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Journal articles on the topic 'Israeli Films'

Author: Grafiati

Published: 28 July 2024

Last updated: 30 July 2024

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1

Burstein, Janet Handler. "Performing Holocaust Memory: Judd Ne'eman's Zitra." AJS Review 36, no. 2 (November 2012): 323–36. http://dx.doi.org/10.1017/s0364009412000219.

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Memory and its representations can reveal as much about a culture's sense of itself as they do about its past. Israeli critics have traced the ways in which representations of the Holocaust in their country's films reflect, among many other issues, Israeli culture's preoccupation with the construction of Israeli identity. According to one critic, the Holocaust survivor in films of the 1940s and 1950s embodied weakness and passivity: “all the traits that Israeli identity [was] meant to contrast.” In the 1970s, another critic suggests, films “read” the Holocaust from a “nationalist perspective…highlighting heroic resistance….” Thus, within a few decades, Israeli cinema seems to have represented in radically different ways—through the lens of the Holocaust—the intricacies of Israeli identity formation: first, by shaping memory in terms of the putative weaknesses of diaspora Jews, contrasting them with the strengths of the “new” Israeli Jew; and later, by emphasizing characteristics that linked heroic resisters with heroic Israelis.

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Moshe, Mira, and Matan Aharoni. "The silent women: The representation of Israeli female soldiers in Israeli women’s films." Journal of Screenwriting 11, no. 3 (September 1, 2020): 313–29. http://dx.doi.org/10.1386/josc_00036_1.

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Since the establishment of the State of Israel in 1948, Israel has known seven wars, seven prominent violent operations and numerous military conflicts. During this period (1948–2019), 86 Israeli screen stories have engaged with the motif of Israel’s military/wars. However, only two of them were written by women and focused on the female Israeli soldier. The marginal position of screen stories based on Israeli women’s experience in the military presents a unique opportunity to unravel the notions female screenwriters have of women’s conduct in a patriarchal military culture. Our findings suggest that female Israeli screenwriters (a) propose a dual vision for women – on the one hand, they are portrayed as silenced, while on the other they use silence as a coping tactic; (b) represent the hegemonic male as silencing women’s voices even though in some cases women silence hegemonic men; and (c) depict military service as an opportunity for women to unravel their femininity.

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3

Goodman, Giora. "Censorship of Arab Cinema in the State of Israel, 1948-1967." Iyunim Multidisciplinary Studies in Israeli and Modern Jewish Society 39 (December 31, 2023): 199–224. http://dx.doi.org/10.51854/bguy-39a158.

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This article examines government censorship of Arab films in the first two decades of the State of Israel, through extensive archival use of documents of the Israeli Film and Theater Censorship Board. The state authorities had wanted to ban altogether the import of films made in Egypt, where the majority of Arab films were produced, but this was impossible due to the entertainment needs of the Arab minority in Israel, and of Jewish immigrants from Arab countries. The article sheds light on the government's efforts to restrict as much as possible the showing of Arab films and censor their content. The censorship's dual purpose was to prevent Arab films from awakening the national and political consciousness of the Arabs living in Israel, and to distance Jewish immigrants from their Arab culture, in order to promote their assimilation into hegemonic Israeli culture. However, the censorship's attempts at political control over Arabs and cultural control over Jews was doomed to failure due to the emergence of a new means of communication and entertainment in the Middle East – television. This ended the cinema theaters' monopoly over the consumption of Arab films, and thus the Film and Theater Censorship Board's ability to censor them.

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4

Nemer, Nassar Ali. "The Collective Memory of the Motherland in Palestinian and Israeli Cinema." Observatory of Culture 18, no. 6 (December 21, 2021): 662–68. http://dx.doi.org/10.25281/2072-3156-2021-18-6-662-668.

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The author examines the differences in the interpretation of historical events in the cinematography of the two opposing sides — Palestine and Israel, and the ways of forming a particular point of view by means of dramaturgy. This subject is relevant in the light of the growing information confrontation between different states, as well as political and social movements. The article analyzes the event context of the creation of Israel as a state in the view of Israeli and Palestinian filmmakers. The author considers samples of Israeli and Palestinian film production — feature films and documentaries, television series that reflect the transfer of Palestinian territory to the Israelis in 1948. The day of the Arabs’ exodus from Palestine in 1948 is considered tragic for the Palestinians and is known among them as “Nakba” (catastrophe, cataclysm), but at the same time it is the Independence Day for the Jews of Israel.The article demonstrates what plot devices and narrative techniques are used by directors to emphasize aspects of historical events that are beneficial to them, using cinematography as an instrument of ideological confrontation between the two peoples who have claims to the same land. Trying to have an impartial take, without siding with either of the conflicting parties, the author focuses exclusively on studying the means used by the creators of the films considered. This article can be useful for art historians, culturologists and sociologists dealing with issues of the Middle East, as well as for humanitarians whose research interests include theoretical understanding of ideology and propaganda without reference to specific epochs and regions (territories).

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5

Pappé, Ilan. "The Post-Zionist Discourse in Israel: 1990–2001." Holy Land Studies 1, no. 1 (September 2002): 9–35. http://dx.doi.org/10.3366/hls.2002.0002.

