RCL — Revista de Comunicação e Linguagens Journal of Communication and Languages N.53 (2020) ISSN 2183-7198 - - - - 73 (the (the (2013). Drawing (2013). Drawing

ence of Palestinians within Israel in terms of Israel’s being of Israel’s in terms within Israel ofence Palestinians of of the ‘becoming-Palestinian’ the spectre by haunted le This is both a historical to an allusion the Israeli-Arab. 1950 Law Knesset’s (the of absence condition present gal but also articulates—this Property), of Absentee article of cine the claims—anhauntology/ontology emerging argues article in Israel.This ofPalestinian the image matic is Israel in cinema of Palestinians the contemporary that disjoint temporal essentially a cinema of ghosts, where the disturb constantly displacement and spatial edness the haunting from formation; identity of national project Palestinian where Kamal Aljafari, of work in the of Jaffa director of Israeli re-inscribed are the work onto ‘ghosts’ and Arab between the ghostly lacuna to Golan, Menahem Ana Amos Gitai’s haunts which ArabiaJew a alongside notion of ‘the spectral’, Derrida’s on Jacques al-dakhil Said termed Edward of what analysis critical as interiors Palestinian examines the article interior), , the Studies Palestine of with the Journal interview In a 2003 of revenant the spectre the Elia Sulieman evoked director the pres explaining when back) coming by appears (which — Abstract ROBERT GEORGE WHITE GEORGE ROBERT Independent Scholar [email protected] ROBERT GEORGE WHITE GEORGE ROBERT Fantasmas sob a superfície: Os restos e e sob a superfície: Os restos Fantasmas Interior do no Cinema espectros Palestina da Ghosts beneath the surface: beneath surface: the Ghosts and revenants Remnants of Palestine in the Cinema Cinema in the of Palestine of Interior the RCL — Revista de Comunicação e Linguagens Journal of Communication and Languages N.53 (2020) ISSN 2183-7198 ------74 (o haunted sites. The article contends that from within these within from that article contends The sites. haunted refuse tostubbornly remnants cinematic Palestinian sites, has which on the State acting back and be haunting buried, them. repress to attempted | Said | binationalism | Edward Derrida | Jacques Spectre cinema palestinian Palestine of o Journal com 2003 de Em uma entrevista - fan do o espectro Elia Sulieman evocou , o diretor Studies de a presença ao explicar voltando) aparece tasma (que seras Israel de em termos Israel de dentro Palestinos Árabe do Palestino’ ‘devir- do espectro pelo sombrado legal a uma condição uma alusão Isso é tanto -Israelense. - Au Lei Propriedade de (a ausênciade presente histórica 1950), de Knesset sente mas também do articula — afir- emergente / ontologia artigo — uma hauntologia ma este Este Israel. em Palestino do cinematográfica imagem da Pa dos que contemporâneo o cinema artigo argumenta fantas é essencialmente um cinema de em Israel lestinos es e o deslocamento temporal a desconexão mas, onde formação de pacial perturbam o projeto constantemente na Jaffa de assombração a desde nacional; identidade da são Palestinos “fantasmas” onde Aljafari, Kamal de obra Golan, Menahem Israelense diretor do na obra reinscritos que assom- e Judeus Árabes entre espectral a lacuna até o conceito (2013). Usando Gitai Amos de Arabia Ana bra a com em conjunto Derrida, Jacques de espectral” “o de al-dakhil Said chamou que Edward análise do crítica como palestinos os interiores o artigo examina interior), des O artigoquedentro afirma de locais assombrados. tei- Palestinos cinematográficos remanescentes ses sites, e assombrando se a ser enterrados, mosamente recusam reprimi-los. que tentou ao Estado volta de agindo Said | binacionalis | Edward Derrida | Jacques O Espectro mo | cinema palestino — Palavras-chave — Keywords — Resumo ROBERT GEORGE WHITE GEORGE ROBERT RCL — Revista de Comunicação e Linguagens Journal of Communication and Languages N.53 (2020) ISSN 2183-7198 - - - 75 represents in the represents 2 , claiming of the revenant: “One “One of revenant: the claiming , , the Nazarene director Elia Sulei- director , the Nazarene Specters of Marx , is, I argue, crucial to understanding how the how crucial understanding to , is, I argue, 3 The need for observation, claims Suleiman, stems claims observation, The need for 1 . Introduction Spectres of Partition, spectres of Binationalism: Binationalism: of spectres Partition, of Spectres Interior the of Cinema the Situating it either as cinema of resilience Cinema frames on Palestinian scholarship Existing .” (Derrida 1994, (Derrida 11). .” back because by coming it begins and goings its comings control cannot The Time That That Time film The later of Suleiman’s and the subtitle within Israel of condition Palestinians A historical-legal Remains in temporality disjointed this on insistent is Derrida Jacques Chad Emmet (1995, 64) notes that Nazareth received a lesser classification than Nazareth Illit in an Israeli Israeli Illit in an Nazareth than a lesser classification received (1995, Nazareth Chad Emmet that 64) notes and in both development a disparity industrial to led which investment, capital passed stimulate to Law rates. unemployment

nomically—with the city overlooked by its Jewish neighbour, Nazareth Illit, and both Nazareth neighbour, its Jewish by nomically—with the city overlooked the state. by and neglected watched Divine Intervention Divine about his film interview In a 2003 man describes the oppressive pressure of his home city, Nazareth. As the largest Arab Arab As the largest Nazareth. of city, his home pressure the oppressive man describes with- enclave as an enormous Palestinian essentially the city exists Israel, city within eco and both architecturally reinforced is status enclave-like This state. Israeli the in and struggle for national self-determination (Gertz and Khleifi 2008,135), cine and Khleifi (Gertz a national self-determination national for and struggle - destabi politics, one which articulates a spectral Israel inside cinema of Palestinians to which, as that and Jew the ghost of counterpart Arab back bringing by lises its Israeli (2012, as such, is un- within the other and, Darwish Mahmoud 52), dwells paraphrase about what might go in Israel Palestinians how cinema also This indicates partitionable. the State’s and resisting as “producing to themselves” Said (1986, refers 108) Edward The politics of haunt culture. of in Israeli Arab-ness them and traces erase to attempts of characteristic is which of Palestine-Israel, space cinematic liminal the in work at ing will be the focus of this article. of the Interior’, the ‘Cinema I will term what 2014) or with renewed (Tawil-Souri territory from decoupled ma as a structure of feeling is ofthese lack each What 2018). (Yaqub Revolution focusof on the cinema the Palestinian work at consciousness territorial and spatial of a in the significance engagement a critical of the exception With the notable in Israel. zonein the liminal cinematic of Palestinians and Israel the cinemas of Palestine (2008), Friedman and Yael (2010) Shohat of Ella work 3 1 2 ROBERT GEORGE WHITE GEORGE ROBERT Israeli psyche. Unlike the Occupied Territories, where the dynamics of oppression and dynamics of the oppression where Territories, the Occupied Unlike psyche. Israeli - the “psychologi to refers Suleiman (2003, 70) overt and hyper visible, are resistance a creating Israel, in Palestinians internalised is by that occupation and economic” cal Suleiman leads of this condition pressure The unsustainable ofcondition invisibility. - noun ‘Israeli-Ar within the proper of Palestinian the former the revenant conjure to ‘Arabs’ their that the fear by haunted this. They are knows “Israel he claims when ab’, a coming (Ibid, 71). This notion of revenance, again” become to ‘Palestinians’ going are back being begins coming into by that from the perpetual haunting that the figure the perpetual the present-absentee of the figure from that haunting RCL — Revista de Comunicação e Linguagens Journal of Communication and Languages N.53 (2020) ISSN 2183-7198 - - - - 76 Israel and Palestine.” and Palestine.” Israel visual field (Hochberg 2015) is, I argue, neglect 2015) is, I argue, (Hochberg field visual one by either the omission