{"id":36087,"date":"2025-02-07T08:17:14","date_gmt":"2025-02-07T06:17:14","guid":{"rendered":"https:\/\/themarkaz.org\/oldsite\/?p=36087"},"modified":"2025-08-27T16:04:07","modified_gmt":"2025-08-27T14:04:07","slug":"memories-of-palestine-through-contemporary-media","status":"publish","type":"post","link":"https:\/\/themarkaz.org\/oldsite\/memories-of-palestine-through-contemporary-media\/","title":{"rendered":"Memories of Palestine through Contemporary Media"},"content":{"rendered":"
A psycho-social-virtual memoir of Palestine of both emotional and geographic proportions.<\/span><\/h5>\n

 <\/p>\n

Producing Palestine: The Creative Production of Palestine through Contemporary Media<\/em> by Helga Tawil-Souri & Dina Matar
\nBloomsbury Publishing 2024<\/a>
\nISBN 9780755654277<\/p>\n

 <\/p>\n

Malu Halasa<\/span><\/h4>\n

 <\/p>\n

Envisioning a continuous past, present, and future verges on the impossible, yet East Jerusalem artist Larissa Sansour insists, \u201cIt is hard to talk about the Palestinian trauma without addressing several tenses, and histories. The Palestinian psyche seems to be planted in the catastrophic events of 1948 and is tied to a constant projection of the future, yet the present is in a constant limbo.\u201d<\/span><\/p>\n

\"Producing<\/a>
Producing Palestine<\/em> is published by Bloomsbury<\/a>.<\/figcaption><\/figure>\n

The sixteen essays in <\/span>Producing Palestine: The Creative Production of Palestine through Contemporary Media<\/span><\/i> are caught in Sansour\u2019s future-past-present. The anthology, edited by Helga Tawil-Souri and Dina Matar, explores new media and technologies. It also interrogates maps, databases, apps, snap chats, mobile phone film footage, graffiti, posters, kitsch, games, stickers, and selfies that<\/span> conjure, produce, and delineate Palestine. In their entirety, the essays provide a psycho-social-virtual memoir of Palestine of both geographic and emotional proportions. They also give voice to the many thousands whose lives have been either lost to genocide or blighted by relentless occupation.<\/span><\/p>\n

Producing Palestine<\/span><\/i> arrives at a historic juncture. Palestinians and many others wonder, as the book\u2019s co-editor Dina Matar said: \u201cWhat use is (more) images or words when Palestinians are (still) being killed, vilified, and silenced.\u201d Matar made those remarks as she presented the anthology to the SOAS conference \u201cArchiving Gaza in the Present\u201d in December.<\/span><\/p>\n

Multitudinal Returns<\/b><\/h4>\n

People have been struck by social media footage of Gazans walking north days after the ceasefire took hold, while the rest of the world couldn\u2019t help but wonder how those who had lost loved ones and their homes felt about the landscape of sheer devastation around them. \u201cThey were singing,\u201d said Harvard Divinity School\u2019s Hilary Rantisi almost in awe and disbelief. \u201cThey are an example to us all.\u201d For Palestinians the reality of return invigorates and renews against all odds.<\/span><\/p>\n

Return casts a long shadow over Tawil-Souri and Matar\u2019s <\/span>Producing Palestine<\/span><\/i> anthology. Contributor Rayya El Zein, in her \u201cA Place Called Return,\u201d admits she comes from a family that normally doesn\u2019t speak about going back to Palestine. The writer, researcher, and second generation Palestinian was raised in the diaspora. She still tries to visit her family\u2019s properties that were once called \u201chome\u201d in Yaffa. Her strange, bittersweet travelogue is filled with barred entryways, near misses as she approaches family properties, and the kindness of strangers who remember (and sometimes feign forgetfulness of) the odd landmark as El Zein looks for places from an old family photograph.\u00a0<\/span><\/p>\n

She writes of attempts to \u201clocate … return in the everyday practices of what might otherwise be recognized as tourism. More specifically, I am wondering what the role of micro returns like mine … can play in a collective \u2018protocol of recognition\u2019\u201d \u2014 the writer borrows a phrase from Rebecca Stein in <\/span>Itineraries in Conflict: Israelis, Palestinians, and the Political Lives of Tourism<\/span><\/i> \u2014 \u201cin the current chapter of Palestinian imagining a horizon called Palestine.\u201d<\/span><\/p>\n

