Palestinian cinematic productions have historically attempted to alter biased perceptions of their identity, experience of dispossession, and struggle for liberation, using films to communicate the harsh realities of Israeli occupation. While preserving a pluralistic and hybrid character, and blending different genres from Third and Second films (experimental, neorealist, and transnational), Palestinian cinema – as examined through a close reading of Tawfik Saleh’s 1972 film The Dupes, Hany Abu-Assad’s Rana’s Wedding from 2002, and Najwa Najjar’s 2014 Eyes of a Thief – contests monolithic tropes and representations of Palestinians as either victims or terrorists in Western media and films. Drawing on Edward Said’s analysis of representation and its ties to occupation, the goal of this article is to engage with the idea of film narratives as a form of intervention that demystifies racial bias against colonized people, transforms viewers’ political consciousness, and devises strategies to keep resistance legitimate and ongoing.

巴勒斯坦的电影作品历史上一直试图通过电影来传达以色列占领的严酷现实，以改变人们对其身份，被剥夺的经历以及争取解放的斗争的偏见。同时保持多元化和混合性质，并混合从第三和第二片（实验性的，新现实主义和跨国）不同的流派，巴勒斯坦的电影-通过陶菲克·萨利赫的1972年电影的细读检查的愚弄，哈尼·阿布·阿萨德的林蛙的婚礼从2002年，以及Najwa Najjar的2014年《小偷的眼》–在西方媒体和电影中争夺巴勒斯坦人作为受害者或恐怖分子的整体比喻和代表。借鉴爱德华·赛义德（Edward Said）对代表制及其与职业的联系的分析，本文的目的是将电影叙事的思想作为一种干预形式，消除对殖民地人民的种族偏见，改变观众的政治意识，并制定策略来保持抵抗合法和持续。