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This essay describes the development of the Post-Zionist critique within Israeli society, from the late 1980s, when it first appeared in academic works, and follows its dissemination into other areas of cultural activity (theatre, newspapers, films, TV and radio). It assesses the overall impact of post-Zionism on Israeli society, with particular stress on the way the recent Intifada (begun in September 2000) has influenced its fortunes in Israel, and raised some fears for the immediate future.

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6

Goodman, Giora. "Film Censorship in Israel and the Cold War, 1948-1967." IYUNIM Multidisciplinary Studies in Israeli and Modern Jewish Society 37 (July 15, 2022): 121–46. http://dx.doi.org/10.51854/bguy-37a135.

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The article examines the impact of the Cold War on film censorship in Israel during the first two decades of the state and sheds light on the Israeli Film Censorship Board’s collaboration with other government bodies, above all the Foreign Ministry in the censorship of western anti-communist films, and to a lesser extent, Soviet anti-American films. Such Cold War-related film censorship was carried out in response to domestic criticism but also to prevent any possible damage to Israel's diplomatic relations, particularly with the Soviet Bloc, owing to the large number of films imported from the United States. In addition to discussing film censorship policies and practices, the article demonstrates the crucial impact of Cold War culture on the political world in Israel, particularly during the early years of the state. The article's main argument is that the diplomatic impetus for censoring Cold War films attests to Israel’s insecurity vis-à-vis its international status prior to the 1967 War as well as to the ultimately unsuccessful attempt by the government to preserve what was left of its deteriorating relations with the Soviet Bloc.

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7

Yin, Tianqi. "Destined Failure of Interactions between Israeli-Arabs and Jews— An Analysis on Creative Works’ Presentation of Issues from the Jewish Side." International Journal of Language, Literature and Culture 2, no. 5 (2022): 24–27. http://dx.doi.org/10.22161/ijllc.2.5.5.

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Sociological research have investigated factors to account for the ethnographic conflicts between Jews and Arabs in Israel. Different from previous studies, this paper inquires the factors on the Jewish side that prevent successful interaction between the two ethnographic groups by looking at crucial scenes in creative works of books and films produced by Israeli authors/directors. The first scene is from the Jewish perspective in Amos Oz’s memoir A Tale of Love and Darkness, in which young Oz, a Jewish boy, attempts to interact with Aisha, a young Israeli-Arab girl, but eventually failed because of an accident. The second scene is from a short Israeli film Bus Station which, from an outsider perspective, depicted a brief encounter between an Arab woman and a Jewish woman in Jerusalem. The third scene is the initially successful yet eventually failed relationship between Eyad, a Palestinian boy, and Naomi, a Jewish girl, in an elite Israeli high school from the 2014 film A Borrowed Identity, which is depicted through Eyad’s Arab perspective. Through the analysis of these three narratives, this paper argues that the burden of national responsibility, family influences, and Israeli government’s discriminatory policies are the three main factors on the Jewish side, in ascender order of importance, that make Arab-Jewish interaction hard in Israel.

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8

Simoni, Marcella. ""Spara e prega!". Il cinema israeliano a trent'anni dalla guerra del Libano." PASSATO E PRESENTE, no. 88 (February 2013): 111–30. http://dx.doi.org/10.3280/pass2013-088006.

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The first decade of the new century has seen the appearance of numerous Israeli films by different directors, and at least one fiction book, who addressed various aspects of the Israeli involvement in Lebanon in some of its phases: the 1982 Lebanon War, the occupation of Beaufort and the evacuation from the so-called Security Zone (2000). Using these movies and the book as a sources - and framing them in the critical literature on the subject - this article discusses if such a cultural production gave rise to a public or political debate in Israel, or if they just responded to the individual needs of the directors who filmed them.

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9

Rosen. "National Fears in Israeli Horror Films." Jewish Film & New Media 8, no. 1 (2020): 77. http://dx.doi.org/10.13110/jewifilmnewmedi.8.1.0077.

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10

Rosen, Ido. "National Fears in Israeli Horror Films." Jewish Film & New Media: An International Journal 8, no. 1 (March 2020): 77–103. http://dx.doi.org/10.1353/jfn.2020.0003.

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11

Kamir, Orit. "Zionist and Palestinian Honor and Universal Dignity in Israeli Cinema." Comparative Sociology 15, no. 6 (November 23, 2016): 639–68. http://dx.doi.org/10.1163/15691330-12341405.

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This article offers a film analysis of Israeli films which, it claims, embrace or critique Israel’s Zionist and Palestinian perceptions of honor, as compared with universal human dignity. The article groups together and examines six acclaimed Israeli feature films that, it argues, present and comment on Zionist and Palestinian perceptions of honor, as well as human dignity. The Israeli-Zionist Kazablan (1973) and the Israeli-Palestinian Wedding in Galilee (1987) each construct an ideal version of Zionist and Palestinian honor codes and mentalities, respectively. More critical and recent films, James’ Journey to Jerusalem (2003), Attash (2004) and Ajami (2009), suggest that these happy ideals conceal monstrous shadow images that undermine the reverence and promotion of human dignity. Finally, Bethlehem (2013) is read as portraying both Zionist and Palestinian mentalities concerning honor as macho, adolescent, insensitive and hurtful. According to this reading, Bethlehem demonstrates how both honor codes preclude the adherence to and cherishing of universal human dignity, locking the two nations in an eternal blood feud.