The game, <\/span>Countless Palestinian Futures<\/span><\/i> (CPF), developed by Danah Abdulla and Sarona Abuaker and played in London\u2019s Mosaic Rooms, in 2021, encourages thinking on identifying issues raised by return.\u00a0<\/span><\/p>\n

In their essay for the book, \u201cImagining Return, Countless Palestinian Futures\u201d designer\/educator Abdulla and the poet Abuaker explain that they \u201cwanted to develop a tool that did not frame Palestinians as victims but rather as people who take ownership over their own narratives.\u201d (Listen to audio clip<\/a> below.)<\/span><\/p>\n

\"<a<\/a>
Countless Palestinian Futures \u2014 Danah Abdulla & Sarona Abuaker<\/a><\/figcaption><\/figure>\n

CPF is based on <\/span>The Open Work<\/span><\/i><\/a> by Italian philosopher Umberto Eco and his theories of audience participation. The game aims to \u201cstimulate the imagination by helping people to develop tangible outcomes and ideas around Palestinian futures \u2014 to empower players to not limit themselves by the political imagination of others \u2026 In other words, who and what are we \u2014 as Palestinians after the struggle.\u201d<\/span><\/p>\n

Players are presented with question cards from the game\u2019s different categories: Culture and Media; Economy; Geography; Governance and Policy; Infrastructure; and People and Society. Some of the questions are theoretical \u2014 \u201cWould liberation include a Palestinian ruling class?\u201d Others are practical: \u201cHow would the ruins of deserted villages be revived sustainably for the influx of those returning?\u201d\u00a0<\/span><\/p>\n

On the Internet, the many possibilities of return abound. In \u201cVirtual Returns: Rehearsing and Remediating Return in Palestinian Video Practices,\u201d Kareem Estafan begins with <\/span>Zochrot\u2019s iNakba<\/span><\/a>. The app, he explains, from an Israel project meaning memories (female plural) recalls the towns and villages that were largely emptied in 1948, \u201cmaps the hundreds of Palestinian villages destroyed to create Israel, incorporating user-generated images and histories on an interactive map of present-day Israel.\u201d He goes onto <\/span>Palestine Open Maps<\/span><\/a>, which he describes as \u201cdigitally overlays maps of Palestine from the 1870s, 1940s, 1950s, and the present to create open-source, searchable versions with which users can interact.\u201d Another project is the interactive documentary, <\/span>Jerusalem<\/span><\/i>, <\/span>We Are Here<\/span><\/i><\/a> (2016), directed by Dorit Naaman. These are, in the words of another contributor to the book new media curator Dale Hudson, \u201c<\/span>virtual transportations<\/span><\/i> for Palestinians, unable to travel due to Israeli restrictions.\u201d However, Estafan, a professor of film studies at Cambridge University, also acknowledges that Palestinians have a long history of return without virtual aids.<\/span><\/p>\n

\"Poster
Poster art for Kassem Hawal’s 1982 film of the Ghassan Kanafani novel A’id ila Haifa<\/em>\/Returning to Haifa<\/em> (courtesy iMDB).<\/figcaption><\/figure>\n

They \u201crehearse\u201d return as in Ghassan Kanafani\u2019s 1969 novella <\/span>A\u2019id \u2019ila Hayfa <\/span><\/i>(<\/span>Returning to Haifa<\/span><\/i><\/a>), and \u201cpractice\u201d defiant return as in the Great March of Return, the mass protests on the Gaza\/Israel border, from 2018\u20132019 that was brutally suppressed by Israel. Estafan writes: return is \u201ca structure continually imagined and performed by Palestinians.\u201d<\/span><\/p>\n

One of the anthology\u2019s fascinating, and indeed more unusual, permutations of return is outlined in Aamer Iraheem\u2019s essay, \u201cReincarnated: Common Sense and the Poetics of Elsewhere.\u201d The anthropologist tells the story of 17-year-old Druze Nazih Abu Zeid in Majdal Shams in the occupied Golan Heights, who spied on the Israelis for the Syrians. On December 27, 1976, he was suddenly killed in an explosion as he crossed a minefield. The morning after Abu Zeid\u2019s death, a baby was born to a Druze family nearly 80 km\/50 miles away in the Galilean village of Hurfeish. The five-year-old Mazen Halaba would tell his family of a reoccurring memory he had of a big explosion. The Druze believe in <\/span>taqammus<\/span><\/i><\/a> or reincarnation, and the families of these two boys eventually came to the understanding that their sons\u2019 lives and deaths are interlinked.<\/span><\/p>\n