of omission a sustained discussion either the one by of the speci- , which traces the pathology of partition, of the pathology continued legacy the traces 181 , which Route , where she (2007, 1) highlights a short story by Orly Castel Castel a short 1) highlights Orly by story (2007, she , where Partition of Spite In The question of partition, which Gil Hochberg (2007) engages with in cultural with in cultural engages (2007) Hochberg ofThe question partition, Gil which This issue of in the Israeli haunting - opens Hoch Gil memory which subterranean of this logic haunted, is precisely It Binationalism as a progressive, culturalist approach to moving beyond the cul-de-the beyond moving to approach culturalist a progressive, as Binationalism Palestine-Israel of imagination cultural haunted The ruins—whichby the an underworld and ghosts by haunted trope ofThe a surface terms, refers most explicitly to a historical event, or rather its failure; that is, UN Res UN is, that failure; its event, rather or historical a to explicitly most refers terms, have long been thought in opposition—with little attention paid to cinema in what Shohat Shohat been opposition—with in long thought in what cinema paid to have attention little (2010: 271) “the terms zone liminal between olution 181, the 1947 partition plan which failed to establish two states from Mandate Mandate from states two establish 181, to olution the 1947 failed partition which plan 2004 Sivan’s Eyal and Khleifi The ghost of this partition line informs Michel Palestine. documentary political and cultural attempts to partition Palestine-Israel. It is precisely this continued this continued is precisely It partition to attempts Palestine-Israel. political and cultural Israel. in of Palestinians space the cinematic haunts I argue that legacy berg’s berg’s of the bench a young appears under woman Arabic-speaking an elderly in which Bloom, - the postcoloni runs through which ofsac the two-state solution is a unifying thread Bartand Moore-Gilbert Shohat Ella Said, filmmaking the and of oftheory al Edward - and con Aloni, and Elia Suleiman. The defeats Udi Amos Gitai, Mer-Khamis, Juliano and Likud under government ofIsrael’s intransigence the with along of Oslo, cessions one- an emergent to contributed have Gaza in riseand the of Islam political Netanyahu of the pessimism Between model. nation-state of a Westphalian thinking outside state as being Suleiman (2016) both that uto quo, and the idealism the status acknowledges cinema, beyond repress)—extends least at (or exorcise to politics of tries the present As such, it of Palestine-Israel. imagination cultural the broader throughout recurring some explication. brief requires ed in the Palestinian future. the from haunts tionalism which Moore-Gilbert that (2018) Habiby ofEmile the ‘pessoptomism’ lies pian and necessary is thinking Such state. democratic ofthinking binational, a culturalist his in endorses with activists however, cinema in theory and contemporary a tendency to not limited the endorsing Artema Ahmed Abu (2018) in Gaza to Aviv in Tel (2018) Hafawi Yoav from remains, of stasis Palestine/Israel the political While state. democratic of a single, idea approach points a critical to level, a grassroots activism at its cinema, and increasingly of partition. political project the continued to ficity of place in Palestinian filmmaking in Israel (Gertz & Khleifi 2008, Tawil-Soury (Gertz 2008, & Khleifi Israel in filmmaking Palestinian in ficity place of Israel in filmmaking Palestinian on 2014) focus on production contexts or an explicit of nature the double examining by this gap article will address This 2010). (Friedman past, the from haunts of and of is, the spectre partition bina this haunting; that which ROBERT GEORGE WHITE GEORGE ROBERT RCL — Revista de Comunicação e Linguagens Journal of Communication and Languages N.53 (2020) ISSN 2183-7198

4 - - - 77 the ruin is a key feature of feature is a key the ruin 1948. A psychiatric hospital, Kfar Shaul, now lies on the site of the on the site lies Shaul, now Kfar hospital, 1948. A psychiatric th (1974), in which the cave beneath the ruined village of Tanturah lies a family a family lies of Tanturah the ruined village beneath the cave in which (1974), By evoking the ghosts of Deir Yassin, Darwish articulates the inability to lay to rest rest to lay to the inability articulates Darwish of the ghosts Deir Yassin, evoking By We became the ghost of a murdered man who pursues his killer asleep or awake or on the or awake asleep his killer pursues man who became ghost of the a murdered We and of sleeplessness, and complains so he is depressed that the two, between borderline the consciousness occupies of but the ghost expands, (…) yet?’ out, they not dead cries Are 47) 2010, him mad. (Darwish till it drives the killer (2010), one of the final works by Palestinian poet MahmoodDar- Palestinian poet by works one of the final (2010), Presence Absent former village. former Deir Yassin was a Palestinian village near Jerusalem, which was depopulated and the site of a massacre by the by of a massacre and the site depopulated was which Jerusalem, near village a Palestinian was Deir Yassin 9 on April group, a ZionistIrgun, paramilitary

as a metaphorical ghost which haunts the contemporary political project of Zionism, project political the contemporary haunts ghost which as a metaphorical and sleep between in the lacuna dwells of this ghostly memory which writes Darwish be to exorcised: refusing wakefulness, the ghosts of the past which haunt the Israeli imagination. Indeed, a fictionalised ver- a fictionalisedimagination. Indeed, the Israeli haunt the ghosts of the past which Aloni’s is the setting of Udi of Deir Yassin on the grounds hospital of sion the psychiatric 4 Israeli woman, insisting on their kinship, which the young woman denies, doubting the the doubting denies, woman young the which their kinship, on insisting woman, Israeli the defines which and Arabic Hebrew between The slippage of encounter. the reality repressed a as surface the beneath dwells that figure haunting the with along encounter, of partition. topography A key psycho-spatial the traumatic hints at memory, traumatic within The cave trope of this is the subterranean. literary title The forms. in various a series of back by ghosts coming throughout wish, is haunted historical-le This within Israel. of Palestinians condition the juridical to itself alludes The Secret Life of Said the Pes the Said of Life Secret The in Israel, life of Palestinian novel ironic Habiby’s Emile soptomist engaging figuratively more itself is something ofa Macguffin, The treasure treasure. In cinematic within Israel. Palestine of historic the remnant locate to Said with a quest emerges Palestinian of the the figure of where a site mark ruins or caves representation, of this examples consciousness, notable with of memory 1948 repressed as a in Israeli examples two The latter Jacir. and Annemarie Aljafari Aloni, Kamal of Udi in the work will be in this article. analysed 1948, after the 1950 with Proper of Absentee - in the years Law emerged condition gal the 1948 but found during war left their villages who Palestinians This determined ty. ab but legally within the state, as corporeally present state, within the new themselves particu has identified, (2002, 10) - Cohen para. of origin, as Hillel sent their place from the poem evokes Darwish’s the case of Galilee. exclusively—in no means larly—but by past that of a Palestinian and invisibility and visibility presence and of absence interplay because of precisely of logic Zionism, very this in the cultural yet invisible is rendered of Deir Yassin the history evokes which passage be In a long cannot buried. negation, ROBERT GEORGE WHITE GEORGE ROBERT RCL — Revista de Comunicação e Linguagens Journal of Communication and Languages N.53 (2020) ISSN 2183-7198 - - - - 78 - (‘in the exteri (2013). These films in ” This haunting absent presence is particu presence absent ” This haunting - —the interior—will inform my reading of what I term I term —the of what interior—will reading inform my , and thus witnessed the interior vi- witnessed thus and , interior the Sky Last the After , which translates as ‘from the interior’. This interior interior This interior’. the as ‘from translates which , of 1948, according to Gil Hochberg (2015), puts the ghost Hochberg Gil to of 1948, according (the interior)—is required. interior)—is (the min al-dakhil films (the Cinema of the Interior), particularly the ghostly structures that particularly that the ghostly structures Cinema (the of the Interior), films (2006), which tells of the disquiet stemming from repressing the ghosts of the ghosts repressing from stemming of disquiet the (2006), tells which catastrophe) (literally, ‘Interior’ Palestinian haunted the and presence absent Said, Edward Said speaks of Pales , Edward Sky Last the After photo-essay, In his collaborative inte the within inside and outside between distinction any maintaining Said, For en- to unable he was Said, since for particularly pronounced was This exclusion of partition reading the project haunt in a close be will examined The ghosts which al-dakhil Forgiveness of Palestinian the amnesia with them. This cultural than reconciling the past, rather Nakba oftime the writing at Israel ter within this cinema and articulate its politics. the by This politics is conditioned dwell - a contem occasions which presence’, of ‘absent status historical-legal aforementioned of the al-da language in the cinematic visible displacement of ontological trace porary AnaGitai’s and Amos trilogy Arabia ‘Jaffa’ Aljarfari’s of Kamal at the threshold of visibility/invisibility, a haunting presence through its continued ab continued its through presence haunting a of visibility/invisibility, threshold the at (2015, Hochberg “is 38) erased seemingly of writes Nakba 1948, effect of the The sence. field visual Israeli the into way its finds nevertheless and yet eyes, Israeli from or hidden of visible presence as a haunting invisibility. some analysis Therefore, Israel. within in the liminality of Palestinians prevalent larly Said Edward Israel—what within Palestinians of the specificity subjectivity of of the (1986, 51) al-dakhil terms experience tinian to refers sense, it geographical in a tangible Firstly, ways. itself in different manifests changed as Said such those in exile from as viewed status in Israel—whose Palestinians (Said 1986,privileged” “still, different, but 51)— to sense” in a pejorative “different from of those and the status fil-kharij ebbed nationalism ofas the tide Arab a is, sense, that psychological more a in or’)spatial is secondA meaning diminished. ofbeing an experience on the collective, is that interiority linguistic and psychological occupied and in- some to extent “always a space in the interior, dwelling while outside of chapter entire an (Ibid, 53). dedicates Said and Arabs” others—Israelis by terrupted an outsider of this condition being rendered exploring —‘Interiors’—to Sky Last the After within the inside. - but also exclud a perpetual to of insecurity; leads state rior both one is hemmed in by, “the that structure claiming by he articulates which you surrounds which that ed from feeling is an affliction, like that being is a privilege inside that is such situation of your (Ibid, 53) own.” the househemmed in by you affliction’ thinking of the ‘privileged Said’s photographs. Mohr’s Jean through cariously of al-dakhil is the experience that the it. outside and held apparatus within the state both caught directors, khil ROBERT GEORGE WHITE GEORGE ROBERT RCL — Revista de Comunicação e Linguagens Journal of Communication and Languages N.53 (2020) ISSN 2183-7198 - - 79 —a technology, in technology, Arab al-dakhil Arab , Derrida (2002, 120), Derrida by bringing back the Palestinian revenants revenants the Palestinian back bringing by Recollection The technology of the cinema, which Aljafari utilises extensively through digi- through utilises extensively Aljafari of the cinema, which The technology (2006) Roof in The Haunting Architectural (2006), complex some of Roof unpacks the subjective The feature, first Aljafari’s Kamal Aljafari’s ‘spectral’ Jaffa: Jaffa: ‘spectral’ Aljafari’s Kamal Politics to Spectral Uncanny Architectural the From (2006), Port Roof of Memory The features, recent most three Aljafari’s Kamal Derrida will evoke the cinematic in a definition of the spectre as that “which one spectre as that “which in a definition of the the cinematic will evoke Derrida , to a spectral politics which ‘ghosts’ the political and aesthetic consciousness of aesthetic and political the ‘ghosts’ politics which spectral a to , tal editing, as an inherently spectral apparatus is developed as an idea extensively by by extensively idea an as is developed apparatus editing,tal spectral inherently an as in both (2002, content spectrality cinema to 2015) connects Derrida Derrida. Jacques he (2015, 26)which a distinction be ‘must insists itself, and the structure of the image but also Cinema as a medium is both haunting a haunted distinguished.’ captured in the margins of the frames of Israeli cinema. of Israeli of the frames in the margins captured - sense. Draw in a Bazinian image, the moving time and ‘embalm’ arrest to its capacity Ogier in Ghost Pascale Dance of watching ing on the experience observing and watching, revenant, of the cinematic gaze’ the ‘dissymmetrical to refers of In Specters the gaze. return is conscious to who of being unable the viewer surveying Marx projects—on 1994, (Derrida see” is nothing to there 125). an imaginary screen where In of light, projection a cinema itself is a through of death an index preserve to its ability of the digital possibilities of in Port will exploit Aljafari an apparatus apparatus, spectral present. the political haunt to Memory and Recollection particularly in a scene to living overseas, Israel from of a Palestinian ities ‘home’ for blend of documen- essayistic the film is an of the film. the middle Structurally, wards in the register and ironic a reflexive employs and memoir that historiography tary, and Ramle, in both homes Jaffa family focus Its is the Aljafari Habiby. of Emile tradition with Al- conversation a telephone During roof. titular the missing providing the latter visits Aljafari living in Beirut—suggests that friend old Nabieh—an which during jafari, This is due to reply. Aljafari’s comes countries” the Arab enter him in Lebanon. “I can’t Israeli with based in Germany filmmaker as a Palestinian status legal complex Aljafari’s comments Adorno’s following himself, In fact, the filmmaker and German citizenship. Zionism Memory in Port of and (2009) and Recollection (2015), make up a haunted triptych of his paternal city, Jaffa. Jaffa. city, of his paternal triptych up a haunted (2015), make and Recollection (2009) but—as Jaffa to ties indicates—has surname his paternal is based in Germany, Aljafari haunting with chartrelationship films shifting a Ramle. The three to ties and maternal in The its inhabitants haunts which a ghostly architecture from his work, throughout Roof figure that haunts the lacuna between both Palestine-Israel and Arab-Jew. and Arab-Jew. Palestine-Israel both lacuna between the haunts that figure particular (but not exclusively), I argue, examine the political ‘spectre’ of partition, as ‘spectre’ the political examine argue, I particular (but exclusively), not the of figure ghostly the project, boththrough cultural and political a ROBERT GEORGE WHITE GEORGE ROBERT RCL — Revista de Comunicação e Linguagens Journal of Communication and Languages N.53 (2020) ISSN 2183-7198 - - - - - 80 - and foun privileged Israeli science par excel Israeli privileged turns a nationalist logic of logic archeturns a nationalist here, rather than being archaeological, becomes architectural becomes architectural than being archaeological, rather here, : “My parents live on the first floor,’ states Aljafari, ‘and the past Aljafari, states floor,’ on the first live parents : “My literally , quite Roof The scene in The The scene which follows the Shammas quote is one that employs a spatial logic of logic a spatial employs the Shammas quote is one that follows The scene which Shortly after an establishing opening scene, in which Aljafari and his sister discuss and his sister Aljafari opening in which Shortly scene, after an