Israeli Film Festival 2015

Total Page:16

File Type:pdf, Size:1020Kb

Israeli Film Festival 2015 AICE ISRAELI FILM FESTIVAL 2015 SYDNEY AUG 17-30 MELBOURNE AUG 18-30 CANBERRA AUG 19-30 PERTH AUG 20-26 AICEISRAELIFILMFESTIVAL.COM #ISRAELIFILMFEST AICE ISRAELI FILM FESTIVAL 2015 SYDNEY AUG 17-30 MELBOURNE AUG 18-30 CANBERRA AUG 19-30 PERTH AUG 20-26 AICEISRAELIFILMFESTIVAL.COM #ISRAELIFILMFEST JOIN THE PALACE MOVIE CLUB AND EXPERIENCE CINEMA IN STYLE! FREE TICKET UPON JOINING, FREE $10 BIRTHDAY VOUCHER, DAILY DISCOUNTS ENQUIRE TODAY AT THE CINEMA BOX OFFICE OR ONLINE AT palacecinemas.com.au/movieclub JOIN THE PALACE MOVIE CLUB AND EXPERIENCE CINEMA IN STYLE! FREE TICKET UPON JOINING, FREE $10 BIRTHDAY VOUCHER, DAILY DISCOUNTS ENQUIRE TODAY AT THE CINEMA BOX OFFICE OR ONLINE AT palacecinemas.com.au/movieclub WELCOME WELCOME TO THE 12TH ANNUAL AICE ISRAELI FILM FESTIVAL. Each year we bring you the best Israeli Cinema has to offer. When we thought that Israeli films have reached a high level, the quality of this selection goes beyond anything we have screened in the past. As always Palace Cinema, the leader in presenting Film Festivals in Australia, and Antonio Zeccola have been pro-active in expanding this Festival to more locations. At AICE we are grateful for having such wonderful partners. I would like to thank also all the sponsors, without them there would be no Festival. Please enjoy this 12TH edition of the Festival. Albert Dadon AM Chairman AICE is very pleased to welcome our festival guests this year – Barak Heymann with his two productions Aliza and Almost Friends; Asaf Weitzen – lead attorney for Tel Aviv based NGO, Hotline, and Oscar® winning producer, Israeli American, Howard Rosenman. AICEISRAELIFILMFESTIVAL.COM CULTUREWELCOME CORNER At Palace Cinemas we are honoured to share the voices of storytellers from around the world and the AICE Israeli Film Festival is no exception. It is my pleasure to showcase contemporary Israeli cinema with a programme that gets stronger and stronger every year. This dynamic programme , curated by Artistic Director Richard Moore, features a selection of contemporary and archival Israeli cinema including World and Australian premieres of documentaries, feature films, shorts and a hit Israeli TV series across six exciting categories: Blast From The Past, Queer Spot, Questions of Faith, Culture Corner, First Course and On The Edge. I would also like to thank Albert Dadon AM, Founder and Executive Chairman of AICE, for his ongoing commitment to sharing Israeli cinema and culture with our audiences. Please enjoy the 12TH edition of the AICE Israeli Film Festival screening at Palace Cinemas across the country this August. Antonio Zeccola Executive Chairman Palace Cinemas CULTUREWELCOME CORNER Dear Friends and Patrons of the Cinema, It is with great pleasure that I welcome you to the 12TH annual AICE Israeli Film Festival. This Israeli film festival has become an annual tradition which is firmly on the cultural dockets in Australia. Such a cultural exchange is vital in the strengthening of the relationship between the State of Israel and Australia. I wish to congratulate the Australia Israel Cultural Exchange and Mr. Albert Dadon for this important cultural exchange. This year’s festival includes a wide range of excellent Israeli films that offer a perspective into our life, culture, challenges and people. Please enjoy this unique window into Israel! Shalom, and “enjoy the shows!” Best Regards, MK Isaac Herzog Leader of the Opposition Chairman of Zionist Union Party WELCOME Dear Friends, I would like to welcome you to the Israeli Film Festival. This is the 12th anniversary of this distinguished event and I am happy to note that this important tradition goes from strength to strength. Culture and the Cinema, as one of its vivid expressions, are known to be able to bridge geographical