Rebecca Moody reads Eid al Kabir in Fes, Morocco, through the lens of affect theory. The sights, sounds and smells of Eid yield the circulation of “sticky” affect that, as it touches each participant and observer, in turn renders them sticky and therein “(re)surfaces” their material bodies. Moody argues that affect theory offers a unique approach to the study of material religion, specifically Islam, by combining the materiality of the human body with the “textures” of affect that circulate around Islam in its different, quotidian expressions.
Rebecca Moody interprets Bensaïdi’s 2011 film, Death for Sale, using a variety of perspectives; from the ways that religion influences the materialization of political and economic structures—especially in relation to state institutions—to the link between broken (or breaking) institutions and broken (or breaking) lives, as informed by Deleuze and Guattari, to the struggles of Muslim women in rapidly changing societies. The film uses subtle visual techniques and minimal dialogue to convey the conflicts and fragmentation that commence when two (or more) starkly different ways of life are forced into an uneasy alliance too quickly.