establishing We are introduced to the eponymous roof by way of a slow, one-minute tracking one-minute tracking of a slow, roof way the eponymous by to introduced are We .” (Ibid, 46). an absorption, Without such presence a haunting these.” ruins remain is a film about the pressing weight of home and the ghosts that dwell with- dwell weight of home and the ghosts that about is a film the pressing Roof The lence - a Palestini Said, therefore, For the State. within remnant the Palestinian awakens that multiple pasts and its multiple heterogeneity: open to must up the land an archaeology peoples. inversion. A camera pans steadily and slowly to the left, to scanning the earth and slowly as stones pans steadily A camera inversion. this over narrates of houses. and remains Aljafari foundations to way give and rubble and origin) father’s (his in Jaffa of a tale dispossession ofscene, 1948place took that they became their homes, pres leave to Forced tale. is a familiar It Ramle (his mother’s). on literature and exile, has referred to cinema as a “homeland” (Aljafari 2010), a place place a 2010), (Aljafari as a “homeland” cinema to referred has and exile, on literature be conversation, can In the same imagined. and futures histories alternative where access, to he is unable sea, a sight/sound Beirut’s hear to longing his evokes Aljafari territorial and just articulates that subjective some of the place fluidity of a denoting a citizen ofIsra is legally one who subject; Palestinian of contemporary the complexity to fades film Kamal Aljafari’s Intifada, the first during of incarceration his experience (2002, Shammas on screen, 1) appears Anton para. and a quote by articulating the black that perfectly know well you “And those of in exile: home for it haunts ghostly weight roof and walls, go, we it behind us wherever drag simply home we leave ever don’t we home without; and that leave don’t thing we the one single — it is probably all. Home follows this quote and what from is clear It in our wake.” the rumbling explain would that it). above accurately, more in (or el, educated in Germany and homesick for the sea in Lebanon, a place which—through which—through the sea in Lebanon, for a place and homesick in Germany educated el, in his imagination. only visit of can law—he force or- The foundations, evidence. the archaeological foregrounds The shot ent absentees. connection architectural) (and This archaeological in the ground. here right igins were narrative belonging. of In the national national claims contested the earthto grounds of“archaeo taxonomy a wider into beto subsumed ruins have of Zionism, Palestinian Freud lecture in his 2003 argues Said Edward which (Said 2003, 47) particulars” logical “ the archaeology made have Non-European the and dations— the connection to the land providing the collective grounding and historical and historical grounding the collective providing the land dations— to the connection claim—on but is some or the earth in the land itself, The past is not buried, its head. buries that thing rather Arche them.” above lives alive buried literally, quite who are, roof its inhabitants as the unfinished looms over the ruins of shows image the (while the film, us, root says don’t it.beneath Foundations and history. of gravity on us with the weight bear down but rather Ramle) Arab ROBERT GEORGE WHITE GEORGE ROBERT RCL — Revista de Comunicação e Linguagens Journal of Communication and Languages N.53 (2020) ISSN 2183-7198 ------81 of 5 as interchange and the blurring of sepaand the blurring from roof to surface allows allows surface roof to from — 1 Image Roof Screenshot. The Courtesy of Kamal [DCP]. Palestine/ Tag/Traum. Aljafari. 63mins 2006. Germany. haunting that permeates the film permeates that haunting (which translates as ‘homely’)as meaning translates (which —gives trans in its English lost an ambiguity Heimlich Heimlich (uncanny or literally ‘unhomely’) or literally (uncanny by Asmahan, a song of love, absence and ghosts. and absence Asmahan, by songa of love, Taala Habibi Ya within the logic of the familiar. The homely is always already unhomely unhomely already is always The homely of within the logic the familiar. then, Freud notes, “applies to everything that was intended to remain se remain to intended was that everything to “applies then, notes, Freud and its antonym unheimlich and its antonym The Arabic title of title the film—alThe Arabic Sateh locates Freud underpins semantic uncanny. Freudian the instability A similar unheimlich unheimlich For Freud, the uncanny is both a psychological and an aesthetic experience, with the latter developed in the secthe in - developed latter the with experience, aesthetic an and bothis psychological a uncanny the Freud, For essay. ond half of Freud’s

ration between the two terms, Freud explicitly frames a discussion of the uncanny in in a discussion of the uncanny frames explicitly Freud terms, the two between ration The semantic shift in al sateh architecture. of terms domestic of the image. the surface to coming repressed a thinking ofas the unhomely ‘home’ for experience an aesthetic in manifests image to architecture from movement a Such both that which is familiar and comfortable and that which is concealed and hidden. and hidden. is concealed which and that and comfortable is familiar both which that Unheimlich in that the familiar is repressed in the form of a secret and the unhomely is “what was was is “what and the unhomely of in the form a secret is repressed the familiar in that of repression” un- is the indicator ‘homey’]. prefix The negative [homely, familiar once (Ibid, 151).the use of Through German Heimlich/unheimlich cret, hidden away, and has come into the open” (Freud 2003, 132). Thus, Freud locates 2003, 132). (Freud locates Thus, Freud the open” into and has come away, cret, hidden the able. This comes from a dual sense dual a from of comes This able. 5 shot, as the camera tracks left with tight framing as the unfinished roof is slowly re roof the unfinished as slowly is left with tight framing tracks shot, as the camera Heimlich Heimlich vealed, along with a number of discarded objects. Accompanying this languid track languid this Accompanying objects. numbera with of along discarded vealed, songthe is shot ing ofroof the unfinished absent presence spectral as the The song seems appropriate, unheimlich or rather an uncanny the Aljarfaris; haunts throughout. slippage a marking surface, and ‘roof’, meaning While flatness lation. also it can convey roof to from in a number of The linguistic slide other scenes. work at and instability a sense of gives concealed. something surface ROBERT GEORGE WHITE GEORGE ROBERT RCL — Revista de Comunicação e Linguagens Journal of Communication and Languages N.53 (2020) ISSN 2183-7198 - - - 82 The effect of the framing of the scene of the framing The effect 6 This brings the rueful his moth- from This brings response 7 occurs in a scene of occurs domes Roof of The minutes ten in the first , occurring The film’s closing scene appears to echo the anxiety triggered by the foundations foundations by the triggered the anxiety to echo appears closing scene The film’s In this scene, through digital manipulation, Salim, the film’s main character, is character, main manipulation, Salim, digital the film’s through scene, In this Port of Memory (2009) Memory of Port back: come Let ghosts the a non-an- employs Memory Port of (2009) it, before Aljafari’s Roof The to Similarly unheimlich For Freud, disembodied corporeal elements betray a heightened uncanniness. He writes that “Severed limbs, a “Severed that writes He uncanniness. a heightened disembodied Freud, betray corporeal elements For — all Hauff), by tale in a fairy (…) the arm (as by themselves from dance a hand detached that head, feet severed instance, as in the last credited, about them, they are especially when something highly uncanny of these have activity”with independent (Ibid, 150). Aljafari notes in the establishing shot of Ramle that remaining families in Jaffa and Ramle in 1948 were given the the and given in were Ramle 1948 in Jaffa of families shot Ramle remaining that in the establishing notes Aljafari houses of other Palestinians.

