ABSTRACT This paper is focused on Shoaib Mansoor’s feminist film, Bol (2011), seen as a commentary on religious “absolute explanatory schemes.” 1 Arguing that the film demonstrates how Pakistani patriarchy maneuvers sacred texts to construct comforting illusions for women, this paper uses the theory of Islamic Feminism to unravel the politics of religious interpretation and the discursive influence of Islamic fundamentalism. It notes that the protagonist’s inner conflict is a transgressional act and dragoons her into disrupting socio-religious boundaries. The paper also examines the film's confessional nature, exposing gender inequalities and injustices exercised through self-authorized religious dogma. Viewers of Bol enter a journey not only through the nodi that confront women and plague contemporary enunciations of Islam, but also through heterogeneous forms of iniquitous oppression, systematic bigotry, forced marriage, and endemic violence. The article concludes that by bridging the gulf between Islam and feminism, women’s rights movements can be effective in the Islamic world.

中文翻译：

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摆脱对神圣文本的父权占有：伊斯兰女权主义者对波尔的批判

摘要 本文重点关注 Shoaib Mansoor 的女权主义电影 Bol (2011)，该电影被视为对宗教“绝对解释方案”的评论。1 认为这部电影展示了巴基斯坦父权制如何操纵神圣文本为女性构建令人欣慰的幻想，本文使用伊斯兰女权主义理论来解开宗教解释的政治和伊斯兰原教旨主义的话语影响。它指出主角的内心冲突是一种越界行为，并驱使她破坏社会宗教界限。该论文还考察了这部电影的忏悔性质，揭露了通过自我授权的宗教教条实施的性别不平等和不公正。波尔的观众不仅通过与女性对抗和困扰当代伊斯兰教的诺迪，进入了一段旅程，但也通过各种形式的邪恶压迫、系统性偏执、强迫婚姻和地方性暴力。文章的结论是，通过弥合伊斯兰教和女权主义之间的鸿沟，妇女权利运动可以在伊斯兰世界发挥作用。