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12

Harris, Rachel S. "Beauty and the Patriarchy: Ibtisam Mara'ana's Lady Kul El-Arab (2008)." Israel Studies 28, no. 2 (June 2023): 100–125. http://dx.doi.org/10.2979/is.2023.a885231.

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ABSTRACT: Leveraging the discourse of the Arab-Israeli conflict, Ibtisam Ma'arana uses the vehicle of the beauty pageant to consider the pressures on Arab and Druze women in Israeli society. In her documentary Lady Kul El-Arab (2008) she follows Druze Duah Fares as she participates in a small regional Arab contest and then competes in the national Miss Israel event. While the coverage of beauty competitions and the conventions of films and television programs about them have long considered the tension between female self-empowerment and exploitation, this film disrupts the usual narrative, instead drawing greater attention to nationalism and the identity politics which pageants signify. When Fares is forbidden to participate, Mara'ana shows how patriarchal structures employ modes of control and oppression, including threats of ostracization, violence and murder (under the guise of honor killings) to enforce women's submission. As a public and political figure, who has used her own positionality as a Palestinian woman and Israeli citizen to criticize both Israeli authorities and the treatment of women in Arab society, Mara'ana is implicated in the film. This connection is further cemented when she becomes the family's spokesperson three years after the release of the documentary when Fare's sister Jamila (known as Maya) is killed. This article explores the overlapping conflicts that emerge when a woman from a conservative society participates in a pageant and the particular situation of a Druze woman in Israel as depicted in Mara'ana's documentary.

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Bauer, Ela. "Izraelczycy spoglądają na Polaków przez obiektyw kamery filmowej." Narracje o Zagładzie, no. 4 (November 11, 2019): 113–37. http://dx.doi.org/10.31261/noz.7898.

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There is already wide range of studies that aim at understanding the different ways in which the Holocaust is presenting in Israeli cinema. Although these studies present wide spectrum of themes, processes and points of view regarding this issue, this rich corpus of research does not include references to the various ways in which Polish-Jewish relations are portrayed in Israeli films. This article is interesting to open scholarly discussion on the ways in which Jewish-Polish relations are presenting in in several documentary and fictional Israeli films: Aba'le Bo La-lonapark (Daddy Come to the Amusement Park), directed by Nitza Gonen in 1995; Spring 1941, directed by Uri Barbash in 2007; Pizza b'Auschwitz (Pizza in Auschwitz) by Mosh Zimmermanh in 2008; Ema shel Valentina (Valentina's Mother), directed by Arik Lubzki and Matti Hararri in 2009; and Hakatayim (Past Life) directed by Avi Nesher in 2016. A discussing on the perception of Polish Jewish relations at this collection of films can add an additional angle to the topic of Polish-Jewish relations during and after the Second War World.

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14

Tsachi, Adam. "Different Binding: The Myth of the Binding of Isaac in Two Israeli Documentary Films on Combat Stress Reaction." Shofar: An Interdisciplinary Journal of Jewish Studies 42, no. 1 (2024): 128–51. http://dx.doi.org/10.1353/sho.2024.a932340.

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Abstract: This article seeks to point out a phenomenon in Israeli cinema: a return to the story of the binding of Isaac [the akedah ] in its biblical version. Against the background of the traditional casting of the akedah myth in Israeli art, where the miracle of Isaac's rescue is replaced by his death, and the ram is missing from the picture, recently Israeli documentary films have appeared that deal with combat stress reaction, which shapes the story of the akedah in a way that is faithful to the biblical story. They reinstate within the plot the story of Isaac's replacement by a ram and describe life after Isaac saw the knife raised over him, where the traumatic memory of the past upsets the routine of the present. At the same time, the films are informed by the Israeli art tradition, with one film adopting the hegemonic view of Abraham, who raises the knife, while the other adopts the critical view of Sarah, the mother, who identifies with the victim.

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15

Dittmar, Linda. "Side by Side: Israeli and Palestinian Cinema." Radical Teacher 113 (February 14, 2019): 87–88. http://dx.doi.org/10.5195/rt.2019.606.

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16

Munk, Yael. "Ari Folman’s Made in Israel (2001): Traces of Trauma in the Israeli Cinema Landscape." Arts 12, no. 1 (February 14, 2023): 32. http://dx.doi.org/10.3390/arts12010032.

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In the Israeli collective memory, the Yom Kippur’s battles in the Golan Heights have become synonymous with a long lasting national scar that fails to disappear. Interestingly, until the release of Yaron Zilberman’s recent television series Valley of Tears (She’at Ne’Ila, 2020), this war, which was traditionally associated with the pictured northern landscape, had appeared in few documentaries, but was almost absent from Israeli feature films. This article analyzes one of the very few attempts to deal with this memory, Ari Folman’s feature film Made in Israel (2001). Using a science fiction narrative structure, Folman adopts historian Anita Shapira’s contention about the link between this war and the Holocaust, because both confronted the Jewish people with its fear of extermination. His narrative invites the viewer to participate imaginatively in a road movie set against the snow-covered landscapes of the Golan Heights, where a number of hitmen attempt to catch the last surviving Nazi and bring him to trial in Jerusalem. Interestingly, what begins as a Zionist mission in the hegemonic spaces of the State of Israel gradually transforms into various European landscapes as the snow piles up and the Nazi feels increasingly at home.

