User talk:Texasfeminist/sandbox

Hi Texasfeminist! I learned so much from your ongoing work on this director. I have some questions and suggestions, all of which you should take with a grain of salt or more.

You write that Bab al-sama' naftojh is one of the director's more popular films. In what ways? critical acclaim? fans? profits? Also, sources that describe the film's popularity?

When you note that Kirana is the catalyst for the protagonist's transformation, could you briefly describe how? in conversation, in particularly significant plot moments? Also, you might mention a couple of the Western habits that begin to recede.

You write that because the film doesn't approach Islam radically, it can "circulate in Western culture seamlessly." Does this mean that this film has done well in the West -- if so, how, specifically? I want to know more about what you had in mind with this phrase. In addition, how according to Tbatou is the presence of architecture orientalist, and what is the source for this discussion of the film? On the big picture front, is this one of the dominant strains of analysis regarding the film? if so, do you also plan on including analysis that finds its representations realistic, authentic, positive?

Yung-Hsing Wu

It's Yung-Hsing again, now reviewing the material on Keid Ensa.

You note that the film is one of the director's more well-known films. What has made it well known, specifically? Also, sources?

Maybe you could describe briefly some of the ways that the protagonist tries to outwit her husband? Also, does the film end with her escaping the basement? You reference the film's Scheherezadian flair; from where does this idea originate (in other words, source?), and how does the film use it? Finally, if the film draws on the traditional story, does it depart from it in any way?

Yung-Hsing Wu