Film

# Palestine /​/​/ Law as a Colonial Weapon: Review of ‘The Law in these Parts’ by Ra’anan Alexandrowicz

the-law-in-these-parts

I re­cently watched Israeli dir­ector Ra’anan Alexandrowicz’s fim, The Law in These Parts, which un­folds the legal mech­an­isms of the oc­cu­pa­tion of the Palestinian ter­rit­ories (West Bank, Gaza and East Jerusalem) since their take over by the Israeli Defense Forces in 1967. Alexandrowicz al­tern­ates archival footage and in­ter­views with six mem­bers of the Israeli mil­itary legal corps who…

Thick Skin, a lawful film written and directed by Peter Rush

Thick Skin

This film ex­plores an aes­thetics of law and its in­hab­it­ants through the public art sites of The Another View Walking Trail that was in­stalled in the 1990s in the City of Melbourne. In a slow-​moving filmic re­cit­a­tion, each of the sites focus our at­ten­tion on the place-​making and counter-​memory of law and gov­ernance. What then would it take for the eye of law, beyond pre­tence and all for­get­ting, to re­cog­nise pain? What would it mean to in­vest­igate the man­ners in and by which prox­imate and suf­fering others have dwelt and do dwell in law? Available to watch for the first time in up­loaded di­gital form here on Critical Legal Thinking…

Lincoln Unchained: Is Obama the Global Uncle Tom?

Samuel Jackon as Stephen in Django Unchained

Beware. This art­icle con­tains spoilers. Let’s start with a self-​evident af­firm­a­tion. Movies, or more pre­cisely Hollywood, is the ul­ti­mate con­trap­tion of he­ge­monic ideo­lo­gical dif­fu­sion. The proph­etic dysto­pias in which secret po­lice would place the mech­an­isms of con­trol in­side the private realm of people, fall way short of the in­trusive vi­ol­ence of today’s reality. Now we pay…

Compliance: The Uncomfortable Reality of Docile Bodies

Claude-Nicolas Ledoux (1736–1806), Coup d’oeil du Théâtre de Besançon, 1804

The movie ‘Compliance’ is dis­turbing on many dif­ferent levels, and left me with a feeling of ex­treme dis­com­fort, and even dis­or­i­ent­a­tion, long after the credits rolled, no less be­cause it is based on true events, re­ferred to by the American media as the “strip search prank call scam’. As the story un­folds in the movie in the same se­quence as it did in reality, Sandra, the man­ager of an Ohio “Chickwich” fast-​food outlet, re­ceives a call from a man falsely claiming to be a po­lice de­tective. Referring to him­self as “Officer Daniels” or “Sir”, he ac­cuses a young fe­male cashier, Becky, of stealing money from a cus­tomer. He then en­lists Sandra’s as­sist­ance in phys­ic­ally de­taining Becky in the store room of the outlet and strip-​searching her. Sandra and two other em­ployees are caught up in events that be­come in­creas­ingly un­set­tling, es­calate throughout, and ul­ti­mately cul­minate in the de­grading sexual abuse and hu­mi­li­ation of Becky by Sandra’s boy­friend, Van.

Pasolini’s Salò: Torture is Political

Salo

Pasolini’s con­tro­ver­sial final film Salò (1975), based on Marquis de Sade’s The 120 Days of Sodom (1785), poses sig­ni­ficant ques­tions re­garding the in­ter­sec­tion between sad­istic tor­ture and sov­er­eignty. The film is di­vided into four seg­ments, heavily in­spired by Dante’s Inferno: Ante-​Inferno, Circle of Manias, Circle of Shit, and Circle of Blood. Salò fo­cuses on four corrupt…

Riots and Ineloquence

"You're tearing me apart": from Rebel Without a Cause

In Nicholas Ray’s 1955 Rebel without a cause1 we follow the prot­ag­onist Jim Stark (James Dean) into de­lin­quency. In this film, Nicholas Ray and the scriptwriter, Stewart Stern, set out to por­tray the life of the con­tem­porary American teen­ager. The story is or­gan­ized around Jim, re­cently ar­rived with his par­ents in a Los Angeles suburb in the…

Home & Apart: Spatial Justice in ‘Women of Cyprus’

Abandoned airport – stark symbol of Cyprus division

On the 16th of June 2011, the Westminster International Law & Theory Centre hosted the London premiere of Women of Cyprus, a doc­u­mentary dir­ected by Vassiliki Katrivanou and Bushra Azzouz, fol­lowed by a dis­cus­sion with the first dir­ector. The film tries to cap­ture the voices and feel­ings of women both sides of the 1974 Cypriot par­ti­tion, namely…