Woman related signs:
| Intentional function, the sign meaning: | Signifier | Signified | Type: Symbolic, iconic, indexical | The sign and the section |
| 1 Criticizing the women behavior toward each other in the society that women are making troubles between families 2 she is afraid because of her weakness to express and share her opinion 3 “criticizing the cutler in the society toward wedding issues 4 she reflects the society that she lives in and how it sees the women after her husband death so she must understand that her “man” happiness stopped with the man death | 1 Criticizing the women behavior 2 Palestinian society’s fear 3 orientalism Culture issues 4 Society’s view of the widow | 1 “she east h cause that he left her” 2 “because there is no one her so let me talk” 3 “why he refused her because she is from another city” “so if she doesn’t want him why she waited till he paid all these cost” 4 “even her widowed doesn’t finished she star to dance and wear and hang out” | Symbolic | The woman’s conversation with herself Scene 2: 3: 20-5: 50. |
| She is a commodity to serve other in her working as waitress | Roll of women | Russian women working as waitress | indexical | The 5th Scene: Coffee shop: 7: 10-7: 50 |
| One man stands in front of the car ask her friend to check her but the second was showing his mussels and the touch on the car while the song is going to produce the feeling of sexuality and how was he standing in front of the car | Women and masculism | Car, sexual touching. passion music “I miss you sometimes” | indexical | Scene 6: The Car: 7: 50-9. |
| A paint behind in the actors for women shows that She is a decoration and a commodity to attract costumers | Roll of women | A paint behind in the actors for women | Symbolic | The 7th Scene: The restaurant: 9:05 – 10:30. |
| It shows that even there is an advance in the role women and it representation as reading newspaper (educated) listening to radio or tv about literature still her kingdom is at kitchen | Roll of women still in the kitchen | Women reading Listing to radio “women become a mature when she thinks by mind not | Symbolic | The 9th scene: Women reading newspaper 11:50-12:50 |
| all the talks that take place in the meetings are trivial ones, and this is what is evidenced by the discussion about the price of vegetables. | Roll of women still in kitchen | Women discussing | Symbolic | The 10th scene: Women meeting |
| The significance here is clear in the beauty of coexistence in the new understanding in terms of participation in everything. Man and women | Sharing role | Cleaning the fish | indexical | The 15th scene The kitchen 24:45 – 24:30 |
| The man represents capitalism and power and is using this power to harass women, with an improvement in the position of women in terms of education and the acceptance of the new generation to education, while the old generation believes that the woman remains in her home until she goes to her husband’s house | Gender and abusing | “you are beautiful” “ I like you” boys nowadays accept you to study” you were stay home till you move to your husband home” “ I am a famous person in the community” | The 26th scene The real estate office | |
| the involvement of Palestinian and Arab women in liberation political movment | New role for woman | Graffities, | Symbolic | The 30th scene Cinema. 51.30 – 55.50 |
- Religion related signs
| Intentional function | Signifier | Signified | Type: Symbolic, iconic, indexical | The sign |
| 1 The place is a holy place through the name 2 People who live in the place are Christian | 1 Palestine 2 Christianity | 1 holly land 2 Christ 3 dollars | Iconic | 4th scene Sevonir shop 6:40-7:00 |
| It means that there is an Islamic identity in the place | Identity | Allah akbar | Symbolic | The 13th scene The boat 17:10-19:40 |
| It means that there is a Christian identity in the place | Christianity | Sound of church ringing | Iconic | The 14th scene The o’clock 22:00 – 22:30 |
| It means that there is an Islamic identity in the place | Islam | Sound of adan al fajer | Iconic | The 16th scene The sunrise 25: 55-25: 40 |
| The image of Jesus Christ is evidence of the religious identity in the place which give the holly to its visitor even the water is holy. | Pic of Jesus | Iconic | The 17th scene Tourists 25: 55-27: 00 | |
| the religious speech and the contradiction between religion and globalization and technology development | the priest “Jesuses walk on the water” now by jets sky everyone makes miracle “Germen and American eat Chine”se food” | Symbolic, | The 19th scene The priest 28:40-30:50 | |
| Shows that Jew didn’t accept other nationalities and they don’t work because it’s holyday | Are you Jew, it’s Shabbat “Saturday” | Symbolic | The 27th scene Calling real state 43:40 -45:40 | |
| The voice of the call to prayer and the wine: an indication of the unity of the Palestinian, a Muslim and a Christian, an indication of religious coexistence (Christians and Muslims are one community that fights Israel). | Athan, alcohol , Palestinian flag | Symbolic | The 36th scene restaurant 1:13:40 – 1:11:53 |
- Political events related signs:
| Intentional function | Signifier | Signified | Type: Symbolic, iconic, indexical | The sign |
| an indication of fear and discomfort and passed many events that exhausted the person who represents the homeland here. Palestine and the conflicts that passed through it. The obvious symbolism here is: A country moans sick, tired, and troubled, and this homeland is Palestine. | Palestine homeland | The music used, the close-up shot that shows wrinkles of the face and hand, in addition to the sound of the person’s intermittent snoring, in harmony with the sad music in the background | Symbolic, | The 1st scene…. Introduction… 1:00 – 2:50. |