divides and geopolitical barriers. It is quite often that they can succeed in places where politics and politicians cannot. As former voluntarily chairman of the Israel Film Fund, I take pride in the fact that Israel has gradually developed into a rich and prolific quality film producing country. It is therefore with great personal satisfaction that I invite our dear friends in Australia to a taste of the Israeli cinematic world. I commend the Australia Israel Cultural Exchange on this most welcome initiative and take this opportunity to thank Mr. Albert Dadon for his continued support and encouragement. Shalom and Yishar Koach (more power to you), Sincerely, MK Yaakov Perry Chairman of the Israel-Australia Parliamentary Friendship Group #ISRAELIFILMFEST SECTION OUTLINE This year’s program has a strong focus on the dark arts of the documentary and is divided into a few thematic sections . I hope you enjoy what you see; if not ... well come and argue with me afterwards. A thanks to all the filmmakers and sales agents who worked hard to bring us these films: special mentions for service “beyond the call of duty” to Hedva and Hadar at GO2 Films, Udy and Chase at 7th Art Releasing and Michelle at Greenspan – you are all treasures. Richard Moore Artistic Director. QUESTIONS OF FAITH. Is there a more pressing issue in this schismatic century than the question of faith and interfaith? CULTURE CORNER A hommage to Israeli culture and some of its flawed and tragic characters. ON THE EDGE Living on the edge is status quo in Israel ; this selection is but a small sample of some of the hot button issues facing contemporary citizens and “non citizens”. BLASTS FROM THE PAST Classics from the vaults of Israel’s cinematic history. When will you get a chance to see them on the big screen again? QUEER SPOT A new addition to the program – a humourous and zany celebration of queer themes and queer Israeli film culture. OPENING NIGHT MATTI CASPI – CONFESSION Directors : Dalia Mevorach, Dani Dothan Production: Uri Borreda, Shemi Shoenfeld, Amital Menelzon What lies behind Matti Caspi’s mask like face? In this cinematic confessional, one of Israel’s greatest musicians reveals his innermost secrets. Caspi relates his tale of growing up in the 1950s in a family bereft of affection, his rise to stardom in an army ensemble, the quantum leap to fame with a string of commercial hits and then his exile to the USA after a very public fall from grace. Full of songs, intimate moments and humour this is as much a film about an Israel of the past as it is a searing personal biography of a living legend. 85 minutes CULTURE CORNER CLOCKWORK DOLL DAHLIA RAVIKOVITCH “The poetry of Dahlia Ravikovitch emerges from an extraordinary personal uniquely wonderful place. Other poets strive repeatedly to achieve all that is naturally present in her poems“ Baruch Kurzwell, literary critic 1959 Director: Ruth Walk Production: Lizan Atzmor., Yael Perlov The life of Dahlia Ravokovitch – poet, translator and peace activist – was a wonderful gift to Hebrew culture. Winner of the major Israeli poetry prizes she established herself as a powerful female voice in a predominantly masculine world. In her personal life she struggled with depression and fluctuated between intense vitality and an ardent passion to partake in any moral and political discussion. The film is ultimately a celebration of a highly talented and fiercely independent poetic voice. 52 minutes Screening with LIVING ROOM Director: Tali Shalom Ezer This short is the first film by Tali Shalom Ezer who directed the feature PRINCESS, also included in this year’s program. Can a daughter ever escape the influence of her mother? 