On a trip with his family to the Golan, Halaba routinely corrects a cab driver when the driver attempts to trick the child and tell him inaccurate place names near or around Abu Zeid\u2019s family home.<\/span><\/p>\n

This is a unique perspective on \u201creturn.\u201d However, for Iraheem, \u201cnarratives of reincarnation hold a radical potential for opening up political and geographical horizons as they necessarily encapsulate histories beyond the immediate context of the here and now.\u201d It can, he states, transcend \u201ccolonial and post-colonial borders.\u201d<\/span><\/p>\n

Yet again Palestine transits timelines and exists simultaneously in the past, present, and a possible future.<\/span><\/p>\n

\"Hazim
Hazim Bitar, Gaza, 2024 (courtesy The Art of Occupied Palestine).<\/figcaption><\/figure>\n

Powerful Symbolism<\/b><\/h4>\n

Just as return necessitates movement towards homeland, there are essential Palestinian symbols that have migrated and morphed in meaning in the wider world.<\/span><\/p>\n

In their essay \u201cBecoming <\/span>Al-Mulatham\/a<\/span><\/i>: <\/span>Fedayee<\/span><\/i> Art, Abou Oubaida, Palestinian TikTok,\u201d Nayrouz Abu Hatoum and Hadeel Assaili explore the masked resistance figure, whether male or female. His\/her facial features are often obscured by a wrapped keffiyeh around their head. Across social media this image has become the ubiquitous face of resistance beyond the context of Israel or Hamas.<\/span><\/p>\n

Then what happens when the face and the eyes are removed, and only the outlines of the headdress itself remain? The keffiyeh, with its historic origins in the <\/span>fellahin<\/span><\/i> or Palestinian peasant, has been reproduced in posters, historic documentary photographs, Hollywood epic films, political posters and theatre. In brilliant visual criticism, \u201cMarking Bodies: A Catalogue of Keffiyehs,\u201d Sary Zananiri explains that he \u201creduces the keffiyeh to its constituent elements\u201d; and demonstrates … how these different version of this headdress \u201cmark the Palestinian body in different ways even when it is wrapped around a non-Palestinian body.\u201d<\/span><\/p>\n

The historic or cultural moment, in which the keffiyeh is donned, provides all-important clues, especially when the examples come from movies. The one sported by T.E. Lawrence in the David Lean film <\/span>Lawrence of Arabia<\/span><\/i> (1962) could be understood as a combination of admiration or the puerile (colonialist) thrill of \u201cgoing native.\u201d For cultural critic Zananiri, it embodies \u201cthe ambiguities of British positions toward Arab nationalist aspirations.\u201d Jesus\u2019s keffiyeh in Cecil B. DeMille\u2019s biblical epic <\/span>The<\/span><\/i> Ten Commandments <\/span><\/i>(1956), the author writes, \u201cunderscores the benevolence of Christianity, and hence liberal democracy, within the Cold War context.\u201d Or the keffiyeh from the film <\/span>Haganah<\/span><\/i> (1960) \u201cre-genders orientalist ideas of deviance regarding the politics of veiling.\u201d By 1994, another Hollywood keffiyeh worn by a terrorist \u201cmarks a sense of threat to liberalism.\u201d<\/span><\/p>\n

Nothing is without context, even institutions like museums that purport to be receptacles of the past are rarely without their biases. So what relationship does a museum have with time if it is an institution charting the course of a continuing conflict? In her essay \u201c\u2018We\u2019re Still Alive, so Remove Us from Memory\u2019: Asynchronicity and the Museum in Resistance,\u201d Palestinian museum director Lara Khaldi considers the Yasser Arafat Museum in Ramallah before she argues that \u201cthe museum of resistance is a museum engaged in struggle. Therefore, it is a museum outside of time.\u201d<\/span><\/p>\n

\"\"
Said Elatab, “Sad Woman from Palestine,” oil on canvas, 2024 (courtesy of the artist).<\/figcaption><\/figure>\n

