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Evelyn Leslie Hamdon

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Evelyn Leslie Hamdon Reading and Teaching Against the Grain of Gendered Orientalism in Film by Evelyn Leslie Hamdon A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Social Justice and International Studies in Education Department of Educational Policy Studies University of Alberta © Evelyn Leslie Hamdon, 2018 Abstract The clash of civilizations discourse, (re)articulated by Samuel Huntington in 1993 and widely accepted as true, is yet another echo in a long history of the Orientalist’s (Said, 1979) clarion call for the disciplining of Arab and/or Muslim subjects, who are often considered to embody values antithetical to Western civilization. Indeed, this Orientalist antipathy continues to find its way into twenty-first-century representational practices and public policies, including television media, social media, print media, and popular cultural art forms such as film (Shaheen, 1994, 2000, 2003, 2008). These media participate in the production and reproduction of problematic tropes and stereotypes that, whether intended or not, contribute to public misunderstandings of, and suspicions about, Arabs and/or Muslims. These misunderstandings also find their way into Canadian public policy and law, such as Bill S-7 (Zero Tolerance for Barbaric Cultural Practices Act) and Discover Canada: The Rights and Responsibilities of Citizenship (Citizenship and Immigration Canada, 2012). This codification of Orientalist stereotypes contributes to their being taken for granted as truth, and their circulation in public and artistic discourse through various media and by a range of political, journalistic, and artistic figures. This research deepens and extends emerging examinations and critiques of Orientalism by focusing on the way gender is used to garner support for ongoing Orientalist practices. The project is theoretically located at the nexus of feminist, intersectional, Orientalist, postcolonial, and anti-colonial scholarship, and it addresses issues of patriarchy, Orientalism, gender, racism, colonialism, imperialism, and their presence within popular culture, and more specifically, in Hollywood films. ii Drawing upon Edward Said’s (1978) Orientalism and Jack Shaheen’s (1994, 2000, 2001, 2008) many studies of the depictions of Arabs (and Muslims) in Hollywood film, I pick up the thread of inquiry and draw upon postcolonial feminism and Jacques Lacan’s notion of the gaze to explore the gendered nature of Orientalism in Hollywood film and its relationship to contemporary political contexts. Using a case study approach, I engage in a deep reading of the film Zero Dark Thirty (Bigelow et al., 2013). This reading reveals the presence of a nested set of binaries that, taken together, produce a gendering of Orientalism in service to Western exceptionalism, white supremacy, phallocentrism, and femonationalism. The various binary orderings of subjects used in the film constitute the production of West and East as the deadly (and inevitable) antithesis of one another gives rise to not only ideological polarizations but to the drafting of subjects into impossible positions of purity and abjection. The research yields a number of pedagogical considerations and interventions to read and teach against the grain of gendered Orientalist representations. The first is an analytic insistence on intersectional feminism to preclude defaulting to liberal or nationalist feminisms. The second is a test modeled on the Bechdel test for gender equity. The Hamdon test looks for the presence (and absence) of characters and characterizations in film that act as objet petit a, thereby disrupting the Symbolic (taken for granted norms and normativities) and troubling the Imaginary (the comfort of being in alignment with the Symbolic). The third advocates for feminist writers, scholars, and artists in post-secondary curricula, with a particular focus on those whose subject positions include that of Arab and/or Muslim (of all genders and sexualities). The fourth is re- remembrance through critical autobiography. Remembering and (re)engaging with memory through critical autobiography (Ahmed, 1999) allows for both re-authoring and de-authorizing problematic claims. The last intervention is a pedagogy of affirmation – the production and iii proliferation of aesthetic works whose very presence is antithetical to Orientalism, gendered and otherwise. iv Preface Portions of Chapter 6 were excerpted from a chapter titled “Lessons on Dismantling the Master’s House: An Adult Educator’s Reflections on Intersectional Feminism,” of which I was the sole author. This chapter was published in D. Wallin & J. Wallace, eds. (2018), Transforming Conversations: Feminism and Education in Canada since 1970. I gratefully acknowledge McGill-Queen’s University Press for granting permission for its use in the preparation of this dissertation. My dissertation is a critical pedagogical research project wherein I examine the nature of gendered Orientalism and its presence within some liberal feminisms and as it manifests in Hollywood. I designed