19 minutes CULTURE CORNER ONCE UPON A TIME THERE WAS A KING Director: Doron Djerassi Producers: Doc Films / Doron Djerassi Nissim Aloni was a king of the Hebrew Theatre. The magical realm he created on stage, together with a stellar cast of collaborators (including Yosl Bergner as the set designer) brimmed with imagination and poetry. He gave voice to a new spirit in the development of Israeli theatre; it was a bold, gutsy and political vision, full of lofty dreams and all too short lived. In a world dominated by functionaries Aloni eventually found he was a king in exile, without a kingdom, without an audience, to share his dreams. But what a time it was! 80 minutes CULTURE CORNER THE WANDERING MUSE Director/Producer: Tamas Wormser Languages: English, French, German, Yiddish, Ladino, Lugandan Judeo-Arabic, Spanish, Ancient Hebrew From the plaintive cry of the ram horn to the boom – boom of the beat box, this production is a sonic exploration of Jewish identity through the music of the Diaspora. Forget about your winter holidays, The Wandering Muse is a total geographical and musical trip. From a tango infused klezmer bar in Argentina, down to a Berlin cellar chanting 1920sYiddish song, up through an ancient Moroccan synagogue – with the alluring songstress Vanessa Paloma – and into a congregation in rural Uganda chanting Hebrew prayers in East African harmonies. Cantors, hip hoppers, and subversive Russian poets all groove together in this celebration of a world of harmony beyond politics and national borders. 93 minutes CULTURE CORNER ROCK IN THE RED ZONE Director/Producer: Laura Bialis A story of love, politics and music set on the front line in the desert town of Sderot. When LA documentary maker, Laura Bialis, travelled to Sderot to research a documentary about the music scene in Sderot little did she realise it would flip her life on its head. This production is an outsider’s inside view of life on the front line, in a town under threat of rocket attacks, where citizens have only 15 seconds warning to get shelter. Set right in the heart of the musical community in Sderot – with appearances by Teapack, Micha Barton, Avi Vaknin and Knesiyat Hasechet - this is a passionate testament to a community who see themselves as forgotten by the mainstream of Israeli society and who are determined to be heard.
Recommended publications
  • The Story of Israel at 66 Through the Songs of Arik Einstein
    1 The Soundtrack of Israel: The Story of Israel at 66 through the songs of Arik Einstein Israel turns sixty six this year and a so much has happened in this seemingly short lifetime. Every war, every peace treaty, every struggle, and every accomplishment has left its impact on the ever changing character of the Jewish State. But throughout all of these ups and downs, all of the conflicts and all of the progress, there has been one voice that has consistently spoken for the Jewish nation, one voice that has represented Israelis for all 66 years and will continue to represent a people far into the future. That is the voice of Arik Einstein. Einstein’s music, referred to by Prime Minister Benjamin Netanyahu as the “soundtrack of Israel,” transcended generations. Einstein often took the words of high-brow Israeli poets such as Chaim Nachman Bialik, Rahel, Nathan Alterman and Avraham Halfi and turned them into rock anthems sung by vibrant Israeli youth. Einstein captured the heart and soul of Israelis old and young. For every Zionist, peacenik, settler, hopeless romantic, nostalgia aficionado and child (or child at heart) in Israel, there is at least one Arik Einstein song that speaks to them. For every historic Israeli moment, there is an Arik Einstein song that represents the emotion of a united nation, or a shuttered people. Although fairly unknown outside of Israel, Arik Einstein was loved by all, and mourned by all after his sudden death in November of 2013, when tens of thousands of Israelis joined together to pay their respects to the iconic Sabra at a memorial service in Rabin Square in Tel Aviv.
