From Visceral Style to Discourse of Resistance:
Reading Alka Sadat’s Afghan Documentaries on Violence Against Women
- Submitting institution
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Falmouth University
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 157
- Type
- C - Chapter in book
- DOI
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- Book title
- Female Agency and Documentary Strategies: Subjectivities, Identity, and Activism
- Publisher
- Edinburgh University Press
- ISBN
- 9781474419475
- Open access status
- Out of scope for open access requirements
- Month of publication
- January
- Year of publication
- 2018
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
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- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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0
- Research group(s)
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F - Inequality and storytelling
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- This chapter offers the first English-language critical examination of documentaries made by Alka Sadat —an award-winning director of several films and the co-founder of Roya Film House, a production company in the Afghan city of Herat. Having limited visibility in festival circuits in the west, in Afghanistan the self-taught director enjoys a strong reputation of a filmmaker turned women's rights activist—one who offers a unique documentary perspective from the inside of her country. Numerous of Sadat's films focus on impoverished women who in oppressive post-Taliban patriarchal settings find themselves in no-way-out situations, paradoxically displaced in their own native culture.
With its particular focus on three titles—1,2,3 (2006), Half Value Life (2009), and 10 Years On (2013)—this research explores the director's documentary tactics of granting the voice to the oppressed women. It also shows that Sadat's films provide complex analyses of reasons behind violence against women in the country, where women rights activists still face stiff opposition. Currently based in Kabul, both Sadat and her sister Roya, a renown feature filmmaker, enjoy a strong reputation of prolific contributors to the developing film and TV industry in their country. They are also known as feminists speaking for gender equality, women's education and access to the media market.
The chapter situates Sadat's work against the background of western feminist criticism and culture studies scholarship to argue for a sensitive, intersectional and transcultural approach to her work. The author first embarks on reading Sadat's depiction of the current women's rights crisis in the discursive context of today's Afghan culture to honour the director's intentions and to depart from 'the rhetoric of the empire'. (Graham 2010). She then argues against Eurocentric categorisations of female authorship and empowerment, which some western scholars and critics tend to use when writing about internationally acclaimed non-western women filmmakers.
- Author contribution statement
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- Non-English
- No
- English abstract
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