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17

Pietrzak, Maciej. "David Avidan’s Message from the Future. Nuclear fantasies of the galactic poet." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 28, no. 37 (March 31, 2021): 127–39. http://dx.doi.org/10.14746/i.2020.37.07.

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David Avidan’s Message from the Future (1981) is one of few Israeli science fiction films ever made. This ambitious project of the well-known avant-garde poet has been forgotten for many years, as a result of a financial and artistic failure of the movie. The paper shows Avidan’s doomed film as an interesting cultural text that can be read as the director’s commentary on the Israeli reality of his time. Contrary to the artist’s claims about the global ambitions of the picture, Message from the Future is immersed in the local, exploring it under the guise of narrative structures borrowed from Hollywood. The text analyzes a precise deconstruction of the plot patterns characteristic for the classic American SF films from the 1950s, which Avidan adjusted to the Israeli sociopolitical landscape at the turn of the seventies and eighties.

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Steir-Livny, Liat. "Obraz ocalałych z Holokaustu w izraelskich filmach pełnometrażowych powstałych po wojnie sześciodniowej." Narracje o Zagładzie, no. 4 (November 3, 2019): 96–112. http://dx.doi.org/10.31261/noz.7881.

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In the aftermath of World War II, approximately 450,000 Holocaust survivors immigrated to the nascent State of Israel. The complex encounters of the newcomers with the Jews who already lived in the land were reduced to a series of superficial representations in Israeli feature films. Holocaust survivors were often portrayed as people broken in body and in spirit, who could be healed only in the land of Israel. After the 1961 Eichmann trial, first attempts were made at producing feature films which portrayed more complex images of survivors. As opposed to the shallow images of Holocaust survivors portrayed in cinemaof the 1940s and 1950s, in which broken people turn into "new Jews" thanks to the help of veteran Jews, films such as The Cellar and The Hero's Wife tried to shape a more complex image of survivors attempting to build new lives in the shade of the trauma. The myth of the "new Jew" that peaked after the Six-Day War. The article claims that the euphoria that followed the 1967 war had a problematic effect on the image of Holocaust survivors, and brought back the shallow, even negative representations of the 1940s and 1950s. The article discusses this revision through the analysis of two prominent films that were produced in the decade following the 1967 war: He Walked Through the Fields [Hu halachbasadot(Yosef Millo, 1967)] and Operation Thunderbolt [Mivtsa Yonatan, (Menahem Golan, 1977)]. The article shows how these films placed Holocaust survivors on the margins of the narrative, strengthening their role as antithesis to the heroic warrior "new Jew."

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19

Filman, Keren, and Iris Aravot. "Israeli New-towns and Propaganda Films in the 1950s." International Journal of the Arts in Society: Annual Review 4, no. 2 (2009): 229–38. http://dx.doi.org/10.18848/1833-1866/cgp/v04i02/35591.

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20

Levental, Orr. "An Offside Story: The Israeli Periphery in Sports Films." Journal of Sports Media 16, no. 2 (2021): 1–17. http://dx.doi.org/10.1353/jsm.2021.0007.

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21

WALLIS, RODNEY. "John Wayne's World: Israel as Vietnam in Cast a Giant Shadow (1966)." Journal of American Studies 53, no. 3 (April 2, 2019): 725–43. http://dx.doi.org/10.1017/s0021875819000124.

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Melville Shavelson's Cast a Giant Shadow (1966) stands alongside Otto Preminger's Exodus (1960) as one of the most notable Hollywood films to center on the founding of Israel. In this paper I argue that Cast a Giant Shadow is less concerned with the peculiarities of the nascent stages of the Arab–Israeli conflict, and instead functions as an unabashed endorsement of American military interventionism in foreign conflicts at a time in which the United States was dramatically escalating its military presence in Vietnam. The film is positioned as the second installment in an unofficial trilogy of overtly propagandistic pro-interventionist cinema produced by John Wayne's production company Batjac in the 1960s, alongside The Alamo (1960), Wayne's directing debut, and the notoriously jingoistic pro-Vietnam War film The Green Berets (1968). My analysis of this largely overlooked entry in the Wayne oeuvre ultimately reveals how Israel enabled Wayne to effectively put his art at the service of his political beliefs.

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22

Naaman, Dorit. "Unruly Daughters to Mother Nation: Palestinian and Israeli First-person Films." Hypatia 23, no. 2 (June 2008): 17–32. http://dx.doi.org/10.1111/j.1527-2001.2008.tb01183.x.

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This article examines the Israeli documentary My Land Zion and the Palestinian documentary Paradise Lost. Both films are critical autobiographical texts and in both, the woman filmmaker negotiates her emotional and ideological ties with her culture, history, and nation. Naaman proposes that by using the autobiographical genre and by engaging emotionally as well as rationally, the women filmmakers discussed offer a particular gendered position rebelliously outside nationalism and the place of women within it.