this research project to develop and test an analytic frame that would enable me to read popular cultural forms to discern the presence of gendered Orientalism. To be clear, this is not a study of film, but research into one way of reading film, for the purpose of highlighting the presence of gendered Orientalism. I engaged with the film, as I would a literary text, using screen shots from the films as one would use quotes from a literary work to illustrate the theoretical argumentation and analysis I forward in my dissertation. In a dissertation of approximately 240 pages, I use 58 screenshots from Zero Dark Thirty (Bigelow et al., 2012), each one I (generously) approximate to be about 0.25 seconds long, which means I use material that comprises less than a minute of a film that is 2 hours and 37 minutes in length, or about 1/500th of the film. This is not a commercial research project, but will be available through library information systems, online, in accordance with the University of Alberta Faculty of Graduate Studies and Research Guidelines. The material from the film has been incorporated under the fair dealing provisions of the Copyright Act, and each such screenshot has been properly cited in accordance with good scholarly practice. v vi Dedication I dedicate this work to my children, Alia Hamdon O’Brien and Geoffrey Hamdon O’Brien, and to my mother Faye Zakeah Hamdon and the memory of my late father, Sidney Shakeeb Hamdon. This dissertation stands as a tribute to the many hours of lively and thought-provoking discussions held around various dining tables and during which I learned the fine art of thoughtful argumentation. vii Acknowledgements There are so many who have encouraged me throughout the process of writing my dissertation. I wish to begin by thanking my supervisors, my committee, and my external examiner: Dr. Donna Chovanec, friend, mentor, and supervisor who sadly did not live to see me finish but whose memory and faith in this project kept me going; Dr. Jennifer Kelly (supervisor) who was there from beginning to end, and stayed the course with me; Dr. Sara Carpenter (supervisor), who thoughtfully and skillfully helped me navigate the loss of my father while completing this dissertation; Dr. Derek Briton, who patiently hosted endless conversations about objet petit a; Dr. Yasmeen Abu-Laban, whose scholarly work and public intellectualism I admire and which inspires me to make a contribution to the wider world; my external examiner Dr. Nancy Taber, for the close read of my work and for invaluable and generous comments; and to Dr. Evelyn Steinhaurer, whom I have long admired and who chaired my defense with such skill. I also wish to thank the Killam Foundation, the Social Sciences and Humanities Research Council, The University of Alberta and the Government of Alberta for the scholarships that enabled me to complete so much of this work. Thanks also to Dr. Jason Wallin and Dr. jan jagodzinski for inspiring the project and sparking my interest in Lacan. I would also like to thank Joan White Sandra Materi, and Dr. Frank Peters for their support over the years. While I was completing my dissertation, I worked at the University of Alberta, and I wish to thank my colleagues there for their support: Kezia Pendleton, Deborah Williams Wade King, Rosemary Hauck, Kris Fowler, Parker Leflar, Frances Arnieri Ballas, Tasha Perras, and Jennifer Roberts. Also, a heartfelt thanks to Deb Eerkes who introduced me to Sara Farris’ work on femonationalism. viii I was fortunate to be part of a community of graduate students whose intellectual and social companionship over the years was a treasure: Tash Gouder, Anna McLean, Julia Price, Melody Vizcko, Shelane Jorgensen, Thashika Pillay, Peter Jaskiewicz, Liane Cunha, Nisha Nath, Siavash Saffari, Misty Underwood, Ariel Bowering, Colin Piquette, Nicole Smith, Jeanette Sinclair, Derek Tannis, and Li Mao. I have such gratitude and affection for my community of chosen family: Alissa Overend, Elise Maltinsky, Lynette Shultz, Tania Kajner, Carolina Cambre, Anna Frevola, Pat Henderson, Netta Phillet, Kerri Calvert, Deb Schrader, Sahana Paramaswara, Leila Darwish, Scott Harris, Tara Gibb, Mary Pinkoski, Bill Howe, and Lisa Bavington. Each one of you holds a special place in my heart. Some of you I see regularly and frequently, others not as much as I would like. Regardless of how often I see you the hallmark of our friendship is that I am at home in the warmth and generosity of your company. To my lively, lovely, and loving Lebanese-Canadian-Muslim family: your very existence constitutes a refutation of Orientalism, gendered and otherwise. Thank you, my beloved Mom and Dad, for raising me to follow my quirky dreams. And I have the best brothers, sisters, and in- laws ever: Susan, Lorrine, Sid, Brad, Neil, Lesley, Garth, and Donna: no one makes me laugh like my siblings – you are always a tonic. I want to thank my wonderful nieces and nephews, for keeping me on my toes and up-to-date. Finally, I wish to express gratitude, love, and admiration for my two children: Alia Hamdon O’Brien and Geoffrey Hamdon O’Brien.
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