On the morning of 2 November 2004, a Dutch Moroccan Muslim, Mohammed Bouyeri, shot van Gogh off his bicycle on a busy Amsterdam Street, calmly slit the film-maker’s throat with a curved machete and pinned a letter to his chest with a knife. Submission showed a semi-naked Muslim woman, tattooed with Koranic verses, recounting how she had been forced into an arranged marriage, abused by her husband, raped by her uncle and then brutally punished for adultery. In August 2004, van Gogh’s short film Submission triggered uproar in Muslim circles when it was shown on Dutch public television. Van Gogh didn’t live to see May 6th released. In 2004, van Gogh used his latest film, May 6th, to excoriate the Muslim extremists (or ‘goatfuckers’) that he believed had incited the recent murder of the flamboyant right-wing politician Pim Fortuyn. Off-screen, van Gogh was equally inflammatory, offending people with Holocaust-tinged jokes about Jewish celebrities and, after the onset of the West’s ‘war on terror’ in September 2001, incurring the wrath of Dutch Muslims via politically incorrect rants about multiculturalism on his website, the Healthy Smoker. Lüger, van Gogh’s debut film made in 1982, caused a riot by depicting a psychopath shoving a pistol into a woman’s vagina and two kittens spinning in a washing machine. For two decades, the libertarian film-maker and writer revelled in being Holland’s king of provocation and insult. Theo van Gogh wasn’t famous just for being the great-grandnephew of painter Vincent. Reggane Films/Unidis/Euro International Films/Dieter Geissler Filmproduktion/Photofest. Every effort has been made to trace copyright holders, but if any have been inadvertently overlooked, the publisher will be pleased to make the necessary arrangement at the first opportunity. Grateful acknowledgement is made to the following sources for permission to reproduce material and film stills in this book. As always, Shirley and Isaac helped me to see that life’s real ‘high points’ are found beyond the back-garden study. Once again, MUFC and MRFC taught me the importance of looking to the future (and the weekend game) rather than to the past. Rob Cavanagh, Fabrizio Fenghi, Kevin Long and Nick Kupensky were wonderful research assistants. The following archivists, scholars and friends deserve particular thanks: Nathan Abrams, Dave Bannerman, John Bell, James Chapman, Nick Cull, Jonny Davies, Nirit Eidelman, Jo Fox, Aaron Gerow, Rebecca Grant, Barbara Hall, Ifan Hughes, Pete Kind, Avishai Kfir, Andre Kozovoi, Helen Monribot, Brigitte Nacos, Holger Nehring, Leon Nikitenko, Bianca Oertel, Steven Peacock, Meir Russo, Ray Ryan, Giles ScottSmith, Owen White, Hugh Wilford and Denise Youngblood. The Center on Public Diplomacy at the University of Southern California in Los Angeles – where I was a visiting professor in 2012 – gave me access to fantastic resources and people. The British Academy provided financial support, especially for overseas research trips. The Leverhulme Trust gave me thinking time via a Research Fellowship. I would like to thank three institutions for helping me put this project together. Ltd.Ĭonclusion 282 Bibliography 288 Select Filmography 304 Film Indexă07 General Indexă10 pages cm Summary: “The first history of cinema’s treatment of terrorism from the birth of film to today”– Provided by publisher. Library of Congress Cataloging-in-Publication Data Shaw, Tony, 1965Cinematic terror : a global history of terrorism on film / Tony Shaw. Whilst every effort has been made to locate copyright holders the publishers would be grateful to hear from any person(s) not here acknowledged. No responsibility for loss caused to any individual or organization acting on or refraining from action as a result of the material in this publication can be accepted by Bloomsbury or the author. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission in writing from the publishers. Citation previewĬINEMATIC TERROR A GLOBAL HISTORY OF TERRORISM ON FILM Tony Shawīloomsbury Academic An imprint of Bloomsbury Publishing Incīloomsbury Academic An imprint of Bloomsbury Publishing Inc 1385 Broadway New York NY 10018 USAīLOOMSBURY and the Diana logo are trademarks of Bloomsbury Publishing Plc First published 2015 © Tony Shaw, 2015 All rights reserved. 10 Bollywood’s Communalists.ġ3 Suicide Victims in Close-up.
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