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Waligórska-Olejniczak, Beata. "DIALOG KULTUR WE WSPÓŁCZESNYM KINIE IZRAELSKIM. Klara cudotwórczyni Ariego Folmana i Oriego Sivana oraz Cyrk Palestyna Eyala Halfona." Rusycystyczne Studia Literaturoznawcze 27 (November 30, 2017): 127–39. http://dx.doi.org/10.31261/rsl.2017.27.10.

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The character of Russian-Jewish immigrant constitutes undoubtedly one of the major figures in Israeli cinema. The aim of the studies is to focus on two contemporary Israeli films, i.e. Saint Clara (Clara Hakedosha, 1996) by Ari Folman and Ori Sivan and Circus Palestine (Kirkas Palestina, 1998) by Eyal Halfon from the point of view of intercultural relationships. The selected texts of culture seem to show both Russian and Jewish culture as dynamic and ambiguous phenomena, which are characterised by a number of paradoxes, polar stereotypes and prejudices. At the same time, however, the cultures turn out to be similar to each other in their continuous inner conflict between striving for freedom and the need of self-restraint.

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Shemer, Yaron. "Failing Intersectionality: Gender, Ethnicity, and Religious Traditions in Recent Israeli Films." Quarterly Review of Film and Video 36, no. 5 (May 6, 2019): 365–91. http://dx.doi.org/10.1080/10509208.2019.1590173.

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Naaman, Dorit. "Unruly Daughters to Mother Nation: Palestinian and Israeli First-person Films." Hypatia: A Journal of Feminist Philosophy 23, no. 2 (April 2008): 17–32. http://dx.doi.org/10.2979/hyp.2008.23.2.17.

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Gershenson, Olga. "Zombies and Zionism: The Dead and the Undead in Israeli Horror Films." Shofar: An Interdisciplinary Journal of Jewish Studies 39, no. 1 (2021): 147–75. http://dx.doi.org/10.1353/sho.2021.0013.

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Raab, Alon. "Walls and goals: the Israeli–Palestinian encounter in football films and literature." Soccer & Society 13, no. 5-6 (November 2012): 789–94. http://dx.doi.org/10.1080/14660970.2012.730779.

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28

Kimmerling, Baruch. "Between Celebration of Independence and Commemoration of Al-Nakbah: The Controversy over the Roots of the Israeli State." Middle East Studies Association Bulletin 32, no. 1 (1998): 15–18. http://dx.doi.org/10.1017/s0026318400036105.

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When The Jubilee year of the founding of the State of Israel arrived, the market was flooded with books, periodicals, special issues, TV documentaries and albums marking the 50th anniversary. As expected, some of these products stimulated sharp controversies, as a part of recent debates over Israeli historiography, collective memory, and identity. Perhaps the most controversy was focused on the Channel One (public TV) series titled “Tkuma” (“Revival”). Contrary to expectations, the series presented the Israeli past a little bit more courageously and less canonically than the usual conservative Zionist version. It was by no means a “revisionist” history, but for the first time the general public was exposed to a more balanced and less mythical version of Israel’s history. The uprooting and expulsion of the Palestinians during the 1948 war and their transformation into a refugee camp society were briefly mentioned with some empathy. Clips from the well-known Syrian reconstruction of the massacre in Kafr Qassem were aired. In the segment on Palestinian armed struggle use was made of films from the PLO archives (captured by the Israeli secret services during the 1982 invasion of Lebanon). The discrimination and peripheralization of the immigrants from Arab countries and their violent reactions (the Wadi Salib riots and the Black Panthers’ demonstrations) were not blurred. In general, alongside the state’s great economic, cultural, and military achievements, some of the shadows were remembered as well, such as Ben-Gurion’s one-man leadership and Golda Meir’s refusal to make any territorial concessions in exchange for security arrangements (peace?). Even the inevitability of the 1967 and 1973 wars was questioned. The series was heavily attacked and accused of being anti-Zionist, especially by the right-wing establishment. The Minister of Communication, Limor Livnat, who is in charge of public broadcasting, tried to “supervise” the series and especially the segment on the PLO; however, she withdrew when she was accused of censorship.

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Mirzaev, V., G. Mammadova, and K. Guliyeva. "Economic Indicators of Animal Husbandry of Different Cattle Breeds by Groups." Bulletin of Science and Practice, no. 5 (May 15, 2023): 199–205. http://dx.doi.org/10.33619/2414-2948/90/26.

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Productive longevity of cattle is associated with the selection process. For the first time in the Sheki-Zakatala and Nagorno-Shirvan economic regions of Azerbaijan, Holstein cows were bred from Israeli selection. The resulting animals have a higher milk production, are highly adaptable to various feeding technologies. The genetic resources of Israeli breeding animals can be widely used to improve the productivity and breeding qualities of animals in various economic regions located in the Sheki-Zakatala and Nagorno-Shirvan zones.

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BOLBORICI, Ana-Maria. "The european union and the israeli- palestinian conflict." SERIES VII - SOCIAL SCIENCES AND LAW 13(62), no. 1 Special Issue (January 2021): 17–24. http://dx.doi.org/10.31926/but.ssl.2020.13.62.3.2.