and the burden of seenhome the openingthe in ofburden the and Ramle shots of the weight the and sit his mother and The scene begins of with a shot Kamal of Aljafaris. past on top the creates a cinematically disembodied hand which, until the frame pulls back to reveal reveal to pulls disembodied back the frame until a cinematically hand which, creates of ani- the lack particularly given shock, an uncanny the viewer gives uncle, Aljafari’s Roof of mise-en-scène. the ‘bodies’ of in The many mation ’s ting opposite one another in silence. The shot then cuts to the mother, who asks: ‘do you you ‘do asks: who the mother, then cuts to The shot ting opposite in silence. one another finishing strange know—it’s don’t “I replies Kamal which to house?’ the finish to want us.” to belong doesn’t something that inserted of Zionism, performance an Is the acoustic space into a musical from here thropocentric camera-eye, as walls and the fabric of Jaffa are foregrounded, with human with foregrounded, are of Jaffa and the fabric as walls camera-eye, thropocentric ‘alive’ corporeality The as is itself city the of out and frame. of into wandering often figures the story of Sal- tells it is, that such narrative, within it. film’s dwell The who as the humans of eviction, sense and the wider his house. threat to The of erasure deeds im and the lost the film, as the perpetualpermeates sound constructionpresence of and the of of Jaffa Aviv. Tel by neighbouring swallowed being documents a city increasingly gentrification form utilisesto enact a of digital editing which telling scene, most the film’s However, past. cinema’s of Israeli’s haunting politics, a Palestinian occasions spectral er that “everyone has left. Not just them—left their homes.” Belonging and home have and home have Belonging has left. just them—left Not their homes.” “everyone er that you.with Returning drag you chain and ball a being more Aljafari, for weight heavy a ofthe mantle The based,is he ghosts of the 1948 heavily. where weigh Europe, from - the foun its burden; by overwhelmed appears who ‘home’ is passed Kamal, historic to roof. of spectral the the surface but bury them beneath the family root don’t that dations uncle) by Aljafari’s as Salim match, film. The (played scene with a graphic raeli begins the (his being before neighbourhood) Ajami inserted which from shots wanders into 7 6 the tic ‘normality’ in the Ramle house. After a scene in which the family dine together in tic ‘normality’ dine together the family in the Ramle house. a scene After in which of the sofa. The on the edge a hand to close-up extreme in is a cut there virtual silence, hairy the twitching, (de)frames that photography and shallow-focus closeness extreme sense an aesthetic of the uncanny. hand evokes ROBERT GEORGE WHITE GEORGE ROBERT RCL — Revista de Comunicação e Linguagens Journal of Communication and Languages N.53 (2020) ISSN 2183-7198 83 2 Image Screenshot. Memory Port of Courtesy of Kamal [DCP]. France/ Media. Novel Aljafari. 2009. Germany/Palestine. 62mins — (1973). This film manages to layer a fictional a fictional layer to (1973). manages film This , is countered by the staking of the claim that there there that the staking of by the claim , is countered (2008). In the scene in question, Soraya, the film’s Pal- the film’s In the scene in question, Soraya, (2008). A remarkably similar ‘ghosting’ of the cinematic space of Zionism be space of can seen the cinematic in ‘ghosting’ similar A remarkably Salim’s spectral appearance troubles this scene, briefly haunting the frame from from the frame haunting briefly this scene, troubles appearance spectral Salim’s There is a place beyond the sea, beyond is a place There and the port, the street market, the over shines the sun Where the sea... beyond Home estinian-American protagonist, visits the remains of Dawayima with Emad—a- Palestin of Dawayima the remains visits protagonist, estinian-American (in The village home in Jaffa. ancestral Ramallah—whileian from Soraya’s looking for passing are the two which through is in Israel, 1948) before lived family Emad’s which who—startled teacher a by led tour, school a by awoken are They disguisedsettlers. as Anne-Marie Jacir’s Saltof this Sea Jacir’s Anne-Marie . a people simply never in Palestine-Israel, been peoples always have the edges and fracturing and undermining the fictional narrative of the scene’s Mizrahi Mizrahi of the scene’s narrative the fictional and undermining and fracturing the edges song the scene of and longing counters loss a Hebrew re-appropriating By lamentation. of elision complete The unity. fictional its interrupting by space, national hegemonic a al-dakhil or Arab the Palestinian, scenes were taken, an Israeli film Kazablan film Israeli an taken, were scenes cinematic occupation on top of the factual occupation of Jaffa during this during period, as the of Jaffa occupation of the factual on top occupation cinematic and the scene in question Jaffa, living in Jews Mizrahi of oppressed a narrative tells film states, as Aljafari which, a narrative oppression, of Ashkenazi lamentation is the sung - Palestini remaining also but its history, Palestinian Jaffa’s only not elides “completely As the character 2010). virtual,ans, enacting a emptying of the city” cinematic (Aljafari Yesh to the lyrics sings he Jaffa, of an abandoned architecture the crumbling wanders in Morocco: life his song his former to Makom, ROBERT GEORGE WHITE GEORGE ROBERT RCL — Revista de Comunicação e Linguagens Journal of Communication and Languages N.53 (2020) ISSN 2183-7198 ------84

10 highlights the the highlights engages in the spatial pol- in the spatial engages unconsciously were always already the hidden his the hidden already always were (2009), which he fully in Rec realises which (2009), as analogous to the erasure of Palestinian of Palestinian the erasure to as analogous both consciously 9 is one of the most successful ‘Boureka’ films, a musical musical a films, is one of most successful ‘Boureka’ the tells the tale of a Moroccan-Jewish gang leader in love with in love leader gang of the tale a Moroccan-Jewish tells (1973) Kazablan

8 (2015), is to ‘ghost’ cinematic Jaffa to issue a demand, much like Derrida’s reve Derrida’s like much demand, to issue a Jaffa cinematic ‘ghost’ (2015), is to Port of Memory in Port of concern primary Aljafari’s While Aljafari’s use of digital enacts a ‘ghosting’ of Jaffa by its present-absentees, by its present-absentees, of Jaffa use of digital enacts a ‘ghosting’ Aljafari’s While In Hebrew, literally ‘Eastern’ (Shohat 2010, 154) 2010, (Shohat ‘Eastern’ literally In Hebrew, Both Gil Hochberg (2007) and Ella Shohat (2006) Shohat length, and Ella articulating of at the spectre how describe this process (2007) Hochberg Both Gil Euro-Israeli anti-Semiticbe to of hegemonic in re-produced Orientalism form a compels Europe in Orientalism of partitioning trace so any disassociate occurs of as to pathological a form they both argue, Essentially, culture. narrative. the national from ‘Arabness’ This popular entertainment framing, Ella Shohat (2010, 255) has argued, both covers up structural inequalities inequalities up structural 255) both has argued, covers (2010, This popular entertainment Shohat framing, Ella politics. seen nationalist entertainment as apolitical by traditionally as permeated a genre rendering while

