Abstract This paper explores the potential of realist cinema to portray resistance to oppression and restrictions on people’s lives. Wadjda (2013) presents a special case in world cinema in being made in Saudi Arabia, which until recently had no film industry or distribution system. The director, Haifaa Al Mansour, has been praised for making the film there at all. Yet this ignores the film’s power in taking a slice of time in the life of a young Riyadh girl, Wadjda, and focusing on her desire to own a bicycle. The film’s realism depicts restrictions on women’s lives in Saudi Arabia and at the same time affirms hope in gradual change through the natality, in Hannah Arendt’s sense, of a child who does not see these constraints as insurmountable obstacles. I argue that realist films can demonstrate the importance of gradual political progress and can anticipate those advances.

中文翻译：

---

作为抵抗的现实主义

摘要 本文探讨了现实主义电影在描绘对压迫和限制人们生活的抵抗方面的潜力。Wadjda (2013) 展示了沙特阿拉伯制作的世界电影的一个特例，该地区直到最近还没有电影业或发行系统。导演海法·阿尔·曼苏尔 (Haifaa Al Mansour) 因在那里制作这部电影而受到称赞。然而，这忽略了这部电影在利雅得年轻女孩 Wadjda 的生活中抽出一部分时间并专注于她拥有一辆自行车的愿望的力量。这部电影的现实主义描绘了沙特阿拉伯对妇女生活的限制，同时也肯定了通过出生逐渐改变的希望，在汉娜·阿伦特的意义上，一个不认为这些限制是不可逾越的障碍的孩子。