| The woman’s conversation with herself despite the fact that no one is next to her is a symbolic sign of the Palestinian society’s fear of expressing free opinion. And the Palestinian woman is aware of everything that is going on around her in society and her ability to analyze and narrate it in a smooth and easy way. This is another symbolic comparison of women to the media that know the truth in Palestine and can only reveal it in closed rooms. | Political authority fear | “because there is no one her so let me talk | Symbolic | The 2nd Scene: The woman’s conversation with herself 3: 20-5: 50. |
| a man who plays backgammon and drinks hookah represents the political classes and the community, so technological development and luxury in life have dropped the idea of resistance and the liberation of Palestine from Arab societies, and this collects in the details of the witness. The sound of bullets was replaced by keyboard clicks and the war with hookah smoke | Change in political class | “man sitting smoking hookah and playing backgammon on computer” | Iconic | The 3rd scene: Man plays backgammon 6: 00-6: 30. |
| 1 The presence of the dollar with the slogan of the cross and the name of the holy place is a satirical and sarcastic connotation of the changing political reality in Palestine. The shopkeeper represents politicians who despised the Holy Land and started trading it to earn money and not to gain freedom. 2 the system has been changed into capitalist | 1 Changing from freedom fighter to trader. 2 Capitalism | dollar with the slogan of the cross and the name of the holy place | Iconic | The 4th scene Sevonir shop 6:40-7:00 |
| The scene represents the political situation of the Palestinian reality after the peace process. The Palestinian citizen who owns the land has come to accept the idea of a multi-ethnic society in one place and its use of different dialects and languages, but he has not shied away from his customs and traditions. We see this in the struggle of Palestinian youths in their honor for each other, and the evidence of the waitress who represents the Jewish community coming from different countries of the world is my understanding of the Russian language. | accept the idea of a multi-ethnic society | Russian women, man speak Hebrew, Palestinians guys | indexical | The 5th Scene: Coffee shop: 7: 10-7: 50 |
| this scene was very clear, as the car that he dealt with as a woman representing the Palestinian land and the man with muscles represented the great forces supporting Israel, and the man who rode the car represented the State of Israel, which was able through the great powers to rape and occupy Palestine. | The political dimension | Car, and how they interact while checking it | indexical | The 6th Scene: The Car: 7: 50-9:00 |
| The decor in the restaurant represents the culture of the western society from which the Jews came. The youth dialogue in the restaurant also represents the political conflict between the Palestinians. The person coming from America was influenced by the secular thought and became advocates for it, and this is consistent with the secularism of the State of Israel at the beginning of its establishment. The silence of the other youth is symbolic of the inability of the Palestinians who remained on their land to express their rejection of this new ideology, so they kept silent. | The culture changing by coming of Israel occupation | The decorations of the restaurants The discussions about Darwin theory | Symbolic | The 7th Scene: The restaurant: 9:05 – 10:30. |
| the director mocks the Arab countries that represent that they are in conflict with each other for the sake of Palestine first 2 men fighting then Father beating his son people reconcile them, last 2 men came people thought that they will fight but replacing their role in the car | Arab role in Palestinian case | 2 men fighting Father beating his son 2 men replacing their role in the car | Symbolic | The 8th scene: The fish shop 10:30-11:50 20-10-21:50 |
| The bird represents the Arab community inside the Israeli community, which must live with its limited and conditioned happiness by the occupation “cage”. What follows from linking the scene with the sound of the radio that speaks of coexistence and peace in Serbia. The dog scene represents the reality that the occupation seeks to impose, which is the distraction of Palestinian society from its cause. The child represents the new future of Palestinian society. He grew up under occupation, and the beating of a child is the internal strife that Israel instilled in Palestinian societies. | Palestinian society und the Israeli control | The birds, the dog, the boy, | Iconic | The 11th scene: The bird 14:05-16:05 |
| The man represents the new face of the Palestinian community in Israel, by weaving a new culture and being open to the Western world. Where the tv commenter on tense yard match and women is playing | Changing in Palestinian culture | The man weaving, women play tens yard | Iconic | The 12th scene Man, in kitchen 16:05-17:10 |
| The fishing boat scene represents the Arab peoples who want to fight in Palestine but are powerless. The names of the grooms that were raised are indicative of the names of the Arab countries. Crying out for the name of Oklahoma, which is one of the most beautiful and best cities in the world to live … represents the lie that Zionism told the Jews about it that convinced them to go to live in Palestine and establish an alternative homeland for them. | Arab world | Oklahoma, which groomed, | Symbolic | The 13th scene The boat 17:10-19:40 |
| This scene represents the loss of the Palestinian case over time. But waiting is a sign of hope to return. The columns indicate the weakness of the Arab media and its primacy in dealing with the events, and the connection of this scene with the ringing of the Church is a warning about what is happening. | Palestinian case | o’clock, 2men waiting | indexical | The 14th scene The o’clock 22:00 – 22:30. |
