Articulation, national unity and the aesthetics of living against occupation in Elia Suleiman’s Palestine Trilogy

Abstract

This article interrogates questions of political subjectivity and representation in the context of late modern colonialism, by reading Elia Suleiman’s Palestine trilogy against a wider history of Palestinian political articulation. It suggests that Suleiman’s films detach the Palestinians’ struggle from the national paradigm, and create a political aesthetics that does not reduce the Palestinians to passive victims, nor depends upon their ability to reconstruct national unity and a coherent struggle for liberation. The political importance of this post-nationalism cannot, however, be understood unless it is tied to the specific historical and discursive conjuncture in which the Palestinians exist today. Undoing discourses of Palestinian nationalism, I argue, has become particularly important since the break up of the Oslo accords, not despite, but because of the exigencies of the colonial occupation and the imperative of finding efficient ways of resisting it.