The Scopophilic Pleasure of the Gaze in Asfour Stah

By Najla Mosbahi

“In my film, I wanted to reveal the hidden struggles of women in a society that often silences their voices, showcasing their strength and resilience within the constraints imposed by tradition” (Boughedir, 2013).

  These words resonate powerfully in Asfour Stah (also known as Halfaouine: Boy of the Terraces), a film that explores the complexities of Tunisian society in the early 1990s. At this time, Tunisia was undergoing significant social change, grappling with the legacy of Habib Bourguiba’s progressive reforms that had improved women’s rights. However, despite these advancements, traditional gender roles remained deeply entrenched, creating a complex landscape for women.

  At the heart of Asfour Stah is a profound exploration of the male gaze—a concept articulated by Laura Mulvey, who argues that cinema often frames women as objects of male desire. Noura, a curious twelve-year-old boy, embodies this dynamic as he secretly observes women in the hammam. His gaze reinforces his position of control and exemplifies how patriarchal society reduces women to objects of scopophilic pleasure. In one key scene, Noura’s eyes linger on their bodies, reducing them to mere objects of observation. This interplay highlights how women are both desired and controlled within a patriarchal framework.

  The film’s relevance continues to resonate. While Tunisia has made strides in gender equality since its revolution, many women still face societal pressures that confine them to traditional roles. Boughedir’s work compels us to recognize that even spaces where women bond and express themselves—like the hammam—are still governed by male authority. This tension reflects larger societal issues that persist in Tunisia and beyond.

  As we revisit Asfour Stah more than 30 years after its release, the film invites us to critically engage with how power is distributed along gender lines. Boughedir challenges us to reconsider our own complicity in these dynamics. The narrative pushes us to reflect on how we view women—not just on screen but in our everyday lives. It urges us to imagine a future where women are no longer passive objects of the gaze but active agents in shaping their destinies.

  In analyzing this film through the lens provided by the Tunisian scholars Tchaïcha and Arfaoui (2020), we can further understand how Tunisian women’s experiences with gendered violence are intricately linked to their interactions with film. Their work emphasizes that films can empower women to articulate their experiences and challenge societal norms surrounding gender violence. This perspective enriches our understanding of Asfour Stah, by inviting viewers to consider film not only as a medium for entertainment but also as a platform for critical reflection on pressing social issues.

   The hammam, depicted as both a space of intimacy and confinement, reflects larger societal issues regarding women’s roles. While it offers a momentary escape for women to bond and express themselves, it simultaneously reinforces their isolation within traditional gender roles. This duality resonates with the ongoing struggle for women’s rights in Tunisia, where legal advancements coexist with deeply rooted cultural expectations. For example, despite Tunisia’s progressive Personal Status Code established in 1956, which granted women significant rights, many still face societal pressures that limit their autonomy.

   Boughedir’s film goes beyond mere scopophilia; it captures the intricate power dynamics and gender segregation deeply rooted in Tunisian society. Noura’s secret observation of women in the hammam exemplifies this dynamic. The young boy watches the women without their knowledge, reinforcing his position of control. The camera accentuates their physicality—softness, curves—while Noura remains unseen, embodying Mulvey’s notion of the active male and the passive female.

  This depiction encourages us to reflect on our own position as spectators. Are we complicit in Noura’s gaze, or do we recognize the inherent imbalance that this gaze represents? By engaging with Tchaïcha and Arfaoui’s insights about women’s interpretations of gendered violence through film, we gain a richer understanding of how gender dynamics operate within Tunisian society and how they continue to evolve today.

The Language of the Camera: A Lens on Gender Dynamics in Tunisia

   Boughedir employs a range of cinematic techniques that enhance the film’s exploration of gender dynamics and societal norms. The strategic use of close-up shots draws our attention to the women’s bodies, emphasizing their physicality while simultaneously objectifying them through Noura’s gaze. This technique creates a tension between intimacy and voyeurism, compelling viewers to confront their own complicity in this dynamic.

 Frontal angles further amplify this effect; by placing the women directly in front of the camera, Boughedir not only showcases their vulnerability but also challenges us to acknowledge our role as spectators. This positioning forces a reckoning with the power dynamics at play, as it echoes colonial histories of surveillance and domination. Through these visual strategies, Boughedir invites us to reflect critically on how we perceive women—not just in film but in our everyday lives—urging us to question whether we are perpetuating the very structures of control that the film seeks to critique. In this way, Asfour Stah becomes a powerful commentary on how cinematic language can reinforce or challenge societal norms.

  By employing these cinematic techniques, Boughedir invites viewers to reflect on their own positions as spectators. Are we complicit in Noura’s gaze, or do we recognize the inherent imbalance that this gaze represents? The careful use of close-up shots and frontal angles underscores the duality of the hammam as both a space of sensual observation and a site of patriarchal control. In doing so, Asfour Stah challenges us to rethink not just how we view women in cinema but also how these representations mirror broader societal norms in Tunisia.