| The sleeping woman represents the Arab sleepy countries. Man look from the window waiting the sunrise represents Palestine, which awaits the dawn of return and liberation. | Hope new level | Man look from the window waiting the sun | indexical | The 16th scene The sunrise 25: 55-25: 40 |
| represents the political and security stability in Israel, and evidence of the succession of civilizations, and that the Palestinian has become a memory. | political and security stability | Tourist | Symbolic | The 17th scene Tourists 25: 55-27: 00. |
| The scene symbolizes the change in the features of the Palestinian land and its transition to a new stage of coexistence. And the music in the background is a sign of leaving Palestine to struggle with this changing alone. | change in the features of the Palestinian | Music “travel alone” the trees | Symbolic | The 18th scene Movement to jueraslem 27:40-28:35 |
| a purely political message warning against the theft of the religious identity of Christians and Muslims in Palestine and spreading Western ideas that seek to replace cultural monuments with new ones. This is symbolic that the Jews are trying to remove the Palestinians memory. | The priest building | indexical | The 19th scene The priest 28:40-30:50 | |
| political evidence of the failure of the Israeli bet that the adults will die and that the young will forget.istanbul as jerusalem and going to lebanon sign about refugees camps | Refugee | Story about Istanbul | indexical | The 20th scene Istanbul 31:10- 33:50 |
| Israel’s success in changing the political reality in the city and imposing new customs and traditions. | New era | Fountain, women and men together | indexical | The 21th scene Tel Aviv beach 33:50- |
| Israel’s attempts to steal Palestinian heritage. And the camel represent the Palestinian society, which has become unable to cope with political, intellectual and socieal change. | steal Palestinian heritage | Camel falling, falafel is Israeli snake with the flag | Symbolic | The 22th scene Holy land shop 34:30-53:50 |
| Israel’s fear of the continuation of Arab culture in Palestinian circles, and thus it worked on bringing Palestinian youth to keep up with fashion, and this was evident in clothing . | İsrael fears of educated palestinian | “it is raining culture”, eye glasses, necklaces, | Symbolic | The 23th scene the book fall 35:54-37:2 |
| The failure of all Israeli attempts to control the Palestinian and integrate him into the new Israeli society, the song by heavy touge for a israeli lady siger “Why do we fight when we were friends, let’s reconcile?” | The failure of all Israeli | Police sirens, music | Symbolic | The 24th scene to Jerusalem 38:50 – 40:50 |
| İt repersent that western cut the hiostory of palestine as the coming of israel while ignoring the truth of all hisroy ant the real story of what happening | Westren poinviwe to palestinian issue | Dialogue between foreigners | indexical | The 25th scene Embassy 41:00 – 42:25 |
| Even sh was talkin in hebrew language they refused the give her rent due to that she is arabian and not jew and not citizn because it’s origen is arab | Raceist Not accepting the other | Are you citizen, are you Jew, are | Symbolic | The 27th scene Calling real state 43:40 -45:40 |
| Moving to Jerusalem indicates the existence of a new political equation, which is the occupation of the West Bank by Israel, and the man who practices sports refers to Israel’s display of its military strength to force the Palestinians to sign the peace agreement. The audience’s refusal to talk about peace. The director here represents the Palestine Liberation Organization and celebrates the signing of the Oslo Accords, which was rejected by many Palestinians. | Reject the peace agreement | ” concealed conscience appreciated Palestine” Phone calls, children crying , noising . | indexical | The 28th scene When they honored him 45:50 – 50:00 |
| Evidence of Israel’s failure to impose coexistence among the population of Israel. Wall drawings, the existence of plurality in Palestinian political thought, and the launch of new ideological liberation movements. | Fail in peace | Wall drawings, woman, Palestinian flag | Iconic | The 29th scene The scene of the arrival of the girl 51:15 – 51:27 |
| a new stage in reviving the memory of the Palestinian land and a message of blame for the Arab community for allowing the loss of Palestine. The chair represents the Palestine Liberation Organization, the sole representative of the Palestinian people. The embroidered dress represents the stolen Palestinian identity, and the notebook, pen and pistol represent the forms of the Palestinian struggle against Israel. | Notebook, pen, pistol, gun, bomb, graphities, Palestinian flag | Iconic, Symbolic | The 30th scene Cinema. 51.30 – 55.50 | |
| The real face of the State of Israel, which rejects the Palestinian presence in the occupied territories, is restricting the Palestinians in order to deport them by any means of harassment, arrest, and incursion. The dove refers to the peace process, which is the Oslo agreement, and the petrol station scene is evidence of the barbarism of the Jews in dealing with and the inability of the Palestinians to reject these practices. | restricting the Palestinian’s live | music (soft to noisy) solider, dove | indexical | The 31th scene breaking into home 56:00 – 59:00 |
| The girl here represents the Palestinian resistance, which rejected the Oslo agreement and did not accept the idea of peace with Israel. | Oslo agreement rejection | Action music, red light, police (Oslo not calling, Jerusalem ununified) natural song | Symbolic | The 32th scene playing with police 1:01:00 – 1:07:00 |