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Which will dominate the Middle East: extremism or the path of compromise? Is it possible that the European Union together with the international community to contribute to the establishment of a lasting, just and comprehensive peace? This paper presents some answers to these questions which will certainly be helpful in foreshadowing the future of the Israeli-Palestinian conflict and the situation in the entire Middle East. The paper concentrates on and analyzes the role of the European Union regarding the mediation/resolving of the Israeli-Palestinian conflict.

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Na'im Farhat, Mohammad. "A cinematographic analysis of Palestinian recording films: moving in a damaged space, surrounded by moral and material walls!" Contemporary Arab Affairs 6, no. 2 (April 1, 2013): 211–19. http://dx.doi.org/10.1080/17550912.2013.788853.

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This study deals with a number of recording films produced by Palestinian women living under the Israeli occupation. As for their main issue, the films are about awareness as depicted by these women. The study focuses on reading the recordings as one text comprised of various parts pertaining to numerous viewpoints regarding a reality, the characteristics of which have got much in common in terms of depth and comprehensiveness. Therefore, this study is auxiliary in exploring and highlighting the basic signs which these films present. This trend puts the study, from a theoretical and methodological viewpoint, together, directly and indirectly, within a context of rich heritage, i.e. the sociology of culture, extending from Lucien Goldman to many others, on the basis that this context is the most appropriate for such studies. This also explains its recourse to a number of basic concepts centred on world vision, text, discourse, semiotics and awareness.

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Bar-Ziv Levy, Miri. "The representation of spoken Hebrew in Eretz-Israeli fiction films from the 1930s." Journal of Jewish Studies 72, no. 1 (April 1, 2021): 136–63. http://dx.doi.org/10.18647/3486/jjs-2021.

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33

Tsachi, Adam. "Trauma Processing in Israel’s Contemporary Documentary Cinema." Iyunim, Multidisciplinary Studies in Israeli and Modern Jewish Society 34 (December 1, 2020): 36–60. http://dx.doi.org/10.51854/bguy-34a102.

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This article investigates a new phenomenon in contemporary Israeli documentary cinema: the processing of war trauma. For the first time since the onset of the Second Intifada, films whose heroes suffer from PTSD are dealing with the processing of past experience. Using case studies, the article analyzes films directed by PTSD victims, which deal with the processing of war trauma, including among others One Battle Too Many (Joel Sharon, 2013) and Closed Story (Micha Livne, 2015). The films’ heroes are seeking to free themselves from the amnesia that is concealing the traumatic events deep within their memory. They manage to locate the repressed memory and then weave the traumatic story anew. The films propose various cinematic strategies for processing trauma, strategies that are meant to demarcate both the subjective traumatic past and the objective safe present and to place a defined aesthetic border between them. The films are analyzed by means of close reading of the cinematic aesthetic and the discussion of trauma in the Humanities. The interweaving of unrealistic and realistic symbolization practices dismantles the classic form of documentary cinema and facilitates an encounter between the viewer and the overwhelming nature of trauma.

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Benziman. "“Mom, I'm Home”: Israeli Lebanon-War Films as Inadvertent Preservers of the National Narrative." Israel Studies 18, no. 3 (2013): 112. http://dx.doi.org/10.2979/israelstudies.18.3.112.

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Ne'eman, Judd. "The Jar and the Blade: Fertility Myth and Medieval Romance in Israeli Political Films." Prooftexts 22, no. 1 (2002): 141–56. http://dx.doi.org/10.1353/ptx.2002.0005.

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Dushi, Nava. "Femininity and the Challenge of Representation: Some Thoughts about Minor Israeli and Palestinian Films." Israel Studies 28, no. 1 (December 2022): 233–47. http://dx.doi.org/10.2979/israelstudies.28.1.14.

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Hendrykowski, Marek. "Reality as a feeling – a feeling as reality. On the film by Joseph Cedar, Footnote." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 25, no. 34 (June 15, 2019): 59–68. http://dx.doi.org/10.14746/i.2019.34.04.

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Hendrykowski Marek, Reality as a feeling – a feeling as reality. On the film by Joseph Cedar, Footnote. “Images” vol. XXV, no. 34. Poznań 2019. Adam Mickiewicz University Press. Pp. 57–xx. ISSN 1731-450X. DOI 10.14746/i.2019.34.04. This analytical study by Marek Hendrykowski is an attempt to re-read one of the most valuable contemporary films of Israeli production, Footnote, written and directed by Joseph Cedar. The author paid particular attention to the specific way of conducting a seemingly dependent narration, skillfully combining the image of external reality with the sphere of thought and the feelings of the main character.

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Abu-Remaileh, Refqa. "The Kanafani Effect." Middle East Journal of Culture and Communication 7, no. 2 (2014): 190–206. http://dx.doi.org/10.1163/18739865-00702006.

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Guided by Ghassan Kanafani’s seminal studies on ‘resistance literature’, this paper extends the concept to contemporary Palestinian fiction film to explore its permutations in the visual medium. The resistance label has had its repercussions on Palestinian cultural production; however, it continues to inspire an aesthetically-driven innovative defiance in the face of an ongoing Israeli occupation. Tracing the divorce of cultural production from political organizations, I focus on a Palestine configuring ‘inside’, attending to the films of Michel Khleifi and Elia Suleiman, to explore therein a particular synthesis of counter-narratives of resistance. Embedded in the moving image medium itself, in its structures, techniques and narrative forms, the aesthetic resistance Kanafani had anticipated shines through these artists’ films to disclose new spaces of everyday resistance, in expressions of freedom, satire, self-criticism and humor. The spectator is called on to partake in creating these spaces, by reading silences and interpreting multilayered images so as to construct meanings that cannot be hijacked by language or confined by oppression.