tory of Palestinian Jaffa. of tory Palestinian ollection Menhaem (another (1987) the destruction of Force nant: the city witnessed that in Delta a mise-en-abyme as appears production that Golan and of destruction within the film), of the story eviction and dispossession in Kazablan itics of Jaffa’s “cinematic occupation” (Aljafari 2016)(Aljafari but occupation” “cinematic ofitics Jaffa’s Mizrahi of the liminal figure marginalized, a young Ashkenazi woman in the context of a Mizrahi neighbourhood which is being neighbourhood which of a Mizrahi in the context woman Ashkenazi a young Memory with demolition. Port of threatened 8 9 10 the unnamed presence of the Arab-Jew also constructs a complex double haunting in haunting double also constructs a complex of the Arab-Jew the unnamed presence Mena Memory Port of repression. haunts in its own of Arab-Jewishness the figure which by a figure emerging from the cave—assumes Soraya is a Jewish-American tourist and tourist Jewish-American a is cave—assumes the from Soraya emerging a figure by - in these “an is forbidden camping that English) to Hebrew from (switching explains - being a hid of memory figure/place this traumatic The remains.” cient archaeological and thus the teacher, to unlocalizable is within Israel Palestine of historic remnant den space. in ‘Biblical’ tourist of lost a that to must be transferred hem Golan’s Kazablan hem Golan’s managerial cold, as depicted authorities, bureaucratic outwitting uncaring Jews rahi the banner of uni- under a resolution act usually involves The third Jews. Ashkenazi Jewishness. fied genre which often used humour to depict the class politics of Israeli society, with Miz society, politics of Israeli often used the class depict to humour which genre ROBERT GEORGE WHITE GEORGE ROBERT totalizing figure for both Israeli and Palestinian nationalisms; forming an “in-between an forming “in-between nationalisms; Palestinian and for Israeli both figure totalizing - Jew citizenship within the terms in of privileged ‘in’ and outside, inside at once figure, ‘of’ but hardly citizens of Israel, Palestinian the to the hegemonic in contrast state, ish both- orien must be paradoxically that ‘Eastern-ness’ is this very It culture.” national the suppress to movement double in a Paternalistic the State by talizedand assimilated in Europe—thus communities Jewish used other Ashkenazi to ghost of ‘Eastern-ness’ identity. Palestinian to identity bonds Jewish that the ‘Arab-ness’ repressing presence in Jaffa. In doing so, the film highlights a double negation by the hegemonic hegemonic the by negation double doing a highlights film the In so, Jaffa. in presence spectral already always the to oforientalizedthe Arab-Jew marginalisation the State: 266), (2010, Shohat for thus, is de a Mizrahi the of figure The of Palestinian. the space RCL — Revista de Comunicação e Linguagens Journal of Communication and Languages N.53 (2020) ISSN 2183-7198 - - 85 (1973) is . (2015). The film opens with a cinematic The film opensa cinematic with 11 , inserted into a wider narrative of loss, are of are loss, , inserted narrative a wider into is quite literally the protagonist of this film. The camera-eye constructs of this film.camera-eye a The protagonist the literally quite is

(2015) Recollection Palestine: of Remnants politics Memory of Port of The spectral Indeed, when Aljafari mentions the character of his film, it is important mentions the character to stress Aljafari when Indeed, At the Palestine and the Moving Image Conference, Aljafari (2013) explained the painstaking process of archiving of archiving the painstaking process (2013) explained Aljafari Conference, Image and the Moving the Palestine At Cinema shot and Hollywood of Israeli in the frames caught and acquaintances) friends (often the Palestinians Jaffa (1986)), lost of a foreground to the figures these spectral bringing Force and how Delta The (notably, in Jaffa become Recollection would feature—which his next constitute would

11 ROBERT GEORGE WHITE GEORGE ROBERT that this character itself is more a phantom, wordless witness documenting a historical witness wordless a phantom, itself is more this character that in so prominently features which of the city of Jaffa, The fabric of a city. record cinematic MemoryPort of Europeans’ of colonial in a subversion oftour the city—arriving the Mediterranean from Jaffa. of a cinematic and squares steps taking in the walls, silently before ofview the city, silent—albeit an eerily not creates protagonists of films’ the original The digital removal for space is make rather, doesdo of Jaffa this digital rendering —city. What empty entirely of entrance with the first relief unseen. stark into went This is brought previously what the film.freezeframes into around A of series 12 minutes the frame, into figures human being the most striking a zoom extras, of the child these unwitting and zooms foreground Kazablan from taken in the scene below, left ofin the top the frame caught Kazablan Kazablan ensemble scene opening from In a striking an entire frame. matic adds preface, methodological this following structure, film’s The away. spirited digitally - topograph makes that of the city in a way of the space reconstruction the spectral to (2016) Aljafari the importance Handal, stresses Nathalie ic sense. with In an interview for an Orientalist only cared from working of films he is the archive of this noting that this from comes and who knows someone “For they imposed quality on Jaffa: aesthetic in character the was importantIt to have sense. make do not thesefor me films place, to lead that sensewalk and make as it is, streets film of all of it,place my the and project as they are.” other streets preface, as its methodology is revealed. The characters of Israeli films shot in Jaffa are Jaffa shot in films of Israeli characters The is revealed. as its methodology preface, and its inhabitants— the city for space clear to frozen, beingbefore removed, digitally ofthe cine of the margins foregrounding this by is revealed presence whose spectral - con to altogether narrative abandons which (2015), a film fully in Recollection realised remnants the cinematic of excavation with an along of the city of Jaffa, struct an archive with Alja footage, found composedof film is The entirely city. of that revenants) (and American and numberIsraeli of huge a from sourced composing a portrait of Jaffa fari the city from 1960sto the in the films made 1990s. RCL — Revista de Comunicação e Linguagens Journal of Communication and Languages N.53 (2020) ISSN 2183-7198 86 - ampli gives — 3 and 4 Image Courtesy [DCP]. Recollection Screenshots. France/Germany/Palestine. Aljafari. of Kamal 2015. 70mins Imitation of Life (1958). of the opening ‘boardwalk’ In an analysis scene in which Life of Imitation The close-up here highlights a dual spectrality in both spectrality its production and reception. highlights a dual here The close-up For the latter, the boy is both the ghostly temporal “punctum” which Roland Barthes Roland which the boy “punctum” is both the ghostly temporal the latter, For in a still im- stake at (Ibid.) (1993, future” 96) of the “anterior highlights in his analysis into This sense extends death. before of ‘loss come’ to of preserved a life capturing age’s the scene’s reception, Regarding and development. demolition of to a city lost the images possibility to own highlights cinema’s of the margin use of digital foregrounding technical on analogue film exist forthbring didn’t the ghosts of the past—a simply possibility which 156) (2006, of Mulvey Douglas a second, highlights in her analysis as Laura 24 frames at Sirk’s when the film appear that “it is only so of the frame fleetingly the edges at extras black (Ibid.) visible.” becomes bedetails can scanned these significant and the frame is halted digital- possible is made extras of the spectral the becoming-visible analysis, In Mulvey’s film,technology the of digital possibilities mode of viewing. In Aljafari’s a delayed ly by the In inverting than reception. in post-production, ghosts lies to rather the stage give to digitally removing by in Israel, Palestinians elides which politics of visibility/invisibility us, Recollection at gaze them to them and allowing has concealed which that fied presence to Jaffa’s ‘present-absentees’ and also, sense, right in a Derridean and “the of ‘present-absentees’ Jaffa’s to presence fied 2002, 121). (Derrida is further by theinspection” intensified This amplification absolute in city the of fabric the to weight corporeal gives The design. design sound sound film’s the ghosts back and bringing of life, the city to the walls bringing manner, a remarkable ROBERT GEORGE WHITE GEORGE ROBERT RCL — Revista de Comunicação e Linguagens Journal of Communication and Languages N.53 (2020) ISSN 2183-7198 - - 87 Specters of of Specters Aljafari describes the pioneering and spectral use and spectral of the pioneering describes Aljafari 12 (1980)—was banned by Israeli television and tells the and tells television (1980)—was Israeli banned by (1994) and “Spectographies” (2002). The idea of the ghost keeps open the space open of the space ghost keeps the The idea (2002). (1994) and “Spectographies” The haunting hyphen: hyphen: haunting The (2013) Arabia Ana Gitai’s in Amos Jew and Arab Between saw the with State relationship critical his but filmmaker, Israeli an is Gitai Amos This ethical demand of the ghost is a question Derrida returns to in bothin to returns of Derrida question a is ghost the demand ethical This There is both a poignancy and political force to Aljafari’s words here; the former as the former here; words Aljafari’s to is bothpoignancyThere a force and political While recording we used special microphones that could record the sound inside the wall. wall. sound the the inside record could that used we special microphones recording While beneath, important inside buried life the sound was to of listen It walls, the me to for (…) They Jaffa. destroyed Aviv of the municipality Tel and government the sea. The Israeli the sea when in the winter, year, the sea. every into But they destroyed homes the threw 2016) (Aljafari part the shore. on to of back theserises, it throws homes The second segment of the film documents al-Manshiyya—a neighbourhood that was occupied by the Irgun was by the Irgun The second neighbourhood segment occupied documents of the film that al-Manshiyya—a and Egypt, sea Gaza by to with some leave to population being forced of the Arab in 1948, with much and razed 2014) neighbourhood. the Ajami (Zochrot into moving