| symbolic of the Palestinian prisoners and the role of the Palestinian resistance. The fireworks represent the Palestinian operations against Israel. | Resistance of occupation | Fireworks, arresting the statue, song for trying to change the system. | Symbolic | The 33th scene arresting the girl 1:07:00 – 1:09:40 |
| Israel’s victory in achieving its goal of uniting the Jews in Palestine. The road represents the path of the Palestinian-Israeli peace process. | New era | Song for peace and love, path, | Symbolic | The 34th scene The Promised Land 1:10:00 – 1:10:50 |
| The transitional period, which is the establishment of the Palestinian Authority and Abu Ammar’s entry into Palestine. | Palestinian authority | Graffiti ( Abu Amar, doom rock, man swimming in path ) | Iconic, Indexical | The 35th scene The Promised Land 1:11:50 – 1:10:53 |
| an allegory of the Palestinian refugees who fled Palestine. | Refugee | Song (our beloved deserted us) | Symbolic | The 37th scene boat 1:13:40 – 1:13:53 |
| Sports wrestling the old man represents the Palestinian land, and this is symbolic of Palestine’s victory in all previous historical events, but in the period of the Israeli occupation it is still resisting it. | Palestine still | Fighting, challenge, old man, adults, | Indexical | The 38th scene cofe shop 1:16:30 – 1:15:43 |
| All of Israel’s attempts to change and obliterate the Palestinian identity, the Palestinians did not give them any attention and the Palestinian still look at future | Hope | Israel anthem, Israel flag | Indexical | The 39th Scene home 1:21:00 – 1:18:40 |
Film2: The time that remains:
- Woman related signs:
| Intentional function | Signifier | Signified | Type: Symbolic, iconic, indexical | The sign |
| The women were educated and reading for her brother and writing the letter for her beloved | Roll of women | Reading letter | Symbolic | The 8th Scene: Reading the letter 16:50 – 18:20 |
| She is a school manager and teacher representing the development of women role in Palestinian society | Roll of women | Honoring | indexical | The 12th scene School 33:10-37:40 |
| The viewer understands that the principal does not have any authority to choose what the students learn, because she is surprised by an intimate scene in which Spartacus kisses his sweetheart, so she jumps in front of the screen to obscure the scene, and says: “This is her brother, girls,” devoted to the practices of distorting the facts and the brains of the students, this time on a voluntary basis. Historically, the school has always imposed the culture of the dominant classes, and by excluding males from her discourse, Olga reinforces the prevailing patriarchal thought that considers these scenes outrageous to the modesty of girls only. | Shame | Film, “he kiss her she is his sister ya girls” | indexical | The 17th scene Fishing 44:10 – 44:300 |
| An evolution in the role of women as women and men participate in demonstrations and politics | Roll of women in politics | Fire, protesting, | indexical | The 21th scene Confrontations 1:06:00 – 1:07:00 |
- Political events related signs:
| Intentional function | Signifier | Signified | Type: Symbolic, iconic, indexical | The sign |
| The Israeli taxi driver carrying elderly Elijah from the airport to his parents’ house in Nazareth, between two identical poster copies that read “Another Land” (Eretz Arechet). [6] In these two versions of the poster, oranges are present as a symbol of the biblical Land of Israel, and the Palestinians are absent, reinforcing the Zionist myth that Palestine was a “land without a people.” | Return, new real | The wall paint ad, car, bag “Eretz “ | indexical | The 1st scene…. in the airport 0:30 – 01:00. |
| He uses the weather as a tool to respond in a sarcastic way to the claim of the occupier. Heavy rains fall and a storm blows because of which the Israeli driver gets lost in the road, thus disappearing from his view the features of Zionist colonialism that make this land familiar to him, such as “kibbutzim” and cooperative farms. The scene of wandering ends with the question, “Where am I?” After him, Suleiman takes us back with flashback technology 60 years back, before the catastrophe of 1948. | The 2nd intifada | Heavy rain, car, road thunder, self-conversation. “I never saw like this” I will stop I can’t see anything” “why I am here and where am I” | Indexical Symbolic | The 2nd Scene: Driving while it raining 01:50 – 05:23 |
| The director presents an Iraqi soldier as an example in a scene carrying a black tragedy, in which a group of armed youths sitting on a coffee and passing by the soldier who says that he is from the Salvation Army and wants to go to Tiberias to defend it, but he does not know which direction it is. Here is a symbolic indication of the state of the Arab armies at that time, and it may be very similar to the case of the Arab countries now that do not serve or support the Palestinian cause. | Change in political class | Weapon, Iraqi soldier, | Symbolic | The 3rd scene: In front of the coffee shop 5: 30-7: 00. |
| signing of the surrender document between the Palestinians and the Israelis in the municipality of “Nazareth” on 7/17/1948, a scene that some called “the idiot Arab”. On the first side there is a Christian cleric, an Islamic cleric, and the mayor who rushes to the meeting place. All that worries him is Securing his life, so his escort raises the white flag from outside the window of the car, waving it to one of the planes that was following them, and on the other side, the Israeli soldiers in their rough uniforms live an illusion created by their imaginations and want to record it in a historical document, and the illusion of “victory”, as if they were fighting a war against An army matched them with strength and strength, and it was time for them to surrender and sign that in the document. After signing, the Israeli asked him for a memorial photo on that occasion, to rise from his chair in surrender and mediate with them in the picture that recorded the fall of “Nazareth”. | Defeating | Plan , pal flag . white flag , | Symbolic | The 4th scene signing of the surrender document 6:40-11:00 |