To be there, beyond time, she believes, is also to be beyond \u201cthe reaches or archive and surveillance. It is obvious whose surveillance to which she is alluding. The prime example of this comes from the \u201carchive of resistance\u201d in the form of the book <\/span>Falsaft al Muwajahah Wara al Qudban<\/span><\/i> [The Philosophy of Confrontation behind Bars].\u00a0<\/span><\/p>\n

As Khaldi writes, \u201cThis book was smuggled in fragments inside capsules by political prisoners and circulated inside and outside of Israeli prisons to educate Palestinians about how to confront political imprisonment.\u201d Devoid of any kind of publishing information, including the author\u2019s identity makes the book \u201cout of reach … The act of no-naming blinds the colonizer\u2019s eye\/discourse,\u201d according to Birzeit anthropologist Esmail Nashif from his book, <\/span>Images of a Palestinian\u2019s Death<\/span><\/i>.<\/span><\/p>\n

Those institutions or objects beyond time have a value of their own, in terms of the Palestinian resistance. <\/span>Falsaft al Muwajahah Wara al Qudban<\/span><\/i> could be considered one of the <\/span>techn\u00e9s<\/span><\/i> of Palestinian liberation that another of the book\u2019s contributors, Stephen Sheehi identifies in his essay \u201cForging Revolutionary Objects.\u201d The <\/span>techn\u00e9 <\/span><\/i>is the \u201cart, skill, or craft; a technique, principle, or method\u201d from which liberation is achieved. Many of the <\/span>techn\u00e9s<\/span><\/i>, as Sheehi writes, \u201crebuff the military violence of the settler state now known as Israel\u201d with \u201csacrifices and commitments of the Palestinian resistance \u2013 <\/span>al muqawimah al falastiniyah<\/span><\/i>.\u201d<\/span><\/p>\n

He cites the spoon, the one with which six Palestinian prisoners dug their way out of one of the hastily built and impermeable gulag, Gilboa, hastily constructed for the thousands of Palestinians arrested during the Second Intifada (2000\u20132005). With this single implement the prisoners dug for nine months through six inches of concrete wall, metal plates in the floor, and 100 feet of dirt, and tunneled to freedom.<\/span><\/p>\n

After a frenzied manhunt, the six escapees were of course caught. During their arraignment one of the prisoners Ayhan Kamamji, yelled out: \u201cWe see clearly the resistance\u2019s promise (<\/span>wa\u2019ad muqawimah<\/span><\/i>) … victory is coming despite the nose of the occupier.\u201d<\/span><\/p>\n

As Sheehi, an academic, writes, \u201cObjects associate with one another to make meaning within a history of popular mobilization.\u201d Other <\/span>techn\u00e9s<\/span><\/i> of liberation are the gliders of two PFLP fighters in 1987, a Tunisian and Syrian who had powered their gliders with lawn mower engines, flew into Israeli occupied Southern Lebanon and attacked an Israeli base before the two <\/span>fidai\u2019s<\/span><\/i> were killed.\u00a0\u00a0<\/span><\/p>\n

The gliders, for Sheehi, recall the kites of Gaza, flying over Israeli defenses and guard towers and of the burning tires every Friday of the Great March of Return, which \u201cblind[ed] IDF snipers\u201d from targeting protestors. Gaza has one of the highest rates of amputated people because the IDF routinely shoots people in the legs.<\/span><\/p>\n

Despite the powerful symbolism of these objects and their historic importance, he acknowledges that, \u201cthe revolutionary movement, politically, has largely been marginalized in the Palestinian polity.\u201d Yet, despite this, \u201cthe popular culture, and psychological, social and cultural identification it has forged remains at the bedrock of Palestinian national identity.\u201d<\/span><\/p>\n

The cooking of the Palestinian celebrity chef <\/span>Fadi Kattan<\/span><\/a>, Palestinian poster art, graffitied wall murals of iconic figures such as Ahed Tamimi, and Palestinian queerness in Mashrou\u2019 Leila song \u201c<\/span>Cavalry<\/span><\/a>\u201d are important topics that merit their own dedicated essays in the book. Despite the populism of the figures and cultural production at times the academic nature of the writing adds yet another layer of meaning to unpick.<\/span><\/p>\n

