Framing the Subaltern: Humanitarian Violence in Liz Mermin’s documentary The Beauty Academy of Kabul

This paper examines how the encounter between the “First World American women” and “Third world Afghan women” is framed to inadvertently enact a form of representational violence in Liz Mermin’s documentary film, The Beauty Academy of Kabul. The paper shows that despite its ostensibly progressive s...

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Main Author: Deepthi Siriwardena
Format: Article
Language:English
Published: University of Pittsburgh 2023-12-01
Series:CINEJ Cinema Journal
Subjects:
Online Access:http://cinej.pitt.edu/ojs/cinej/article/view/549
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author Deepthi Siriwardena
author_facet Deepthi Siriwardena
author_sort Deepthi Siriwardena
collection DOAJ
description This paper examines how the encounter between the “First World American women” and “Third world Afghan women” is framed to inadvertently enact a form of representational violence in Liz Mermin’s documentary film, The Beauty Academy of Kabul. The paper shows that despite its ostensibly progressive stance of giving space to Afghan women’s voice, the film, serves to validate the new form the colonial self has taken in the globalized world - the humanitarian identity - and reaffirms the American imperial agenda. Employing Judith Butler’s insights in Frames of War, where she points out how the frame delimits the domain of representability and the confines of “reality” itself, the analysis explores how Mermin’s documentary frames the Afghan women as the first world audience is meant to recognize, grieve and intervene for.
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spelling doaj.art-0dfa8d5cf6ae48878d90b605059d9a792023-12-20T21:41:17ZengUniversity of PittsburghCINEJ Cinema Journal2158-87242023-12-0111210.5195/cinej.2023.549Framing the Subaltern: Humanitarian Violence in Liz Mermin’s documentary The Beauty Academy of KabulDeepthi Siriwardena0University of Florida This paper examines how the encounter between the “First World American women” and “Third world Afghan women” is framed to inadvertently enact a form of representational violence in Liz Mermin’s documentary film, The Beauty Academy of Kabul. The paper shows that despite its ostensibly progressive stance of giving space to Afghan women’s voice, the film, serves to validate the new form the colonial self has taken in the globalized world - the humanitarian identity - and reaffirms the American imperial agenda. Employing Judith Butler’s insights in Frames of War, where she points out how the frame delimits the domain of representability and the confines of “reality” itself, the analysis explores how Mermin’s documentary frames the Afghan women as the first world audience is meant to recognize, grieve and intervene for. http://cinej.pitt.edu/ojs/cinej/article/view/549humanitarianismthird world womendocumentarycolonialismsubalternAfghanistan
spellingShingle Deepthi Siriwardena
Framing the Subaltern: Humanitarian Violence in Liz Mermin’s documentary The Beauty Academy of Kabul
CINEJ Cinema Journal
humanitarianism
third world women
documentary
colonialism
subaltern
Afghanistan
title Framing the Subaltern: Humanitarian Violence in Liz Mermin’s documentary The Beauty Academy of Kabul
title_full Framing the Subaltern: Humanitarian Violence in Liz Mermin’s documentary The Beauty Academy of Kabul
title_fullStr Framing the Subaltern: Humanitarian Violence in Liz Mermin’s documentary The Beauty Academy of Kabul
title_full_unstemmed Framing the Subaltern: Humanitarian Violence in Liz Mermin’s documentary The Beauty Academy of Kabul
title_short Framing the Subaltern: Humanitarian Violence in Liz Mermin’s documentary The Beauty Academy of Kabul
title_sort framing the subaltern humanitarian violence in liz mermin s documentary the beauty academy of kabul
topic humanitarianism
third world women
documentary
colonialism
subaltern
Afghanistan
url http://cinej.pitt.edu/ojs/cinej/article/view/549
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