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Ginsburg, Ruthie. "Gendered visual activism: Documenting human rights abuse from the private sphere." Current Sociology 66, no. 1 (July 4, 2016): 38–55. http://dx.doi.org/10.1177/0011392116651115.

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This article focuses on the involvement of Palestinian women in video documentation as part of the project of the Israeli human rights organization B’Tselem. It claims that the house/home is a site of anti-colonial struggle and that this development results from a specific socio-political situation and techno-ethical position. Based on analyses of the political situation in the West Bank, as well as consideration of films and interviews with Palestinian women who have been given cameras by B’Tselem, this article examines the ‘spatialization’ of visual activism: that is, the ways that Palestinian women’s participation is allied with sites where political resistance intersects with a gendered setting.

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Ebbrecht-Hartmann, Tobias. "Resonating Trauma." New German Critique 46, no. 2 (August 1, 2019): 91–116. http://dx.doi.org/10.1215/0094033x-7546185.

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Abstract The participation of two members of the German radical Left terrorist group Revolutionary Cells turned the 1976 Entebbe hostage crisis into a significant chapter of German and Israeli history. The article reviews the framing of the hijacking of a passenger plane by a West German–Palestinian commando and explores historical references to the traumatic memories of the Holocaust that resonated in the public perception, cinematic depiction, and commemoration of the event. Through an analysis of newspaper coverage, documentary reports, docudrama films, and attempted attacks on German theaters, the article describes the framing as alternating and conflicting and emphasizes the relationship of history, media, and memory.

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Loshitzky, Yosefa. "The Post-Holocaust Jew in the Age of "The War on Terror": Steven Spielberg's Munich." Journal of Palestine Studies 40, no. 2 (January 1, 2011): 77–87. http://dx.doi.org/10.1525/jps.2011.xl.2.77.

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As a film about "terror" spilling over from its local context (the struggle over Palestine) into the global arena, Munich transcends the specificity of the so-called "Palestinian question" to become a contemporary allegory of the Western construct of "the war on terror." The essay explores the boundaries and contradictions of the "moral universe" constructed and mediated by the film, interpreted by some as a dovish critique of Israeli (and post-9/11 U.S.) policy. Along the way, the author probes whether this "Hollywood Eastern" continues the long Zionist tradition seen in popular films from Exodus onwards, or signals a rupture (or even latent subversion) of it.

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Ne'eman. "The Jar and the Blade: Fertility Myth and Medieval Romance in Israeli Political Films." Prooftexts 22, no. 1-2 (2002): 141. http://dx.doi.org/10.2979/pft.2002.22.1-2.141.

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Simoni. "Law and Sedition in Israeli Films: From the Assassination of Itzhak Rabin to the Hilltop Movement." Jewish Film & New Media 6, no. 2 (2018): 184. http://dx.doi.org/10.13110/jewifilmnewmedi.6.2.0184.

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Hammad, Hanan. "In the Shadows of the Middle East’s Wars, Oil, and Peace: the Construction of Female Desires and Lesbianism in Middlebrow Egyptian Literature." Journal of Arabic Literature 50, no. 2 (July 15, 2019): 148–72. http://dx.doi.org/10.1163/1570064x-12341383.

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Abstract This article employs the fictional writings of the Egyptian author Iḥsān ‘Abd al-Quddūs (1919–1990) to analyze the textually tangled anxiety over women’s sexuality and rapid political and socioeconomic changes in postcolonial Egypt and the Arab-East. Arguably one of the most prolific writers in Arabic in the twentieth century, ‘Abd al-Quddūs has achieved wide readership, and producers have adapted his books to popular commercial films and TV shows. Breaking taboos on women’s sexual desires, ‘Abd al-Quddūs’s work has been influential in shaping the popular notion about lesbian love wherein frustration with the postcolonial realities—inscribed by the Arab-Israeli conflict, Oil Boom, and globalization—have become entangled with the fear of women’s mobility and liberation.

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Seigelsheifer, Valeria, and Tova Hartman. "Staying and Critiquing." Israel Studies Review 34, no. 1 (March 1, 2019): 110–30. http://dx.doi.org/10.3167/isr.2019.340107.

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Over the past two decades, Israeli Orthodox Jewish women filmmakers have used film to speak in a public voice about various subjects that were previously taboo. Although there are aspects of Orthodoxy to which these filmmakers object, they do so as ‘devoted resisters’. Rather than expressing heretical opposition, the women stay committed to Orthodoxy precisely because they are able to use filmmaking to resist. In their negotiations of voice used to ‘justify’ their decision to become filmmakers, the women position themselves as ‘accidental’ filmmakers, thereby remaining within Orthodoxy while critiquing it through their films. Cultural resistance in this case is not carried out as defiance to Orthodox Judaism but rather out of a relationship with it, featuring a form of resistance that insists upon devotion to multiple commitments.