    [Show full text]
  • Rigorózní Práce
    Univerzita Karlova Filozofická fakulta Ústav světových dějin Rigorózní práce Mgr. Jan Roubínek, B. A. Příspěvek ke studiu reflexe genocidy českých židů od roku 1945 do současnosti ve světle dosud neprobádaných archivních materiálů (Analýza národních příběhů hostitelských zemí obětí holocaustu a vliv na jejich individuální válečné svědectví) Contribution to the Reflection of the Genocide of Czech Jews from 1945 until Present Times in the Light of the yet Unexamined Archival Materials (The Analysis of the National Stories of Holocaust Survivors Host Countries and Influence on Their Individual War Testimonies) Poděkování autora Moc rád bych na tomto místě poděkoval především své ženě Rině, která měla se mnou v období psaní této práce bezbřehou trpělivost a byla mi stálou a věrnou oporou. Rovněž jsem nesmírně zavázán panu profesoru Kovářovi za to, že mě při konzultacích stále vedl tím správným směrem a dal mnoho nesmírně cenných podnětů k zamyšlení. Srdečný dík patří rovněž panu docentu Blodigovi z Památníku Terezín za odborné rady, jež pro mě byly neméně důležitými. Byly to připomínky fundovaného historika, ale i staršího kolegy, nepostrádající cennou životní zkušenost a moudro. Rád bych vyjádřil vděčnost i své tetě paní Kamile Liškové, která jakožto odborník na jazyk český kriticky zhodnotila správnost všech textů z hlediska jazykového. Bez těchto obětavých pomocníků by moje práce nemohla být nikdy dokončena. Roudnice nad Labem 2017 2 Prohlášení: Prohlašuji, že jsem tuto rigorózní práci vypracoval samostatně a výhradně s použitím citovaných
    [Show full text]
  • Tel Aviv University International Study Abroad Fall Semester 2017
    Tel Aviv University International Study Abroad Fall Semester 2017- 2018 COURSE DESCRIPTION MAIN OFFICE UNITED STATES CANADA The Carter Building , Room 108 Office of Academic Affairs Lawrence Plaza Ramat Aviv, 6997801, Israel 39 Broadway, Suite 1510 3130 Bathurst Street, Suite 214 Phone: +972-3-6408118 New York, NY 10006 Toronto, Ontario M6A 2A1 Fax: +972-3-6409582 Phone: +1-212-742-9030 [email protected] [email protected] Fax: +1-212-742-9031 [email protected] INTERNATIONAL.TAU.AC.IL TABLE OF CONTENT ■ FALL SEMESTER 2017 DATES 3-4 ■ ACADEMIC REQUIREMENTS 5-13 ■ SCHEDULE OF COURSES 14-16 ■ TRANSCRIPT REQUEST INSTRUCTIONS 16 ■ COURSE DESCRIPTIONS 19-158 ■ REGISTRATION FORM FOR STUDY ABROAD COURSES 159 ■ EXTERNAL REGISTRATION FORM 160 2 FALL SEMESTER 2017-2018 IMPORTANT DATES ■ The Fall Semester starts on Monday, October 23rd 2017 and ends on Thursday, January 4th 2018 (inclusive). ■ Academic Orientation: Monday, August 14th 2017 at 2:00 p.m. ■ Course registration deadline: Monday, August 21st 2017. ■ Class changes and finalizing schedule (see hereunder): Sunday, October 29th 2017. ■ Last day in the dorms: Sunday, January 7th 2018. Students are advised to register to more than the required 5 courses but not more than 7 courses. Students will be allowed to delete courses from their schedules, (not add), on Sunday, October 29th 2017. Fall Semester lasts 11 weeks, most courses will be given 4 hours per week, (two hours, twice a week), in most cases 3 credits each course. As a result, no early departures will be approved prior to Thursday, January 4th 2017. Early departures may in some case be approved for students whose Fall Semester in their school overlaps with the Tel Aviv University schedule.
    [Show full text]
  • Why Have You Despised the Word of God, to Do What Is Evil in His Sight
    Conclusions Thus, who is Goliath? “Why have you despised the word of God, to do what is evil in his sight? You have smitten Uriah the Hittite with the sword, and have taken his wife to be your wife” (2 Samuel 12:9). “Ultimately it is this fraternity that makes it possible, over the past two centuries, for so many millions of people, not so much to kill, as willingly to die for such limited imaginings” (Anderson, 1991, p.224). We started the journey of the representation of the IDF soldier in Israeli cinema at the time where there was no Israeli cinema, because there was no State of Israel. In the first decade of the 21st century, more than sixty years after the establishment of the state, several Israeli films won awards in film festivals all around the world, establishing the “new,” blossoming Israeli cinema. As we observed, contemporary Israeli cinema dismantles the equation created by the early Zionist Realist cinema of nationhood and masculinity. According to Gertz, this cinema does not obliterate the homogeneous Zionist identity; rather, it merges this identity into a broader dialogue of identities and voices: “Instead of simplistically replacing the Hebrew masculine identity with a feminine Jewish one, it integrates both identities and examines them inside and out. This cinema treats space similarly. Instead of replacing the Israeli space with an alternative space, it makes different spaces overlap and commingle. This cinema expresses the crisis in Israeli identity and the attempt to overcome it by combining and blending the spaces, nationalities, and genders created within it” (Gertz, 2003).