story of Palestinian exile through a house in West Jerusalem. This explicit concern for for concern This explicit Jerusalem. a house in West through exile of story Palestinian of the ‘yet-to-come’ (how Derrida frames the deferred promise of justice). The reve promise of justice). the deferred of frames the ‘yet-to-come’ (how Derrida his training, by An architect in France. in exile nineties him spend and early the eighties (Beit) documentary— first House Marx as it in “Spectographies”, Derrida warns be back, come permitted to nant must always soon as one calls quo: disrupts the status “As open which ofkeeps the promise a future constitutes thing that of oneself the very of ghosts, one deprives the disappearance for ‘mes I call what the appeal justice, to say, is to that itself, movement the revolutionary sianicity’” 2002, of 128). (Derrida forth this bringing is and revenants It of the remnants shift in Al- the function the in of haunting constitutes which I argue, Jaffa, Palestinian har - to Roof, in The uncanny architectural documenting a haunted trilogy; from jafari’s the possibility potential open to to up the present spectral digital technology’s nessing of otherwise. imagining the political - the fam that reveals with his grandmother , a conversation Roof The feature in his first the into them back forced and too strong were in waves 1948 as the in Jaffa ily stayed port.- The notion of the sound-image of in the Agambi these ruins acting as a remnant act the of division resists 52)which an (2005, sense—an figure irreducible irrepressible, the it inoperable—both personally partition) and reinforces and renders (as resonates demand ghost, the of ethical the in or reiterates it politics of crucially, film; the spectral justice.” (2016) “cinematic for words, Aljafari’s sound design in the film, worthlength: in the film,at sound quoting design here 12 WHITE GEORGE ROBERT of its demolished neighbourhoods. of its demolished RCL — Revista de Comunicação e Linguagens Journal of Communication and Languages N.53 (2020) ISSN 2183-7198 - - - - 88 ; its inhabitants cast out cast ; its inhabitants are being threatened with being are threatened is os is Arabia Ana Arabia. Ana thus plays out this thus plays Arabia Ana Sara, the Jewish woman who was was who woman the Jewish Sara, 14 , yet shares a number of striking similarities with a number similarities of striking shares , yet , but also carries, in a religious sense, the meaning in a religious , but also carries, The location is an important element of the film’s is an important The location of the film’s element 13 Port of Memory and Salim in Port of - ‘architec both directors’ alongside one, , a ‘Palestinian’ contains within it a semantic ambiguity. It is both It ‘the exte within it a semantic contains ambiguity. both outside of, and caught within al-dakhil and caught both of, outside is primarily a film about the haunted/haunting spaces between Arab/ spaces between about the haunted/haunting a film is primarily Arabia Ana that which is outside of al-dakhil is outside which that ) was born Jewish, converted to Islam and declared herself an Arab. However, it was it was However, an Arab. herself and declared Islam to converted born) was Jewish, (2002), a vertical history of Russia and Europe. of a vertical Russia history (2002), Ark Russian Sokurov’s is Alexander forebear clearest The film’s Yussuf confesses that ‘in the 50s and 60s, “friends” of Hannah would threaten to kill him. Hannah fled her family her kill him. fled to Hannah threaten would ofHannah ‘in confesses that the 50s and 60s, “friends” Yussuf escaping again. before occasion on the first the police by being returned beto with Yussuf,

Jew and Palestinian/Israeli. The film unfolds in real time, as the main character Yael, Yael, character as the main time, real in The film unfolds and Palestinian/Israeli. Jew Islam to converted who survivor, holocaust of the story a Jewish a journalist, explores consisting the film is almost without precedent, Technically, a Palestinian. and married 81 lasting minutes. shot of a single tensibly an ‘Israeli’ film about al-dakhil film an ‘Israeli’ tensibly Memory Port of Aljafari’s Kamal of mise-en-scène. framing tural’ In this sense,place’ could to the films ‘take be argued within Both dwell films State. the by abandoned and both threatened space liminal a in between in an enclave entirely place taking film with Gitai’s Aviv, of Tel the shadow as in urban politics, films, the main both spatial a Yam.share They also Bat and Jaffa in Ana Yusuf Arabiacharacters, and and Hebrew Arabic between both move Linguistically, the municipality. eviction by is, both that its present-ab others; repressed of Israel’s hauntings occupied the by are Arab-Jews. marginalized and its sentee Palestinians 13 14 ROBERT GEORGE WHITE GEORGE ROBERT - subconscious the with of along cinema Arab-Jew spectre in Israeli memory Palestinian co-production, 2013his French/Israeli conditions ishness, married to Jihad (one of Yussuf and Siam’s sons), was also subject to ostracism from the from ostracism to also subject was sons), and Siam’s of Yussuf (one Jihad to married became marriage own an ultimatum. Jihad Her gave who sons marriage, of his previous a suggests Nablus in death Jihad’s in ended that madness and violent,violence the and of secular co-existence. message professed Gitai’s line beneath fault religious complex al-kharij the term In Arabic rior’, of a religious and political order, yet still contained (or perhaps abandoned) within the abandoned) perhaps (or still contained yet and political order, of a religious Aviv. of Tel in the shadow enclave a forgotten interior, mise-en-scène, it essentially being a threshold space. It is an enclave that exists as a lim- exists that mise-en-scène, is an enclave It space. it essentially being a threshold the (on cities but outside between it sits geographically, in a number ofinal space ways; this enclave of this liminality is that significance The and Jaffa). Yam of both Bat edges all have space in this dwelling figures is, the That of outcasts. a community constitutes film,the of structures figure the that absence The community. a from beenexpelled Ana nickname (known her Arabic became by Siam Hassan who Ara Kiblanov, Hannah bia with the mar- the space, her into brings which act of marrying Yussuf the transgressive and family. among friends problems causing riage of leaving or being cast out from an order. This space of This space order. an being or out from cast of leaving tension of al-kharijtension RCL — Revista de Comunicação e Linguagens Journal of Communication and Languages N.53 (2020) ISSN 2183-7198 - - - - 89 The 15 (2009) (2009) is haunted is haunted , which consciously , which against a cultural history of history a cultural against conjures a lost Jaffa as a new as a new Jaffa a lost conjures , as the proper nouns ‘Arab’ and ‘Is nouns ‘Arab’ , as the proper on the space of that cinema and speaks of that on the space back Ana Arabia Arabia Ana binary, ofArab/Jew the In its construction and erasure Arguably, the spectral structure of the film is actually what haunts its form. its In a haunts what of structure is actually the film spectral the Arguably, Conclusion the constitutes structure of which haunting the complex This article has analysed (2006), which traps its occupants beneath the weight of the memory ofnakba the weight the its occupants(2006), beneath traps which acts back Gitai has spoken of this interruption in interviews at the release of the film. In a 2014Nienke the release with at interview of in interviews this interruption has spoken Gitai should not be interrupted. and Arabs Jews between relation I think the a citizen of Israel, “as he states: Huitenga, to interrupt.” want ofsyntax film,of cinema,to the don’t I also language own my this to So I translate when

