Afghanistan in the Cinema

Index

Index Abu-Lughod, Lila, 94 Afghanistan, Afghan communists, 30, 37, 44, 48–49; Anglo-Afghan Wars, 33–34; in European film, 165; in film history, 6, 38, 86–88, 167; image of women in Western media, 131, 133, 138–39, 170; as Islamic Other, 4, 34, 64, 71–72, 117, 167; refugees, 60, 114, 117, 119, 165. See also Northern Alliance, Soviet-Afghan war, Taliban, U.S.–Afghan war Afghanistan Unveiled, 132–33 Afrooz, Gul (actress), 142–43 Ali, Ayaan Hirsi, 176n16 Alloula, Malek, 2, 68, 73 Amanullah, King of Afghanistan, 81–82 Amin, Hafizullah, 37 Apocalypse Now, 49, 53 Appadurai, Arjun, 52 Arab-Israeli War, 36 Atatürk, Kemal, 82 Atwood, Margaret, 138 Avrakotos, Gus, 52 Barmak, Siddiq, 88, 90, 92, 104; directing Marina Golbahari, 108–9; political motivations , 105–6; and Roya Sadat, 133. See also Osama Barthes, Roland, 66 Bearden, Milton, 44 The Beast, 45, 52, 55; and Afghan women, 50; comparison to Rambo III, 47–48, as captivity narrative, 49–50; depiction of mujahedeen , 45–46, 48–49, 51; of Russians, 46–47; as Vietnam allegory, 47, 49 Benioff, David, 161 Bhabha, Homi, 33, 154–55 Bin Laden, Osama, 44, 79, 90, 104, 122 Black Sunday, 19–20, 170n23 burqa. See veil buzkashi, 12, 14–15, 18–20, 29, 40, 55, 138 Caine, Michael, 24, 30 Canby, Vincent, 17 captivity narratives, 14, 40–41, 48–49, 87, 156 Card, Orson Scott, 34 Cardullo, Bert, 103–4 Casey, William, 38 Cesaire, Aimé, 69 chadari. See veil Chambers, Iain, 127, 154 Charlie Wilson’s War, 51–55; depiction of mujahedeen, 52; and Russian atrocities, 53. See also CIA in Afghanistan, SovietAfghan war Chomsky, Noam, 158 Connery, Sean, 24 Conrad, Joseph, “Heart of Darkness,” 29–30, 122–23 Coward, Rosalind, 98 Dabashi, Hamid, 79–80 dialogue of civilizations, 5, 8, 64, 110, 164, 166–67 Dreyer, Carl, 136–37 i-x_1-198_Grah.indd 193 1/25/10 2:27:49 PM 194 Index Eagleton, Terry, 120, 167 Ebert, Roger, 14 Edwards, David. B., 107 Egan, Eric, 70 Eisele, John C., 86, 95 El Cid, 159 Ellipsis: and Afghan women 139–42; and cinematic spectacle, 134–37; comparison with Osama, 134, 139; and globalization, 144–45; and Iran, 137, 144; and Orientalism , 134, 141–42; and the veil, 134 Engelhardt, Tom, 157, and the “dominant whine,” 24 Fanon, Franz, 74, 77 feminism, 60, 94–95, 138–39; conflicts with Muslim worldview, 99; and visuality, 69–70 Fisk, Robert, 66, 107, 114 Ford, John, 6, The Black Watch, 54; Lost Patrol, 45; The Searchers, 87 Forster, Marc, 147–48 Foucault, Michel, 3 Fowler, Corinne, 23 Frankenheimer, John, 11–16 Freud, Sigmund, 92 Friedrich, Caspar David, 119, 121 frontier mythology, 13, 15–17, 19, 21, 38, 40–41, 50, 54–55, 157–59; and U.S. policy, 43, 157 Gérôme, Jean-Léon, 85, 100, 156 Golbahari, Marina, 88, 108–10, 142 Grisoni, Tony, 115, 128 Gros, Antoine-Jean, 66 grotesque and arabesque, aesthetic theories, 63–64 Gula, Sharbat, 1–5, 8, 74, 97, 109, 131, 152, 163–64 Gulf War, 39, 158 harem, 73, 99 Hawks, Howard, 131 Hazaras, 60, 64, 69, 107, 147, 148–49, 157, 165 Hekmatyar, Gulbuddin, 44, 52, 107, 143 Hitler, Adolf, 54 Hollywood Eastern (film genre), 86–87, 157 The Horsemen: and Afghan women, 170n16; comparison to Black Sunday, 19–20; comparison to The Man Who Would Be King, 27; and documentary, 12–13, 15; and neoconservative ideology, 17, 19–21, 40; and primitivism 14, 16, 18–19, 170; and the veil, 169n3 Hosseini, Khaled, 146–47, 161–62, 165; The Kite Runner (novel) popularity, 132, 146–47, 161, and Shia Islam, 163–64; A Thousand Splendid Suns, 147 Hussein, Prophet, 163–64 Huston, John, 24–35. See also The Man Who Would Be King hybridity, 124, 128, 154; and assimilation, 155, 164 imperialism, and cinema, 54; and essentialism , 93, 134; and international film market , 104; and racism, 28; and surveillance, 3; and travel literature, 44, 120–21, 152 imperialist nostalgia, 49, 52, 55 Ingres, Jean-Auguste-Dominique, 98 In This World, and globalization, 122–28; and human trafficking, 125–26; and imperialism , 116–17, 120–22, 125, 128; and Iran, 115, 117; and romanticism, 119–20, 125 Islam, 63, 73, 83, 95, 127; and cultural assimilation , 163–64; role in Afghan political change, 139; in Osama, 95 Islamic Republic of Iran, and cinema, 62, 65; cultural ties to Afghanistan, 106; and international film market, 64–65, 81, 123–24; 1979 revolution, 37; in...