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The figure of the radicalized girl in Francophone and other European cinemas
Studies in European Cinema Pub Date : 2020-02-11 , DOI: 10.1080/17411548.2020.1726665
Delphine Letort 1 , Abderrahmene Bourenane 1
Affiliation  

ABSTRACT

This article is based on a comparative study of four films produced and directed in Europe (Belgium, France, Netherland) in 2016, using the figure of the “radicalized girl” as a signifier of fear in Western democracies. The threat of terrorism is embodied by the conversion of the girl to fundamentalist Islam, a path that signifies both the power of ISIS within the Western world and the fragility of democracies to protect their youth. The films fill in a narrative blank as studies revealed an increasing number of girls joining the jihad in 2016, whereas most parents testified that they had been unaware of their children’s radicalization. The films therefore partake in an effort to educate parents and audience to recognize early signs of radicalization. It is noteworthy that the figure of the girl is used as a signifier of the “push and pull” process of radicalization, suggesting that she symbolizes the failure of Western democracies to protect their youth from the power of ISIS propaganda. The figure of the radicalized girl complicates the Orientalist perception of the Other, articulating a self-reflexive look at media discourses of the war on terror.



中文翻译:

法语和其他欧洲电影院中激进女孩的形象

摘要

本文基于对 2016 年在欧洲(比利时、法国、荷兰)制作和导演的四部电影的比较研究,以“激进女孩”的形象作为西方民主国家的恐惧象征。恐怖主义的威胁体现在女孩皈依原教旨主义伊斯兰教,这条道路既表明 ISIS 在西方世界的力量,也表明民主国家保护其青年的脆弱性。这些电影填补了叙事空白,因为研究显示 2016 年有越来越多的女孩加入圣战,而大多数父母作证说他们不知道自己孩子的激进化。因此,这些电影致力于教育父母和观众识别激进化的早期迹象。值得注意的是,女孩的形象被用作激进化“推拉”过程的象征,暗示她象征着西方民主国家未能保护其青年免受伊斯兰国宣传力量的影响。激进女孩的形象使东方主义者对他者的看法复杂化,表达了对反恐战争媒体话语的自我反思。

更新日期:2020-02-11
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