Mediating Dinah's Story in Film
This essay compares and contextualizes two very different cinematic adaptations of the Dinah story (Genesis 34). The first is a postcolonial Malian film directed by political activist Cheick Oumar Sissoko, La Genèse (1999), which uses the Shechemite massacre to comment on contemporary instances of i...
| Autor principal: | |
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| Tipo de documento: | Electrónico Artículo |
| Lenguaje: | Inglés |
| Verificar disponibilidad: | HBZ Gateway |
| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Publicado: |
Oxford University Press
2020
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| En: |
The Oxford handbook of feminist approaches to the Hebrew Bible
Año: 2020 |
| Acceso en línea: |
Volltext (lizenzpflichtig) |
| Sumario: | This essay compares and contextualizes two very different cinematic adaptations of the Dinah story (Genesis 34). The first is a postcolonial Malian film directed by political activist Cheick Oumar Sissoko, La Genèse (1999), which uses the Shechemite massacre to comment on contemporary instances of internecine warfare. The second is an American television miniseries directed by Roger Young, The Red Tent (2014), based upon Anita Diamant’s 1997 novel of the same title. While The Red Tent transforms the biblical account into a tragic love story told from the perspective of female characters, La Genèse clearly depicts Shechem’s assault as a rape and imagines Dinah as a culturally displaced shamanistic griot (storyteller). The analysis uses both cinematic readings of Genesis 34 to focalize the discussion of sexual violence in the Hebrew Bible, the polyvalence of biblical texts, and the possibility of feminist readings of rape literature |
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| ISBN: | 0190462698 |
| Obras secundarias: | Enthalten in: The Oxford handbook of feminist approaches to the Hebrew Bible
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| Persistent identifiers: | DOI: 10.1093/oxfordhb/9780190462673.013.25 |