesis are feminist theories
that relate directly to psychoanalytic writingsthe writing of Mulvey, De Lauretis,
Lubin, and Lesage. Modern cinema theories that study films in post-colonial and
diaspora contexts are used, along with the presentation of the space in cinema. The
notion of space and the human environment arises in geographical texts, too, as well
as in those that deal with the relations between Israelis and Palestinians and were
drawn on for the present thesis. Palestinian texts, including historical and sociological
ones, but especially studies of Palestinian gender, constitute some of the most
important sources for the analysis of Palestinian films in this thesis.
Scholarly study of Palestinian films is still in its infancy. They are discussed in
various works, including some about Arab or Third-World cinema. Only a handful of
books have been written on the topic, including that by Ibrahim and the important
volume by Gertz and Khleifi. To date, only two articles have been written about the
representation of women in Palestinian cinemaone by Gertz and one by Shohat;
both deal with women in Michael Khleifis Wedding in Galilee (1987). As of today,
there are no studies of the representation of women in other films, of Palestinian
masculinity in films, or of the link between gender and nationalism. In this regard, the
present thesis breaks new ground. Not only is it the first to study gender in Palestinian

cinema deeply and comprehensively, it also ties it directly to the national narrative, to
the concept of space and of time and to trauma in modern Palestinian cinema.
For the present study, gender is an integral part of the national identity and,
vice versa, the national identity is inseparable from the constitution of gender identity.
Consequently, any discussion of nationalism without consideration of gender is
unsatisfactory. Uncovering gender meanings casts light on more than just the
representation of women or men in Palestinian cinema. An analysis of the gender
aspect totally changes the picture of the national struggle as presented in Palestinian
cinema and its perception of space. In this respect, the present study does not view
women as a hidden niche alongside the overall national events, a niche worth
uncovering. Rather, as a feminist study, this thesis demonstrates that exposing the
sum total of the gender relations turns the overall (national) picture upside down.
I believe that this study makes a major contribution to the study of Palestinian
cinema. Its arguments related to Palestinian society and to the perception of the
national struggle taking place within it. In this way it contributes not only to the
analysis of works of art but also, and especially, to a more profound understanding of
Palestinian consciousness and identity.
The interdisciplinary combination of diverse theories is fruitful for each of the
separate fields of study. The influence of the theories on film criticism is a two-way
street: not only do the theories serve the analysis of the works, the encounter between
the theories and their particular application in the analysis of Palestinian cinema
enriches our understanding of the theories themselves. Hence the present work
contributes not only to Palestinian cinema studies but also expands and develops the
theoretical texts on which it is based.

Tel-Aviv University
The Lester and Sally Entin
Faculty of Humanities
The Department of Comparative Literature

A National Oedipus Complex:

Space, Gender, and Nationalism in
Contemporary Palestinian Cinema

Thesis Submitted for the MA Degree at Tel-Aviv University

By

Yael Ben-Zvi

This study was carried out under the supervision of

Prof. Nurith Gertz and Dr. Orly Lubin

October 2005