Bibliographic record
Abstract
This dissertation discusses how time is reckoned with and represented in Palestinian cinema through a thematic and formal analysis of select Palestinian films. I argue that a defining feature of Palestinian cinema is its preoccupation with understanding, both in the context of Palestine as well as on a universal scale. These films utilise singular qualities of the cinematic medium to reflect on Palestinian history, depict the experience of the present moment, and speculate about the future. In each chapter I engage with the representations of the past, the present, and the future respectively, while also problematising any assumption that temporal vectors can be understood conclusively and in isolation. I show that while Palestinian cinema is deeply and unavoidably concerned with the experience of historical trauma, its films attempt to make sense of how history and its experience are narrativized and rendered coherent in spite of unavoidable ambiguities. This can be detected in the formal qualities of the films I discuss by way of a focus on media and the creation of historical records. I demonstrate how the films are shaped formally and thematically by the conditions of occupation and the regimentation of time and space, or, in other words, how their depictions of temporal and spatial experiences directly emerge from the conditions of life in Palestine. While the spatial consequences of occupation, symbolised by images of the Separation Wall as well as checkpoints, tend to be the focus of most analyses, I show that it is not only space but also time that is divided, and attentiveness to time and temporality is equally essential and rewarding. Working my way towards the future in a nonlinear manner, I conclude the project by showing how Palestinian cinema anticipates and speculates about the future, particularly how it acknowledges uncertainty and contends with utopian impulses through the concept of Sumud/steadfastness while also imagining Palestine beyond the present moment’s political impasse
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.002 | 0.004 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.004 | 0.003 |
| Science and technology studies | 0.005 | 0.007 |
| Scholarly communication | 0.006 | 0.004 |
| Open science | 0.001 | 0.002 |
| Research integrity | 0.001 | 0.001 |
| Insufficient payload (model declined to judge) | 0.005 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".