Something kind of awesome is happening in my rewrite class, where I'm working on Gaza Sunrise. I can't tell you exactly when the transformation occurred, or precisely why. Perhaps it is the pictures and videos I have been sending out to accompany each new set of pages, of things like the Apartheid Wall and the Kalandia checkpoint between Jerusalem and Ramallah. I sometimes forget that most people have no idea what the Occupied Territories really look like, and the images can be quite powerful. Perhaps it is the fact that after actually traveling there, I am able to be more clear and articulate and unapologetic and uncompromising (yes, it is possible!) about the fact that what's going on in Palestine is resistance to colonial oppression.
But for whatever reason, at some point, people stopped questioning the political positions of the script (or at least accepted that I wasn't going to change them to match their own views of Israel/Palestine), and started actually talking about how the characters operate within the landscape of this world that is very different from the modern United States. And all of a sudden we are talking about the Palestinian struggle like exactly what it is--a national liberation movement against an oppressive, occupying, colonial force--and the political and moral and personal choices one faces in being part of such a struggle. Which is of course what the script is actually about.
My professor (who I think is turning out to be one of my favorite professors at USC so far) said something amazing today about Moira, my protagonist. He called her a coward. For running away. For leaving Palestine after her militant father was assassinated in an attack that very nearly killed her as well, instead of following in his footsteps and continuing to fight. Which, if you think about it, implies some recognition of the idea that to stay and fight--despite the titanic risks involved--is the right choice in this situation, the choice that is not only honorable and brave but necessary for this character's growth and transformation. Which is exactly what Moira herself realizes over the course of the story.
Ha! I thought when he said that. I've got you thinking like the resistance now! But really, this is quite remarkable if you stop and think about it. At least within the confines of this rewrite class, I've won. I've succeeded in portraying these characters, who are involved in armed resistance against Israel, as not terrorists or religious fanatics or some fetishized Other, but as human beings who operate in an emotional landscape that is recognizable and understandable to people who've never been to Palestine and maybe don't even know that much about the conflict. If at the end of this script, I can get you to empathize with Palestinians who choose to stay and fight for their homeland, their rights and their loved ones against Israeli aggression...well, I've done my job, haven't I?
If anything, this semester has just reinforced my belief that the Palestinian cause is actually quite morally clear and easy to sympathize with when you know the reality of what's going on on the ground. Because the environment in the previous class in which I worked on this script was kind of hostile...or maybe un-empathetic is a better word...I think I spent a lot of time in the first draft trying to "complicate" the picture of Palestine I was presenting. When really, as Moira says near the beginning of the script, it's not that complicated at all. Oppressor. Oppressed. Which side are you on?
I gave my friends a mini-lecture about Ahava while we were hiking (note: hiking is great for this sort of thing, because you have a captive audience...especially if you're the only one who knows where the trail goes). Not as cool as you and your script, but I'm trying!
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