PhD Candidate, Religion, Syracuse University. My primary research interests reside at the intersection of religion, cultural studies, feminist theory, film theory and affect theory. I use this this interdisciplinary axis to explore visual representations of women’s material bodies and the work that they perform. My dissertation grows out of my recent extended experience living and working in Fes, Morocco; in it, I analyze filmic representations of Moroccan women in recent fiction films by Moroccan women filmmakers as sites of resistance to dominant narratives and sites from which to birth counter narratives. I contend that Moroccan women filmmakers actively resist the rhetorical and structural violence of the monarchy’s narratives about Moroccan women, but through cinematography rather than spoken dialogue. Through this cinematography, viewers affectively, sensorially and synaesthetically experience women’s quotidian conditions of life; that is, through film form viewers experience economic, political, cultural and religious realities that cannot be argued overtly in spoken word. Thus, affect theory works in two ways in my research. First, it functions as a way to absorb, internalize and respond quotidian realities as they differ from dominant narratives: a way to recognize structures of feeling percolating just under the level of spoken discourse. In addition, when used alongside formal film theory, it offers a way to articulate the affective punch of visual images that (sometimes significantly) contrast these dominant narratives.