The book\u2019s last essay, \u201cTerra ex Machina\u201d by Dr. Hagit Keysar and Ariel Caine, is about one of Israel\u2019s little known but enormously powerful barriers. An invisible wall, it surrounds Haram al-Sharif and the Temple Mount and 3 km\/1.9 miles in diameter and with an almost ten km\/6.2 mile periphery. This \u201cgeofence\u201d is \u201ca cylindrical digital barrier from the ground and up into the skies, set to prevent drone flight into or take-offs within the area.\u201d However, unlike other forms of intense forms of surveillance that crisscross Jerusalem, which is controlled by the Israelis, the geofence is maintained and operated by the Chinese drone manufacturer <\/span>DJI<\/span><\/a>. Palestinian oppression is meat and bones for the international military industrial complex.<\/span><\/p>\n

Keysar and Caine used 10,000 images taken from their own drone that oftentimes crashed into or was restricted from entering the geofence. However, the drone\u2019s GPS were systems hacked at times the ban around the geofence was circumvented. These images were then combined with \u201cdo-it-yourself aerial photographs\u201d taken from cameras attached to kites and balloons launched by residents, activists, and researchers. All of these were then fed through photogrammetry software, which the authors characterize as \u201cthe science of computing spatial and three-dimensional measurement of an object or a scene from sets of two-dimensional perspectival photographs recording it from multiple viewpoints.\u201d The resultant composite of images provides the first, detailed \u2014 in part \u2014 illustrations of the geofence over Haram Al Sharif and Temple Mount. Perhaps the underpinning lesson of this essay: if it\u2019s technological, with time and patience it can always be hacked.<\/span><\/p>\n