| Arab fighters fled and Jewish fighters wore their clothes, stormed cities, arrested citizens in them and killed others they killed the women. | Massacres, genocide | Arab fighter, Israeli fighters pal scarf | indexical | The 5th Scene: Fighters scaping: 12: 00-12: 40 |
| The symbolic significance in this scene is the division of the Palestinians into three parts, the first part before surrendering and surrendering weapons, and the other part refusing to surrender arms and did not accept defeat so he committed suicide, and the last section refers to Palestinian prisoners who fell prisoners of war | The political dimension | Collecting Weapon, Israeli soldier upper than Palestinians, prisoners | indexical | The 6th Scene: The Car: 12:50 – 14:10 |
| and presented brief scenes that narrate how people left their homes and left their homes in the hope of returning to them within days | nsakba | “I saw a driver that will pick us till the borders Car, | Symbolic | The 7th Scene: At home 14:40 – 15:30. |
| That scene in which the soldiers appeared, stealing from the house a classical music playing device with a copper horn, and the tunes of “Laila Murad” were released as they watched the robbery of the house with the tune of “I am my heart my guide”, violence at that moment is a kind of anger, the artistic dimension plays A role in stimulating the imagination of the spectator. Whoever steals the house steals the land | Occupation | Song, copper horn, Israeli soldiers | Symbolic | The 9th scene: stealing the houses 22:72 -24:00 |
| This scene indicates the massacres committed by the occupation forces against the Palestinians, where they violently interrogated the detainee, with his eyes closed and handcuffed, and then they assaulted him and threw him in the valley to indicate the violence that they used to displace the people of Palestine at that time. | crimes | Prisoners, aramid soldiers, sister | indexical | The 10th scene: Genocides 25:35-30:05 |
| The relation between Palestine and Jordan according that west bank was under the federation of Jordan and the refugee issues | Jordan role | Permission, Jordanian king | Symbolic | The 11th scene Writing in kitchen 30:51 -33:00 |
| He burned himself in protest against the political situation, despite his complete conviction that his neighbor’s attempts were not serious. Fouad tries to stop the tremendous moment of absurdity emanating from the neighbor’s anger, and inside all this sorrow the viewer senses the comedy of the scene. The father represents the flame of hope that challenges this latent violence, in scenes of expression of injustice and despair that the neighbor lives, as is the case for many Palestinians. | hopeless | indexical | The 12th scene Burning himself 33:05-33:40 | |
| A complex picture of the life of the Palestinians who remained in Israel to become a minority in which their children learn the Israeli national anthem in the Hebrew language, and raise its flag, as the movement of actors within the frame is used for visual expression. Girls perform a song, the lyrics of which call for the colonization of their land and the eradication of their existence. It parallels the violence latent at this festive moment with its attempts to erase the minds of the students and the violence of the Zionist gangs represented in the occupation of the land of Palestine by force of arms, and the attempts to wipe out its people. The singing performance ends and the Israeli official honors the choir with the first prize in the “Best Singing in the Hebrew Language” competition, delivering a speech that consecrates the inferior view of Arabs, presenting it at the same time as a gesture to the exercise of democracy and equality. While the school photographer’s lens is heading to document the moment, the director’s lens follows it to the back of the cameraman to mock the event and convey it from the Palestinian point of view. Solomon uses the same technology that he employed when documenting the moment when the mayor of Nazareth surrendered the city to the occupation gangs. Instead of a photographer’s picture, the viewer sees the shot from the subject’s point of view, and the screen collects the award with the spectators for the celebration, not with the choir girls. This repetition of this photographic technique aims to align the moment of defeat represented by the surrender of Nazareth to the occupation and the moment of the defeat of the education system and the handing over of the minds of Palestinian students to the narratives of the occupation. | coexistence | Blue and white , Israeli flags , songs | Symbolic | The 13th scene School 33:10-37:100 |
| In this educational system, which neglects the Palestinians at its best and constitutes at its worst an enemy that must be eliminated for them, the Palestinian teacher was obligated to protect the security of the State of Israel from any political opposition that might take shape inside the school and the families of its students. The Palestinian writer Hanna Abu Hanna talks about that period, saying: “The campaign to dismiss teachers from the backbone and appoint“ teachers ”who advertise submissiveness in schools requires students to turn their lessons into preparation for the celebration of Israel’s Independence Day and singing: On my country’s Independence Day, the shady bird chanted. [8] In the scene of Elijah’s chastisement, the professor plays an intelligence, not educational, role, as this reprimand is not limited to the act itself, but goes beyond it to the question of “who” told you this. This scene is repeated in a different context, the day Gamal Abdel Nasser passed away, but with some slight changes. In a long, steady shot, the school yard appears in the first scene empty except for decorations in the color of the Israeli flag, while the square appears in the second scene devoid of these decorations and crowded with students who stand petrified, like statues, with heads most of them bend down, in anticipation of the future of Palestinian youth. | Slavery | America is imperialism | indexical | The 14th scene Teacher punching student 37:25 – |
