ABSTRACT This article explores the connections between vulnerability, gender and terrorist violence in relation to Algerian filmmaker Djamila Sahraoui’s Yema (2012). The film is situated in relation to Sahraoui’s oeuvre, and within wider debates around the changing nature of political violence and its representation in Maghrebi and Hollywood cinema. This comparison underlines Yema’s innovatory formal and thematic focus on slow narrative time, sparse aesthetics and fragile, intimate images. The article then examines the concept of vulnerability in relation to terrorism, in particular linking Sahraoui’s choice of formal techniques to the film’s thematic staging of various modes of physical and psychical vulnerability. The allegorical and mythological motifs used in Yema are considered in relation to the gendering of the figures of victim and agent in the film. Through a feminist reconfiguration of the myth of Medea, the article suggests that in the film’s dramatisation of a mother who inflicts suffering, larger questions are raised about personal and political responses to the feelings of exposure that terrorist violence engenders.

中文翻译：

---

'最糟糕的事情'：Djamila Sahraoui的Yema（2012）中的暴力和脆弱性

摘要本文探讨了与阿尔及利亚电影制片人Djamila Sahraoui的Yema（2012）有关的脆弱性，性别与恐怖主义暴力之间的联系。这部电影与萨拉维伊的作品有关，并且围绕政治暴力的性质变化及其在马格里比和好莱坞电影中的代表作更广泛的辩论。这种比较突出了Yema在正式叙事和主题上的创新，重点是叙事时间短，美学稀疏以及脆弱而亲密的图像。然后，本文研究了与恐怖主义有关的脆弱性的概念，特别是将萨鲁维的形式技术选择与影片对各种形式的生理和心理脆弱性的主题展示联系起来。考虑到Yema中使用的寓言和神话图案与影片中受害者和特工人物的性别特征有关。通过对美狄亚神话的女权主义重构，文章建议在电影中对遭受痛苦的母亲进行戏剧化处理时，人们对针对恐怖分子暴力所产生的暴露感的个人和政治反应提出了更大的疑问。