Abstract
This article takes us on a journey through occupied Palestine to the ancient city of Nablus, where Palestinian film‐maker Hany Abu‐Assad was location scouting for the shooting of his globally celebrated Paradise Now (2005). The travelogue is a meditation on the interplay between film and fact, fiction and reality, the joy of creative defiance and the mendacity of colonial domination. The ethnographic practices of visual anthropology and academic film studies are taken critically to task for undermining the art and creative energies of a people in their transcendence of a siege condition.
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