| Observer | Identity card investigation light | Symbolic | The 15th scene Fishing 39:30 -40:16 | |
| This sense of oversight permeates all aspects of school education, and appears in contexts that do not pose any threat to Zionist ideology. In one of the school scenes, the principal shows “Spartacus” (1960) by Stanley Kubrick, which stars Zionist actor Kirk Douglas. It seems that this film was imposed as an extracurricular activity on schools with the aim of strengthening the Zionist narrative. Douglas’ face, known for his acting in Zionist films such as “In the Shadow of the Giants” (1966), was coupled with the story of the slave Spartacus, who led the revolt of slaves in the Roman kingdom against their inhuman living conditions, It makes the film an ideal material for promoting Zionism’s vision of itself. | Slavery | film | indexical | The 16th scene Fishing 42:00 – 44:00 |
| coexistence | Song, police officer accident “are you ok”, curtain | Symbolic | The 18th scene Saving the soldier 46:20 – 48:30 | |
| The Israeli police raided their home to arrest Fouad, despite his parents’ attempts to dissuade him from doing so. The police searched the house for weapons, then found bulgur under Elijah’s bed, thinking that it was gunpowder, and their ignorance of the land and its people was exposed. In this moment of irony, Suleiman dismantles in the scenography of the house, quite simply, one of the organs of the state, namely the police, that monopolizes and practices violence. | Violent | Police Checking | Symbolic | The 19th scene Raiding the houses 55:00-57:20 |
| Another scene in the same café passes a boy selling newspapers echoing a sarcastic but also painful phrase in which he says: “The homeland is for a shekel, and all the Arabs are free.” These are names for newspapers at that time, and what this scene may show is what the situation reached after the occupation and what happened to the country after that the damage. Through this position, the director reviews the memories of his father at that time, even if they were of a subjective nature, but they expressed a complete reality that the Palestinians lived at that time and his memory is still present until now. | Arab situations | Newspaper, “The homeland is for a shekel, and all the Arabs are free.” Taddtional clothes | indexical | The 20th scene The holy land shop 1:02:42 – 1:03:32 |
| The father and son criticize the Israeli authorities ’threats to imprisonment with recklessness, the arrival of the policeman, and the saying of Ella,“ Where do you put your hands on the map just go | Transfer | Son and father, police, map | indexical | The 21th scene Police came to house 1:03:42 – 1:03:32 |
| The confrontations symbolize the rejection of reality and the rebellion against all policies in order for the Palestinian to forget his identity and to revolt and the youth to demonstrate on the Day of the Palestinian Land | Confrontations | Fire, protesting, | indexical | The 21th scene Confrontations 1:06:00 – 1:07:00 |
| The scene shows the inhumanity of the occupation, which is struggling with the medical personnel to arrest one of the wounded | The inhumanity of the occupier | Ambulance army truck | Symbolic | The 22th scene Hospital 1:08:10 – 1:08:20 |
| And the time he moves to is not the past and not the present, to a time when he arrives at his home in Nazareth to visit his only mother with the nanny, and here one of them knocks on the door, and Elijah looks through the “magic” eye of the door to find an Israeli policeman, what confuses him because this blue dress has bad memories of his childhood However, when the door is opened, only their Palestinian neighbor who works in the Israeli police will be, which seems to be no longer a disgrace, and the policeman welcomes him in front of him with a bowl of tabouleh salad. And the officer came to help in cleaning while talking mix lanaguage between arabic and hebrew. And even they start to live with the naghbour that alway wearing the israeli police uniform | Change in time and reality | White hair, the key under vase, door bill, Christmas tree | Symbolic | The 23th scene Home return 1:12:00 – 1:15:20 |
| The Israeli soldier says to the woman: Go to a house to respond to it: You go to your home as a sign of the Palestinians ’right to their land and that the occupation is the one that came and attacked their land | Home land owner | Women with child voice of plan soldier shooting demonstrators | Symbolic | The 24th scene Confrontations 1:33:40 – 1:34:20 |
| It expresses what he sees with his naked eye from a daily reality, which differs greatly from what he used to experience in the past, in the first scene a young man appears as he is leaving his house to throw garbage in front of an Israeli tank, but that did not prevent him from going out and blocking the road several times while the barrel of the tank is heading towards and chasing him, but Not indifferent to it, The contradiction emerged in the first scene when comparing each of the two apparent bodies in it, as the small size of the young man compared to the size of the large tank is supposed to be related to the strength associated with the size, but in the indifference of the young man, a contradiction with the size of the tank, and it is mentioned that the image that the camera takes is the eye of Suleiman himself It is he who looks at both the young man and the tank, and in the image frame the angle was chosen through which the shadow of the young man appears while the tank’s shadow does not appear, which is an indication that the presence of the tank is an actual presence on the ground, but without that great effect that can be linked to the size of the tank itself. . | naked eye from a daily reality, | Tank, trash. | indexical | The 25th scene The tank 1:34:40 – 1:36:20 |