    In Asfour Stah, Noura’s act of observing women in the hammam is not just a simple moment of curiosity; it reflects deeper societal dynamics shaped by both gender and colonial legacies. The use of frontal angles in Boughedir’s film is particularly striking. By placing the women directly in front of the camera, he confronts the viewer with their physicality while simultaneously challenging them to acknowledge their complicity in this power dynamic. This positioning reinforces the idea that the male gaze does not merely reflect patriarchal control; it also echoes colonial histories of surveillance and domination.

  This critique invites us to think deeply about how women are portrayed in Tunisian society, challenging us to look beyond the surface of what we see on screen. It prompts us to consider how these visual representations are intertwined with cultural narratives shaped by both gender dynamics and postcolonial legacies. By examining these themes through Tchaïcha and Arfaoui’s lens, we are encouraged to reflect on the broader implications of how women’s identities are constructed and perceived—not just in film but in everyday life. Boughedir’s work ultimately serves as a call to action, urging viewers like me to advocate for more authentic and empowered portrayals of women that break free from traditional stereotypes.

Rethinking Gender Roles in Asfour Stah

  Boughedir’s Asfour Stah transcends the typical coming-of-age narrative; it reflects the restrictive roles assigned to women in Tunisian society. The film highlights not only the scopophilic pleasure inherent in the male gaze but also how this gaze is deeply intertwined with Tunisia’s unique cultural and historical context. By portraying Noura’s voyeuristic observations of women in the hammam, Boughedir urges viewers to question the objectification of women and challenges traditional gender norms that persist in contemporary Tunisia.

    As we watch Asfour Stah, we are not just passive observers; we are invited to critically engage with how power is distributed along gender lines. Boughedir opens the door to reimagining a future where women are no longer passive objects of the gaze but active agents in shaping their destinies. This call to action resonates strongly in today’s discussions about gender equality in Tunisia, where women continue to fight for their rights and representation.

Navigating Gender and Power in Asfour Stah

   Asfour Stah contributes to the ongoing discourse surrounding gender roles in Tunisian society and occupies an important place within the broader tradition of postcolonial and feminist cinema. Boughedir’s work challenges traditional portrayals of women by exposing the complexities of the male gaze within a specific cultural context. While it critiques the objectification of women, it also raises critical questions about how these representations can simultaneously reinforce patriarchal norms. The act of voyeurism depicted through Noura’s gaze brings attention to societal structures, even as it risks perpetuating them through its visual language.

   Boughedir does not shy away from addressing the historical and social influences that shape gender dynamics in Tunisia. By situating his narrative within the hammam—a space that symbolizes both intimacy and confinement—he highlights how women navigate their identities within a patriarchal framework that is further complicated by postcolonial legacies.

   In this sense, Asfour Stah fits into a larger cinematic tradition that seeks to explore and challenge the intersections of gender and postcolonial power dynamics. It invites viewers to reflect critically on their own roles within these narratives, encouraging them to consider whether they are complicit in reinforcing societal norms or actively engaging in reshaping them. Boughedir opens the door to reimagining a future where women are empowered to be active agents in their own stories rather than passive subjects of observation.

    However, we must also question whether Boughedir ultimately succeeds in shifting power dynamics. While he critiques voyeurism, the film’s reliance on this very gaze may risk reinforcing patriarchal structures rather than dismantling them. This tension invites us to engage deeply with the film’s visual language and its implications for understanding gender representation in Tunisian cinema.

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References 

Barthes, Roland. Elements of Semiology. London: Jonathan Cape, 1964.

Boughedir, Férid. “Who Benefits from the Dissemination of Images Must Contribute to Supporting Cinema.” In Jeune Afrique, edited by Rémi de Rochebrune, 2013.

Mulvey, Laura. “Visual Pleasure and Narrative Cinema.” In Feminist Film Theory, edited by Constance Penley, New York: University Press, 1999.

Tchaïcha, Jane D., and Khedija Arfaoui. “Finding Voice through Film Viewing: Tunisian Women Interpret Gendered Violence in Post-revolutionary Tunisia.” Journal of Mediterranean Knowledge 5, no. 1 (2020): 41-60.

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About the Author

Najla Mosbehi is a MECAM fellow currently engaged in a project titled “The Linguistic Construction of Gender Disparity in the Tunisian TV Show ‘Fekret Sami Fehri’ on Elhiwar Ettounsi.” This research is framed within MECAM’s guiding theme of “Imagining Futures: Dealing with Disparity.”  She holds a PhD in English Language and Linguistics and teach English at the Military Academy in Tunis. Her expertise encompasses media studies, film studies, critical discourse analysis, multimodality, and applied linguistics. She has contributed significantly to these fields through various published research papers, including notable works such as “A Genre Analysis of the Film Children of a Lesser God” and “Fearless Voices: A Systemic Functional Grammar Examination of Female Resilience in Halloween.” She has actively participated in both national and international academic conferences, sharing insights and collaborating with fellow researchers.

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Citation: Najla Mosbehi, The Scopophilic Pleasure of the Gaze in Asfour Stah, in: TRAFO – Blog for Transregional Research, 29.10.2024, https://doi.org/10.58079/12l8k

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