The Real Field of Conflict<\/b><\/h4>\n

In the epilogue to this remarkable anthology, Tawil-Souri and Matar recall Edward Said when they write, \u201cThe production of Palestine is not a field of detached, marginal, or virtual expression but <\/span>a real field of conflict\u201d<\/span><\/i> (emphasis mine). As the Trump administration attempts to close down criticism of Israel in universities and public institutions, activism and cultural production remain the first line of defense.\u00a0<\/span><\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Malu Halasa reviews a psycho-social-virtual memoir of Palestine of both emotional and geographic proportions.<\/p>\n","protected":false},"author":15,"featured_media":36111,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"footnotes":""},"categories":[6,2656,3185,2215,27,4207],"tags":[4230,718,4231,908,1038,1288,1326,1464],"coauthors":[2023],"class_list":["post-36087","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-book-review","category-books","category-literature","category-media","category-memoir","category-tmr-48-memoir","tag-druze","tag-gaza","tag-images","tag-israel","tag-liberation","tag-palestine","tag-palestinians","tag-resistance","entry"],"acf":[],"yoast_head":"\nMemories of Palestine through Contemporary Media - The Markaz Review<\/title>\n<meta name=\"description\" content=\"Malu Halasa reviews a psycho-social-virtual memoir of Palestine of both emotional and geographic proportions.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/themarkaz.org\/oldsite\/memories-of-palestine-through-contemporary-media\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Memories of Palestine through Contemporary Media\" \/>\n<meta property=\"og:description\" content=\"Malu Halasa reviews a psycho-social-virtual memoir of Palestine of both emotional and geographic proportions.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/themarkaz.org\/oldsite\/memories-of-palestine-through-contemporary-media\/\" \/>\n<meta property=\"og:site_name\" content=\"The Markaz Review\" \/>\n<meta property=\"article:published_time\" content=\"2025-02-07T06:17:14+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2025-08-27T14:04:07+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/themarkaz.org\/oldsite\/wp-content\/uploads\/2025\/02\/Said-Elatab-Lebanese-and-Palestinian-Rebirth-2024-courtesy-of-the-artist.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1920\" \/>\n\t<meta property=\"og:image:height\" content=\"919\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Malu Halasa\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Malu Halasa\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"13 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/memories-of-palestine-through-contemporary-media\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/memories-of-palestine-through-contemporary-media\\\/\"},\"author\":{\"name\":\"Malu Halasa\",\"@id\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/#\\\/schema\\\/person\\\/f312d9bb8a1c617f937cefff69cb77d5\"},\"headline\":\"Memories of Palestine through Contemporary Media\",\"datePublished\":\"2025-02-07T06:17:14+00:00\",\"dateModified\":\"2025-08-27T14:04:07+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/memories-of-palestine-through-contemporary-media\\\/\"},\"wordCount\":2579,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/memories-of-palestine-through-contemporary-media\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/wp-content\\\/uploads\\\/2025\\\/02\\\/Said-Elatab-Lebanese-and-Palestinian-Rebirth-2024-courtesy-of-the-artist.jpg\",\"keywords\":[\"Druze\",\"Gaza\",\"images\",\"Israel\",\"liberation\",\"Palestine\",\"Palestinians\",\"resistance\"],\"articleSection\":[\"Book Reviews\",\"Books\",\"Literature\",\"Media\",\"Memoir\",\"TMR 48 \u2022 MEMOIR\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/memories-of-palestine-through-contemporary-media\\\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/memories-of-palestine-through-contemporary-media\\\/\",\"url\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/memories-of-palestine-through-contemporary-media\\\/\",\"name\":\"Memories of Palestine through Contemporary Media - The Markaz Review\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/memories-of-palestine-through-contemporary-media\\\/#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/memories-of-palestine-through-contemporary-media\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/wp-content\\\/uploads\\\/2025\\\/02\\\/Said-Elatab-Lebanese-and-Palestinian-Rebirth-2024-courtesy-of-the-artist.jpg\",\"datePublished\":\"2025-02-07T06:17:14+00:00\",\"dateModified\":\"2025-08-27T14:04:07+00:00\",\"description\":\"Malu Halasa reviews a psycho-social-virtual memoir of Palestine of both emotional and geographic proportions.