By H. Dabashi
Dabashi's most modern booklet is a meditation on suicidal violence within the rapid context of its newest political surge and a serious exam of the unconventional transformation of the human physique, supported by way of shut readings of cinematic and inventive evidence.
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Additional resources for Corpus Anarchicum: Political Protest, Suicidal Violence, and the Making of the Posthuman Body
But the paradox is already a prolepsis: an anticipation of the fictive in the factual. Makhmalbaf wants to get Afghan children out of the Taliban schools much more than he wants to get them into Iranian schools, and planting the Afghan children inside the schools of the Islamic Republic (not known exactly for the liberality of their pedagogy) is as much to destabilize the rampant racism against the Afghans in Iran as to save the Afghan children from Taliban schooling. This strategic doubling works very effectively when the Afghan children’s education away from the Taliban schooling in Afghanistan and Pakistan posits itself as an antidote against rampant Talibanism in the Islamic Republic of Iran itself.
From their childhood to their old age, the portrayal of Palestinians in their own cinema is persistently metamorphic, almost categorically metaphoric, and inextricably referential—the body as a pronoun or a proverb for the land. The proverbial body, thus imagined and constituted, is always already something else, somewhere else, anecdotal in its references, and suggestive in its remembrances, not in its own flesh and blood, but the indexical expression of an all-but-forgotten homeland that is made of valleys and hills, rivers and lakes, horizons and landscapes, playgrounds and cemeteries—and not of broken bones and fractured skeletons, torn flesh and splashed-out blood, shattered nerves and ruptured dreams.
They were now in each other’s spaces, not where they were physically, but where they were pointing metaphysically. The mere fact of Makhmalbaf physically moving with his family and camera crew from Iran to Afghanistan and shooting a film on a transgressive border between the two states rendered both states instantly metamorphic, metaphorically standing for each other, their territoriality made permanently circular, substitutional, interchangeable, vacant of their substantive body, and filled with their substitutional evidence.