Abstract The Idol by Palestinian filmmaker Hani Abu-Assad is a film that is inspired by the true story of Mohammed Assaf, a young man from Gaza who became a sensation in Palestine when he won the Arab Idol contest in 2013. Abu-Assad's rendition of the story in The Idol is not faithful to real life, but instead offers an affective lens to Assaf's extraordinary rise to fame. My paper will argue that Palestinian attachment to Assaf expresses an enigmatic longing for hope. Notwithstanding articulable desires for better futures under unbearable socio-political realities of everyday life in Gaza, Assaf's journey to fame offered not so much optimism for a better future but the affective space for Palestinians to dream and playfully come together. Dubbed “Palestine's Dream,” Assaf's success sparked a desire in Palestinians to feel joy. In the film, Assaf's inspiration was his defiant and gender queer sister. Theorizing her defiance through D.W. Winnicott's ideas on the origins of creativity, play, and a “good enough environment,” this paper claims that her queer affect is transmitted to her brother as an ineffable wish for something otherwise. In this way, The Idol posits the source of hope in imaginative creation in excess of familiar narratives.

中文翻译：

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哈尼·阿布-阿萨德 (Hani Abu-Assad) 的《偶像》中的游戏和希望的情感空间

摘要 巴勒斯坦电影制片人哈尼·阿布-阿萨德 (Hani Abu-Assad) 执导的《偶像》(The Idol) 的灵感来源于穆罕默德·阿萨夫 (Mohammed Assaf) 的真实故事，这位来自加沙的年轻人在 2013 年赢得阿拉伯偶像大赛后在巴勒斯坦引起轰动。 《偶像》中的故事并不忠实于现实生活，而是为阿萨夫非凡的成名提供了一个情感镜头。我的论文将论证巴勒斯坦人对阿萨夫的依恋表达了对希望的神秘渴望。尽管在加沙日常生活中难以忍受的社会政治现实下，人们表达了对更美好未来的渴望，但阿萨夫的成名之旅并没有为更美好的未来提供太多乐观，而是为巴勒斯坦人提供了梦想和俏皮地走到一起的情感空间。被称为“巴勒斯坦的梦想”的阿萨夫的成功激发了巴勒斯坦人对快乐的渴望。在影片中，阿萨夫的灵感来自他挑衅且性别酷儿的妹妹。这篇论文通过 DW Winnicott 关于创造力、游戏和“足够好的环境”起源的想法来理论化她的反抗，声称她的酷儿情感作为对其他事物的不可言喻的愿望传递给了她的兄弟。通过这种方式，偶像超越了熟悉的叙事，在富有想象力的创作中设定了希望的源泉。