\",\"breadcrumb\":{\"@id\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/memories-of-palestine-through-contemporary-media\\\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/memories-of-palestine-through-contemporary-media\\\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/memories-of-palestine-through-contemporary-media\\\/#primaryimage\",\"url\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/wp-content\\\/uploads\\\/2025\\\/02\\\/Said-Elatab-Lebanese-and-Palestinian-Rebirth-2024-courtesy-of-the-artist.jpg\",\"contentUrl\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/wp-content\\\/uploads\\\/2025\\\/02\\\/Said-Elatab-Lebanese-and-Palestinian-Rebirth-2024-courtesy-of-the-artist.jpg\",\"width\":1920,\"height\":919,\"caption\":\"Said Elatab, \\\"Lebanese and Palestinian Rebirth,\\\" oil on canvas, 2024 (courtesy of the artist).\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/memories-of-palestine-through-contemporary-media\\\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Memories of Palestine through Contemporary Media\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/#website\",\"url\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/\",\"name\":\"The Markaz Review\",\"description\":\"Literature and Arts from the Center of the World\",\"publisher\":{\"@id\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/#organization\",\"name\":\"The Markaz Review\",\"url\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/#\\\/schema\\\/logo\\\/image\\\/\",\"url\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/wp-content\\\/uploads\\\/2023\\\/08\\\/cropped-New-2023-TMR-Logo-500-pix.jpg\",\"contentUrl\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/wp-content\\\/uploads\\\/2023\\\/08\\\/cropped-New-2023-TMR-Logo-500-pix.jpg\",\"width\":473,\"height\":191,\"caption\":\"The Markaz Review\"},\"image\":{\"@id\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/#\\\/schema\\\/logo\\\/image\\\/\"}},{\"@type\":\"Person\",\"@id\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/#\\\/schema\\\/person\\\/f312d9bb8a1c617f937cefff69cb77d5\",\"name\":\"Malu Halasa\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/30bc5d158ff039cb48b4adfbec7824e5a28541b091f6c76147d5b2ce558920e4?s=96&d=mm&r=gc48853b8dc160812c8ab7d663ddf8c67\",\"url\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/30bc5d158ff039cb48b4adfbec7824e5a28541b091f6c76147d5b2ce558920e4?s=96&d=mm&r=g\",\"contentUrl\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/30bc5d158ff039cb48b4adfbec7824e5a28541b091f6c76147d5b2ce558920e4?s=96&d=mm&r=g\",\"caption\":\"Malu Halasa\"},\"url\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/author\\\/maluhalasa\\\/\"}]}<\/script>\n<!-- \/ Yoast SEO Premium plugin. -->","yoast_head_json":{"title":"Memories of Palestine through Contemporary Media - The Markaz Review","description":"Malu Halasa reviews a psycho-social-virtual memoir of Palestine of both emotional and geographic proportions.","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/themarkaz.org\/oldsite\/memories-of-palestine-through-contemporary-media\/","og_locale":"en_US","og_type":"article","og_title":"Memories of Palestine through Contemporary Media","og_description":"Malu Halasa reviews a psycho-social-virtual memoir of Palestine of both emotional and geographic proportions.","og_url":"https:\/\/themarkaz.org\/oldsite\/memories-of-palestine-through-contemporary-media\/","og_site_name":"The Markaz Review","article_published_time":"2025-02-07T06:17:14+00:00","article_modified_time":"2025-08-27T14:04:07+00:00","og_image":[{"width":1920,"height":919,"url":"https:\/\/themarkaz.org\/oldsite\/wp-content\/uploads\/2025\/02\/Said-Elatab-Lebanese-and-Palestinian-Rebirth-2024-courtesy-of-the-artist.jpg","type":"image\/jpeg"}],"author":"Malu Halasa","twitter_card":"summary_large_image","twitter_misc":{"Written by":"Malu Halasa","Est. reading time":"13 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/themarkaz.org\/oldsite\/memories-of-palestine-through-contemporary-media\/#article","isPartOf":{"@id":"https:\/\/themarkaz.org\/oldsite\/memories-of-palestine-through-contemporary-media\/"},"author":{"name":"Malu Halasa","@id":"https:\/\/themarkaz.org\/oldsite\/#\/schema\/person\/f312d9bb8a1c617f937cefff69cb77d5"},"headline":"Memories of Palestine through Contemporary Media","datePublished":"2025-02-07T06:17:14+00:00","dateModified":"2025-08-27T14:04:07+00:00","mainEntityOfPage":{"@id":"https:\/\/themarkaz.org\/oldsite\/memories-of-palestine-through-contemporary-media\/"},"wordCount":2579,"commentCount":0,"publisher":{"@id":"https:\/\/themarkaz.org\/oldsite\/#organization"},"image":{"@id":"https:\/\/themarkaz.org\/oldsite\/memories-of-palestine-through-contemporary-media\/#primaryimage"},"thumbnailUrl":"https:\/\/themarkaz.org\/oldsite\/wp-content\/uploads\/2025\/02\/Said-Elatab-Lebanese-and-Palestinian-Rebirth-2024-courtesy-of-the-artist.jpg","keywords":["Druze","Gaza","images","Israel","liberation","Palestine","Palestinians","resistance"],"articleSection":["Book Reviews","Books","Literature","Media","Memoir","TMR 48 \u2022 MEMOIR"],"inLanguage":"en-US","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/themarkaz.org\/oldsite\/memories-of-palestine-through-contemporary-media\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/themarkaz.org\/oldsite\/memories-of-palestine-through-contemporary-media\/","url":"https:\/\/themarkaz.org\/oldsite\/memories-of-palestine-through-contemporary-media\/","name":"Memories