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This paper focuses on orientalism as a cinematic paradigm in Islamic imagination. We compare two movies, “Bab el Oued City” (1994) and “The Time That Remains” (2009) that present different cases with regard to orientalism, fundamentalism and gender. We identify basic characters, their agency and roles in the whole setting. Our main argument about the movies, though originating from different contexts and historicity, is that they present somewhat conflicting cases with regard to issues we named above.

Cinematic Orientalism: Bab el Oued City & The Time that Remains