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Simoni, Marcella. "“The Dreamers of Lost Dreams”." Israel Studies Review 38, no. 2 (June 1, 2023): 67–85. http://dx.doi.org/10.3167/isr.2023.380206.

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Abstract In this article, I discuss how several documentaries and films by Amos Gitai provide primary oral and written sources to write a history from below of the Oslo Accords and of their demise. In the first part of the article, I discuss sources from a set of interconnected documentaries (Give Peace a Chance and Arena of Murder) filmed between 1994 and 1996; in the second, I focus on the movie Rabin, The Last Day (2015), and I explore sources from the so-called Gitai-Rabin archive deposited at the Bibliothèque National de France. Overall, this material brings us the voices of various groups within Israeli society and among Palestinians, revealing the complexity of the issues on the negotiating table, and the cultural, social, and political questions that the peace process unleashed.

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Matos Trindade, Carlos Alberto. "MEMORIES OF THE LEBANESE CIVIL WAR. AN ANALYSIS THROUGH THE WORKS OF JOANA HADJITHOMAS & KHALIL JOREIGE, AND THE FILM WALTZ WITH BASHIR (2008), BY ARI FOLMAN." ERAS | European Review of Artistic Studies 14, no. 3 (July 30, 2023): 29–52. http://dx.doi.org/10.37334/eras.v14i3.303.

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In this article we discuss a series of video installations and two films by Lebanese artists Joana Hadjithomas and Khalil Joreige, whose career together has been strongly marked by the images and memories of their country's recent history, especially those of the long Civil War (1975-1990), followed by an analysis of the film Waltz with Bashir by Israeli filmmaker Ari Folman, which is thematically related to one of the bloodiest episodes of that war and offers an interesting counterpoint. Before this approach, in order to better contextualise the works analysed, we begin with an introduction in which we try to recall in general terms some of the background, data and stages of that war, which also involved two other regional powers, and the PLO (Palestine Liberation Organisation).

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Gavish, Iris, Yossi Gavish, and Aviv Shoham. "A Multi-Dimensional Model of Israeli Travelers’ Experience in Duty-Free Stores." Advances in Social Sciences Research Journal 8, no. 5 (May 11, 2021): 13–33. http://dx.doi.org/10.14738/assrj.85.10076.

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Travelers’ duty-free shopping represents an under-researched consumption behavior with far reaching management and marketing implications. This study explores the extent to which three surface personality traits (impulsiveness, shopping involvement, and escapism) mediated by store atmosphere, store temptation, and shopping enjoyment, lead to buying in duty-free stores. A convenience sample of 163 Israeli adults in Israel’s Ben-Gurion International airport was used. A SEM-PLS model was used to analyze the relationships among the model’s constructs. The model supports the positive impacts of traits impulsiveness, shopping involvement, and escapism on buying behavior in duty-free stores, mediated by store atmosphere and store temptation (shopping enjoyment only affecting store temptation). A post-hoc analysis showed a positive relationship between store atmosphere and store temptation. This paper contributes to the literature by developing and testing an integrative model with important implications for tourism and hospitality industries. Deriving from the findings of this study, it behooves managers of stores and centers to promote the environmental sustainability aspects of the products sold in these stores.

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Ayalon, Liat, and Shlomit Aharoni Lir. "“The Internal Police Officer Has Not Retired but Has Slowed Down”: Israeli Women Reframe Their Aging Experiences in the Second Half of Life." Journal of Applied Gerontology 41, no. 3 (January 12, 2022): 847–54. http://dx.doi.org/10.1177/07334648211061477.

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Compared with gains, losses have received a substantial amount of research and public attention. The present study aims to shed light on the positive gains associated with older age from the perspective of older women. Five focus groups with 19 Israeli women over the age of 54 were conducted. Trailers of three different films were used to stimulate discussion about old age and aging and allow for reflections on societal norms in light of personal experiences. Focus group interviews were analyzed thematically. Respondents identified four contexts, characterized by reframing their experiences against societal norms. These included gender stereotypes, physical appearance, interpersonal relations, and employment. This study represents an opening to a different discourse around old age, which is characterized by gains and possibilities brought about by changes in reframing one’s experiences, while distancing oneself and exerting free will vis à vis social norms.

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Tomé-Alonso, Beatriz, and Lucía Ferreiro Prado. "Mapping Orientalist Discourses: Using Waltz with Bashir in the Classroom." International Studies Perspectives 21, no. 2 (August 13, 2019): 154–71. http://dx.doi.org/10.1093/isp/ekz009.

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Abstract While fiction and non-fiction productions can be used as tools to observe, describe, and analyze the “world-out-there,” within these events-issues centered approaches post-positivists posit films themselves as “cultural artifacts” to be analyzed. This paper proposes a critical analysis of Waltz with Bashir (2008) to be conducted with students in the classroom. This acclaimed animated film by Israeli writer and director Ari Folman depicting the 1982 Lebanon War is a non-obvious but germane example of Said's “Orientalism.” After explaining post-structuralism and post-orientalist stances on subjectivity, power relations, and the political consequences of the narratives we create, we analyze the film by applying an orientalist grid to Waltz with Bashir and raising qualitative questions to foster the student's criticality. We conclude by examining student's reactions to the film and their understanding of “Orientalism.”

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