of Palestine through Contemporary Media - The Markaz Review","isPartOf":{"@id":"https:\/\/themarkaz.org\/oldsite\/#website"},"primaryImageOfPage":{"@id":"https:\/\/themarkaz.org\/oldsite\/memories-of-palestine-through-contemporary-media\/#primaryimage"},"image":{"@id":"https:\/\/themarkaz.org\/oldsite\/memories-of-palestine-through-contemporary-media\/#primaryimage"},"thumbnailUrl":"https:\/\/themarkaz.org\/oldsite\/wp-content\/uploads\/2025\/02\/Said-Elatab-Lebanese-and-Palestinian-Rebirth-2024-courtesy-of-the-artist.jpg","datePublished":"2025-02-07T06:17:14+00:00","dateModified":"2025-08-27T14:04:07+00:00","description":"Malu Halasa reviews a psycho-social-virtual memoir of Palestine of both emotional and geographic proportions.","breadcrumb":{"@id":"https:\/\/themarkaz.org\/oldsite\/memories-of-palestine-through-contemporary-media\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/themarkaz.org\/oldsite\/memories-of-palestine-through-contemporary-media\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/themarkaz.org\/oldsite\/memories-of-palestine-through-contemporary-media\/#primaryimage","url":"https:\/\/themarkaz.org\/oldsite\/wp-content\/uploads\/2025\/02\/Said-Elatab-Lebanese-and-Palestinian-Rebirth-2024-courtesy-of-the-artist.jpg","contentUrl":"https:\/\/themarkaz.org\/oldsite\/wp-content\/uploads\/2025\/02\/Said-Elatab-Lebanese-and-Palestinian-Rebirth-2024-courtesy-of-the-artist.jpg","width":1920,"height":919,"caption":"Said Elatab, \"Lebanese and Palestinian Rebirth,\" oil on canvas, 2024 (courtesy of the artist)."},{"@type":"BreadcrumbList","@id":"https:\/\/themarkaz.org\/oldsite\/memories-of-palestine-through-contemporary-media\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/themarkaz.org\/oldsite\/"},{"@type":"ListItem","position":2,"name":"Memories of Palestine through Contemporary Media"}]},{"@type":"WebSite","@id":"https:\/\/themarkaz.org\/oldsite\/#website","url":"https:\/\/themarkaz.org\/oldsite\/","name":"The Markaz Review","description":"Literature and Arts from the Center of the World","publisher":{"@id":"https:\/\/themarkaz.org\/oldsite\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/themarkaz.org\/oldsite\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/themarkaz.org\/oldsite\/#organization","name":"The Markaz Review","url":"https:\/\/themarkaz.org\/oldsite\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/themarkaz.org\/oldsite\/#\/schema\/logo\/image\/","url":"https:\/\/themarkaz.org\/oldsite\/wp-content\/uploads\/2023\/08\/cropped-New-2023-TMR-Logo-500-pix.jpg","contentUrl":"https:\/\/themarkaz.org\/oldsite\/wp-content\/uploads\/2023\/08\/cropped-New-2023-TMR-Logo-500-pix.jpg","width":473,"height":191,"caption":"The Markaz Review"},"image":{"@id":"https:\/\/themarkaz.org\/oldsite\/#\/schema\/logo\/image\/"}},{"@type":"Person","@id":"https:\/\/themarkaz.org\/oldsite\/#\/schema\/person\/f312d9bb8a1c617f937cefff69cb77d5","name":"Malu Halasa","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/secure.gravatar.com\/avatar\/30bc5d158ff039cb48b4adfbec7824e5a28541b091f6c76147d5b2ce558920e4?s=96&d=mm&r=gc48853b8dc160812c8ab7d663ddf8c67","url":"https:\/\/secure.gravatar.com\/avatar\/30bc5d158ff039cb48b4adfbec7824e5a28541b091f6c76147d5b2ce558920e4?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/30bc5d158ff039cb48b4adfbec7824e5a28541b091f6c76147d5b2ce558920e4?s=96&d=mm&r=g","caption":"Malu Halasa"},"url":"https:\/\/themarkaz.org\/oldsite\/author\/maluhalasa\/"}]}},"jetpack_featured_media_url":"https:\/\/themarkaz.org\/oldsite\/wp-content\/uploads\/2025\/02\/Said-Elatab-Lebanese-and-Palestinian-Rebirth-2024-courtesy-of-the-artist.jpg","_links":{"self":[{"href":"https:\/\/themarkaz.org\/oldsite\/wp-json\/wp\/v2\/posts\/36087","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/themarkaz.org\/oldsite\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/themarkaz.org\/oldsite\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/themarkaz.org\/oldsite\/wp-json\/wp\/v2\/users\/15"}],"replies":[{"embeddable":true,"href":"https:\/\/themarkaz.org\/oldsite\/wp-json\/wp\/v2\/comments?post=36087"}],"version-history":[{"count":2,"href":"https:\/\/themarkaz.org\/oldsite\/wp-json\/wp\/v2\/posts\/36087\/revisions"}],"predecessor-version":[{"id":36172,"href":"https:\/\/themarkaz.org\/oldsite\/wp-json\/wp\/v2\/posts\/36087\/revisions\/36172"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/themarkaz.org\/oldsite\/wp-json\/wp\/v2\/media\/36111"}],"wp:attachment":[{"href":"https:\/\/themarkaz.org\/oldsite\/wp-json\/wp\/v2\/media?parent=36087"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/themarkaz.org\/oldsite\/wp-json\/wp\/v2\/categories?post=36087"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/themarkaz.org\/oldsite\/wp-json\/wp\/v2\/tags?post=36087"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/themarkaz.org\/oldsite\/wp-json\/wp\/v2\/coauthors?post=36087"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}