| A group of young people gather inside a restaurant and continue to celebrate and dance despite the presence of a military vehicle near the restaurant, from which the curfew warnings go out. Here too, Palestinian youth seem to be indifferent to what is happening around it. What the director tried to draw attention to here is the paradoxical state of this generation of Palestinian youth, as he is trying hard to live separately from the reality surrounding him, even if that attempt is aimed at overcoming that reality or lack of interest in it. The choice of timing also reflects the challenge that Palestinian youths try to impose in what unites them with the occupation and what is related to the state of ceramics and the anxiety that the night reflects, in this scene the young Palestinian generation seems to be in a state of overcoming everything that may prevent them from living and continuing in life. | the challenge that Palestinian youths | Music, dance, Israeli soldiers | Symbolic | The 26th scene Night club 1:36:20 – 1:38:00 |
| The director ends his film with his presence and with a somewhat fictional shot, in an attempt to overcome the reality that he lives, Solomon appears performing a jump as an athlete making a high jump using a stick, in this scene Solomon reviews one of the forms of mental resistance that is closest to the myth, the intent in this scene may be desire In getting rid of all forms of occupation existing on the Palestinian territories, or as a review of the state of despair that the Palestinian citizen may reach, and he tries to create imaginary images through which he overcomes the difficulties of his daily life. | Solutions | Wall, jumping stick | indexical | The 27th scene Wall 1:38:20 – 1:38:50 |
| And then it goes back to the present time of the movie; The driver is sleeping in the car, and when Elia Suleiman arrives somewhere, we find him in the hospital where his mother suffers from a drunken episode, exchanging looks and smiles but also without words, and the film ends while watching the patients and they have returned to repeat their mad diaries in the outside yard, so he puts the last piece of the puzzle Her place! | Time shifting | Car people hospital | Iconic | The 28th scene Hospital and car |
Film3: it must be heaven:
- Woman related signs:
| Intentional function | Signifier | Signified | Type: Symbolic, iconic, indexical | The sign |
| It expresses the male-dominated view of women and their control over their behavior as men are allowed to drink and how their sister can drink without their knowledge as a kind of control over women in all life | Shame. Masculine hegemony | Alcohol, women, 2-man, music | indexical | The 6th Scene: Restaurant 8:55 – 11: 38 |
| The political participation of the Palestinian woman, where she is arrested for refusing to occupy | Roll of women | Woman with closed eyes, soldiers, glasses | Symbolic | The 10th Scene: The car 28:35 – 29:50. |
- Religion related signs
| Intentional function | Signifier | Signified | Type: Symbolic, iconic, indexical | The sign |
| A majestic scene A group of Christians chanting religious hymns led by a priest who possesses a lot of reverence and prestige with clothes that add more to that majestic scene, the priest takes you on their way to open a metal door. The door opened, opened the door, and gave him the division on the picture that illustrates that. The priest and the Lord at the same time refuses to open the door in the manner of “we missed a ball” so that a priest abandons his majestic clothes and enters through a door that gives him a severe beating that we do not see, we only hear its echo, which is certainly the flashing scene that Obsessed through it, and displayed and presented in it his rejection of the church and what is going on inside it from the area that the filmmaker sees. | rejection of the church | Christians chanting religious hymns, door, cross, beating voice | Iconic | The 1st scene Church 01:14 – 04:49 |
| It means that there is a Christian identity in the place | Identity | cross | Symbolic | The 4th scene Cemetery 7:00 – 7:40 |
| It means that there is a Christian identity in the place | Christianity | Mary paint, Africans, music | Iconic | The 8th scene In the city 15:45 – 15:57 |
- Political events related signs:
| Intentional function | Signifier | Signified | Type: Symbolic, iconic, indexical | The sign |
| The director tries to use the time of the night and the hour to signify the wait, and not to advance the clock hands forward and watering the tree to denote life and hope | Waiting time changing | O’clock, night time, alarmingو the tree | Symbolic, | The 2nd scene Waiting at home. 5:11 – 6:00. |
| Mostly, It Must Be Heaven is about how we view the world through the Instagram filter of what defines us. But it’s also, arguably, more objective than that – suggesting that we all now live in a kind of global Palestine, where arbitrary displays of power, threats of violence, and lost people in search of meaning and identity are the new normal. At home in Nazareth, the director watches a neighbor filching lemon from the trees in his garden. “Don’t think I’m stealing”, the man defends himself to the puzzled Suleiman. “I knocked on the door, but nobody was there”. | stealing and exploiting the land | Man come to his tree | Symbolic | The 3nd Scene: Garden 6:14 – 6: 58 |