lam’ are often collapsed into indistinction; the film tells of the conversion of a European European of a conversion of the tells indistinction; the film into often collapsed are lam’ to of the narrative) the ‘centre’ at woman the dead (Hannah/Ana/Siam, woman Jewish 208) studies (2006, on postcolonial work Shohat’s Ella marry Yusuf. to in order Islam opposition, in and and Jew of constructing Arab approach has critiqued this Eurocentric and as Western, identity and Christian aligning Jewish has evolved also the binary that as Eastern. Muslim sire for both a different way of consuming images of Israel/Palestine, but also for the for the also but Israel/Palestine, of images consuming of way both for a different sire Jew. and Arab between so ‘interrupt’use relation the to not as take of single the number of interviews given at the release of the film, Amos Gitai has spoken of his de of his spoken ofGitai has film, the Amos the release at given number of interviews 15 WHITE GEORGE ROBERT film’s grammar then is interesting in that it constructs and dissolves a separation be a constructsseparation it and dissolves in that then is interesting grammar film’s relation as a constructed recognises (2003, xxv) Anidjar Gil which and Jew, Arab tween markers—a construct (Jew) and religious (Arab) ethnic ostensibly of enmity between opposed opposed each imagination) both and to ed enemy to Europe the European (in Ana to distinction is of This relevance Arabiaother. Cinema of the Interior of Palestine-Israel. This is an interior characterized by a logic of a logic by characterized is an interior This ofCinema of Palestine-Israel. the Interior is essentially The Cinema of a cin- the Interior depths. and repressed surfaces haunted Theema ofroof ghosts; the ghost of the unfinished of the house in in Aljafari’s Ramle, Roof who ghosts of Jaffa the Palestinian of home/sickness; excess a contemporary and creates productions Memory in Port of Jaffa cinema’s of Israeli of the frame the edges throughout by the figure of Arab Jewishness, a haunting evoked by the title; literally, ‘I literally, by the title; evoked a haunting Jewishness, of Arab the figure by throughout Hannah from in identity movement the show to this is intended In the film am an Arab’. and vice Jew within of Arab dwelling already the always but betrays Ana (Arab) to (Jew) - “ren falsely which ofthe hyphen erasure the political by repressed a dwelling versa; 266). 2010, (Shohat oxymoronic” of ‘Arab-Jew’ the concept dered and Memory in Port of work at haunting is alsothe double There erasure. but unconsciously frame, cinematic the Israeli from of the Palestinian the elision resists them into and folds hyphen) erased (the and Jew re-inscribes bind Arab that the ties and nostalgia. Recollection of loss narrative a Palestinian its Palestinian the 1982 Film Archive), of (echoing loss the Palestinian digital archive RCL — Revista de Comunicação e Linguagens Journal of Communication and Languages N.53 (2020) ISSN 2183-7198 90 rather than rather a yearning for Beirut—a for a yearning —haunt their respective —haunt their respective , September http://montrealserai. Online. 28 2010. expresses Aljafari Roof, The (2013) and its attempts to bridge the space between between the space bridge to (2013) and its attempts . London: Vintage. , September https://www.guernicamag.com/kamal-aljafari- 18 Online. 2016. the Arab and Jew, the erased hyphen that Ella Shohat (2006) speaks of, which (2006) which Shohat Ella that of, speaks hyphen the erased and Jew, the Arab A theme common to the Cinema of the Interior is how haunting problematises problematises haunting is how of the Cinema the Interior to A theme common The ‘ghost’ of nostalgia is a topic Ella Shohat (2006) explores in her essay ‘Taboo ‘Taboo (2006) in her essay Shohat Ella is a topic of explores nostalgia The ‘ghost’ The hyphenated identity of the Arab-Jew enacts a haunting of its own, one which of its own, a haunting enacts one which ofArab-Jew identity the The hyphenated Montreal Serai Himada. Montreal Nasrin by Interviewed com/2010/09/28/this-place-they-dried-from-the-sea-an-interview-with-kamal-aljafari/. Montreal Serai Handal. filming-ghosts-and-unfinished-balconies/. ROBERT GEORGE WHITE GEORGE ROBERT Palestine in exile. These complex and subversive intersections ofintersections nostalgia—the Ar- and subversive These complex in exile. Palestine nostal- Palestinian the Israel, beyond place a and before time a for nostalgia ab-Jewish in the nakba lost as the land as much in exile a Palestine gia for pointing a “stubborn to notion of a homeland, a totalising and complicate nationalisms, and the proper nouns Palestine/Israel intimacy” between 2015,historical 8) (Hochberg To of partition project and cultural the political inoperable. renders which Arab/Jew ghostly invocation; own Marx’s one might paraphrase of Derrida, end then in the spirit of binationalism. spectre Palestine-Israel—the is haunting a spectre — Bibliography Aljafari”. with Kamal The Sea: An Interview from They Dried “This Place 2010. Kamal. Aljafari, Aljafari, Kamal. 2016. “Kamal Aljafari: Unfinished Balconies in the Sea”. Interviewed by Nathalie Nathalie by Interviewed in the Sea”. Balconies Unfinished Aljafari: “Kamal 2016. Kamal. Aljafari, . Stanford: Stanford University Press. Stanford. Stanford: University Remains That Time The 2005. Agamben, Giorgio. Press. Stanford. Stanford: University Enemy the of A History Arab: the Jew, The 2003. Gil. Anidjar, Lucida 1993.Barthes, Roland. Camera Citizens, Palestinian Israeli of Israel: in the State 2002. “TheCohen, Hillel. Refugees Internal nostalgia for place grounded in nationalism. That is, nostalgia is for a home is for is, nostalgia That in nationalism. grounded place for nostalgia Israeli ghosts an Jaffa Palestinian a scene for of nostalgia Memory, of . In Port a homeland expressed similarly a taboo nostalgia Morocco, for nostalgia of Arab-Jewish scene film’s 181. In scenes of Route in the closing Memories, Diasporic Visions: Columbus, Palestine and Arab-Jews’, when examining examining when and Arab-Jews’, Palestine Visions: Columbus, Diasporic Memories, Reflecting Israel. in culture Euro-Israeli within world Arab the the taboofor of nostalgia and also to partition partition Zionism Palestine-Israel reinforces that on the East/West an- in their reunited people’ of notion ‘one pervasive “[t]he that writes she Arab-Jew, the memory of life State before affectionate any disauthorizes actively cient homeland (Ibid, 222-3). of Israel” might be termed the spectre ofmight be the impossibility spectre the of termed partition. lacuna is the ghostly It between Ana Amos Gitai’s haunts Arabia dwells. already the Arab-Jew which in space a figures, these two revenants digitally brought back to resist an Israeli cultural hegemony which has erased erased has which hegemony cultural Israeli an resist to back brought digitally revenants frame. the them from RCL — Revista de Comunicação e Linguagens Journal of Communication and Languages N.53 (2020) ISSN 2183-7198 . 91 , July 17 , July 9, Journal 20, nº 1: 7-40. 1: 7-40. nº 20, . 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London: Mohammad by Translated Presence. Absent 2010. Mahmoud. Darwish, 1996 A Landmark Land’ the to It Bring I May 2012. So Mahmoud. Is Darwish, Within Strong Me, “Exile New the and Mourning of Work the Debt, the of State The Marx: of 1994. Jacques. Specters Derrida, ROBERT GEORGE WHITE GEORGE ROBERT RCL — Revista de Comunicação e Linguagens Journal of Communication and Languages N.53 (2020) ISSN 2183-7198 92 Aceite: 2020-07-18 Aceite: Accepted Accepted — iD ORCID 0000-0003-2384-4532 — Academia.edu https://kingston.academia.edu/RobertWhite — address Institutional Independent scholar. Recebido: 2020-05-07 Recebido: https://doi.org/10.34619/pzam-yc70 — Received — DOI WHITE GEORGE ROBERT — note Biographical PhD— his completed Robert White G. of A Topology Beyond Partition: entitled: —at the Cinema Post-Palestinian in al-Shatat Theory School, a Critical London Graduate University, Kingston at programme doctoral the explore interests London. research His doctoral His philosophy. of film and intersection to approach utilized a topological research questions of partition the dual examine and in contemporary of the image the resistance has presented cinema. He Palestinian a number of international at his research He Film-Philosophy. including conferences, Critique: is the co-editor and Crisis of of Spaces (Bloomsbury, Beyond Foucault Heterotopias chapter the he contributed which 2018), for body as The carceral the Interior: ‘Spacing Palestinian in contemporary heterotopia has also been published His research cinema’. Criticism. in Film