Israeli Cinema : : Identities in Motion /

Israeli Cinema : : Identities in Motion / / ed. by Yaron Peleg, Miri Talmon.

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With top billing at many film forums around the world, as well as a string of prestigious prizes, including consecutive nominations for the Best Foreign Film Oscar, Israeli films have become one of the most visible and promising cinemas in the first decade of the twenty-first century, an intriguing...

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Bibliographic Details
Superior document:Title is part of eBook package: De Gruyter University of Texas Press eBook-Package Backlist 2000-2013
MitwirkendeR:
Avisar, Ilan,
Ben Shaul, Nitzan,
Ben-Zvi-Morad, Yael,
Chyutin, Dan,
Cohen, Uri S.,
Dushi, Nava,
Feldestein, Ariel L.,
Gershenson, Olga,
Gertz, Nurith,
Hermoni, Gal,
Horak, Jan-Christopher,
Kaplan, Eran,
Kedem, Eldad,
Meiri, Sandra,
Munk, Yael,
Naaman, Dorit,
Neʾeman, Judd,
Padva, Gilad,
Peleg, Yaron,
Shemer, Yaron,
Steir-Livny, Liat,
Talmon, Miri,
Yosef, Raz,
Zanger, Anat,
Zerubavel, Yael,
HerausgeberIn:
Peleg, Yaron,
Talmon, Miri,
Place / Publishing House:Austin : : University of Texas Press, , [2021]
©2011
Year of Publication:2021
Language:English
Online Access:
Physical Description:1 online resource (391 p.)
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Table of Contents:
  • Frontmatter
  • Contents
  • Introduction
  • Part 1. The Nation Imagined on Film
  • 1. Filming the Homeland: Cinema in Eretz Israel and the Zionist Movement, 1917–1939
  • Ariel L. Feldestein
  • 3. Ecce Homo: The Transfiguration of Israeli Manhood in Israeli Films
  • Part 2. War and Its Aftermath
  • 4. From Hill to Hill: A Brief History of the Representation of War in Israeli Cinema
  • 5. From Hero to Victim: The Changing Image of the Soldier on the Israeli Screen
  • 6. The Lady and the Death Mask
  • 7. Coping with the Legacy of Death: The War Widow in Israeli Films
  • 8. The Privatization of War Memory in Recent Israeli Cinema
  • Part 3. An Ethno-Cultural Kaleidoscope
  • 9. Disjointed Narratives in Contemporary Israeli Films
  • 10. Trajectories of Mizrahi Cinema
  • 11. Immigrant Cinema: Russian Israelis on Screens and behind the Cameras
  • Part 4. Holocaust and Trauma
  • 12. The Holocaust in Israeli Cinema as a Conflict between Survival and Morality
  • 13. Near and Far: The Representation of Holocaust Survivors in Israeli Feature Films
  • 14. Homonational Desires: Masculinity, Sexuality, and Trauma in the Cinema of Eytan Fox
  • Part 5. Jewish Orthodoxy Revisited
  • 15. Negotiating Judaism in Contemporary Israeli Cinema: The Spiritual Style of My Father, My Lord
  • 16. Seeking the Local, Engaging the Global: Women and Religious Oppression in a Minor Film
  • 17. Beaufort and My Father, My Lord: Traces of the Binding Myth and the Mother’s Voice
  • Part 6. Filming the Palestinian Other
  • 18. The Foreigner Within and the Question of Identity in Fictitious Marriage and Streets of Yesterday
  • 19. A Rave against the Occupation?: Speaking for the Self and Excluding the Other in Contemporary Israeli Political Cinema
  • 20. Borders in Motion: The Evolution of the Portrayal of the Israeli-Palestinian Conflict in Contemporary Israeli Cinema
  • 21. Smashing Up the Face of History: Trauma and Subversion in Kedma and Atash
  • Part 7. New Cinematic Discourses
  • 22. Discursive Identities in the (R)evolution of the New Israeli Queer Cinema
  • 23. Kibbutz Films in Transition: From Morality to Ethics
  • 24. The End of a World, the Beginning of a New World: The New Discourse of Authenticity and New Versions of Collective Memory in Israeli Cinema
  • Contributors
  • Index

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