| Through the youth armed with sticks and weapons, and then the young man whose eye was attacked, he expresses the role of the occupation in feeding crime within the occupied Palestinian society through the flag on the drawing on the wall in order to weaken it | Crimes in Arabic community in Israel | Adults, Palestine flag, gun, injury | Iconic | The 5rd scene: street 7: 50-8 50. |
| Through the man’s narration, he expresses the snake that represents the occupation and the eagle that was killed in the case of the Palestinian people who came to the occupation and seized their land as a result of treachery and treachery that killed the resistance eagles2 the system has been changed into capitalist | treachery | Armed man, snake, eagle, | Iconic | The 7th scene In the street with old man 6:40-7:00 |
| The scene shows the Palestinian who sacrifices as the sacrificed Christ crucified, as well as the shape of the woman in the form of Christ, and the link between the Palestinian and African resistance against the colonial and apartheid regime through Africans who resisted colonialism, such as Nelson Mandela | resistance against the colonial and apartheid | Mary paint, Africans, music | Iconic | The 8th scene In the city 15:45 – 15:57 |
| He expresses the state of helplessness he reached due to the change of reality in order to be forced to travel and before leaving, Elijah watches a Palestinian woman walking in the fields in her traditional dress among the olive trees. Where olives express the identity of the land and the stability and resilience of this identity | Disappointment | Car, chair wheel. Olive tree, song “life without love like river without water” | indexical | The 9th Scene: Travel 20: 50-28:00 |
| The occupation in the life of the Palestinian, where roles are exchanged in the torture of the Palestinian and through the arrest of the woman | Occupation in Palestinian life | Woman with closed eyes, soldiers, glasses | Symbolic | The 10th Scene: The car 28:35 – 29:50. |
| Suleiman uses surrealism in mocking the symbols of power, especially members of the military and police institutions, and it is a tool that makes him unique from any filmmaker who deals with dualities such as the oppressor and the oppressed or the colonialist and the colonized, and in his last films that mockery extended to the military and police authority in countries other than Palestine. That power from a standpoint contrary to the idea of his being or his people being victims of them, it is revealed to us if you wish, as in the sky that this is his vision of these devices in general, in one of the scenes in America, it is likely that Elijah follows a girl wearing white angel wings, who takes off her clothes on the body Colored with the flag of Palestine, the clumsy police chase her and easily mislead and distract them until they finally succeed in arresting her, so she disappears from under their hands and remains the angel’s wing. Arguably, more objective than that – suggesting that we all now live in a kind of cosmopolitan Palestine, where arbitrary displays of force, threats of violence and missing persons in search of meaning and identity are the new normal. | Occupation everywhere | Police, tanks | Symbolic | The 11th scene: Paris 41:00 – 45:00 |
| The entry of an exhausted bird, Solomon embraced it, watered it and took care of it, but the bird regained its health and had requirements and became a source of inconvenience to him personally, so Elijah expels the bird, referring to the Palestinian who is embraced by the countries, but when he has requirements for more freedom as support for his cause, his fate is the fate of the same bird Perhaps most of the time. | Palestinian freedom | The birds, | Iconic | The 12th scene: The bird 58:05-1:04:45 |
| Here, Elijah sends his message: “Palestine is here in the heart of New York, in the heart of a simple taxi driver who knows Arafat and knows the Palestinians, so Palestine will remain,” to the fortune teller who told him that it will come into being as a state. The only sentence that Elijah said throughout the film is “I am Palestinian .. from Nazareth”, to respond to everyone who accused him of normalization with Israel, before a mocking scene from the American police chasing a girl with the wings of an angel with the flag of Palestine on her body. He also asks a tarot reader to help him divine the future of the Palestinian state (it’s difficult to read), and attends a ‘Forum for Palestine’ where the audience is told to welcome the speakers (squashed behind a table that is too small for them) with a single handclap rather than prolonged applause. | Palestinian identity | New York, taxi “I am Palestinian | Iconic | The 13th scene taxi 16:05-17:10 |
| He also ended his film with a scene that calls for reflection. After a failed trip in which he did not reach his goal, Elijah Solomon returns to Nazareth again, sitting in the bar of noise and lights from everywhere. Solomon sits drinking his drink and contemplates what he sees, a wide scene of young men of both sexes, among whom are homosexuals dancing as if their legs are not On the ground, on the rhythm of the song “Arabi Ana”, that famous song that the audience thought at the time of its release that it was a song that talks about Arabism and its suffering, but it went out in another way far from that meaning and became a dance song on which girls and boys dance, which is what Elijah made sure to conclude his film with this scene, which is Sitting, contemplates all the meanings of the word “I am Arab”, including its meaning and the way things have come to it. | Back to home | Bar alcohol music “ I am arabic” | Symbolic | The 14th scene The end 1:27:00 |
Suleiman’s choice of the film’s musician and the songs he invented in the course of the work are no less valuable than every shot or scene presented by the work, for every song has a singer who served the purposes of the work, which is like a painting.
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