    [Show full text]
  • Tel Aviv University International Study Abroad Fall Semester 2017
    Tel Aviv University International Study Abroad Fall Semester 2017- 2018 COURSE DESCRIPTION MAIN OFFICE UNITED STATES CANADA The Carter Building , Room 108 Office of Academic Affairs Lawrence Plaza Ramat Aviv, 6997801, Israel 39 Broadway, Suite 1510 3130 Bathurst Street, Suite 214 Phone: +972-3-6408118 New York, NY 10006 Toronto, Ontario M6A 2A1 Fax: +972-3-6409582 Phone: +1-212-742-9030 [email protected] [email protected] Fax: +1-212-742-9031 [email protected] INTERNATIONAL.TAU.AC.IL TABLE OF CONTENT ■ FALL SEMESTER 2017 DATES 3-4 ■ ACADEMIC REQUIREMENTS 5-13 ■ SCHEDULE OF COURSES 14-16 ■ TRANSCRIPT REQUEST INSTRUCTIONS 16 ■ COURSE DESCRIPTIONS 17-110 ■ REGISTRATION FORM FOR STUDY ABROAD COURSES 111 ■ EXTERNAL REGISTRATION FORM 112 2 FALL SEMESTER 2017-2018 IMPORTANT DATES ■ The Fall Semester starts on Monday, October 23rd 2017 and ends on Thursday, January 4th 2018 (inclusive). ■ Academic Orientation: Monday, August 14th 2017 at 2:00 p.m. ■ Course registration deadline: Monday, August 21st 2017. ■ Class changes and finalizing schedule (see hereunder): Sunday, October 29th 2017. ■ Last day in the dorms: Sunday, January 7th 2018. Students are advised to register to more than the required 5 courses but not more than 7 courses. Students will be allowed to delete courses from their schedules, (not add), on Sunday, October 29th 2017. Fall Semester lasts 11 weeks, most courses will be given 4 hours per week, (two hours, twice a week), in most cases 3 credits each course. As a result, no early departures will be approved prior to Thursday, January 4th 2017. Early departures may in some case be approved for students whose Fall Semester in their school overlaps with the Tel Aviv University schedule.
    [Show full text]
  • Interview with Nurith Aviv Nurith Aviv Has Been Involved with Filmmaking
    Interview with Nurith Aviv Nurith Aviv has been involved with filmmaking for four decades and has been a cinematographer since the 1970s. She was the first female cinematography student at the Institute for Advanced Cinematographic Studies in Paris (IDHEC, now La Fémis), then became the first woman cinematographer in France and, apparently, in the whole world. She has shot about a hundred feature and documentary films with the finest directors in Israel and the world over. She shot Boaz Davidson's Shablul featuring Uri Zohar and Arik Einstein as well as many other films. She "slipped into" directing, as she puts it. Armed with endless curiosity, intellectual passion and restlessness, it was only natural that she begin to translate her own ideas into films. From translating other directors' ideas into visual language she moved on to dealing with the Hebrew language, a study that turned into an obsession and engendered her trilogy of films about the language; films on which she made her own very personal mark. Nurith's films all comprise real-life material, carefully planned and orchestrated like musical pieces. Her unique style is liable to give the false impression that they're all alike; Nurith says that they can be seen as variations on a theme, not unlike Paul Cezanne's apples, which he painted for thirty years as experiments in form, color and light. The trilogy on the Hebrew language brought about her latest film, Annonces ["Annunciations"] (2013), which deals with the three Biblical heroines Hagar, Sarah and Mary, who prophesied about their sons. Annonces was screened this year at a cinema in Paris for a few months in a row simultaneously with a retrospective of all her works.
    [Show full text]
  • Father of the Zilberman Method
    Rav Yitzchok Shlomo Zilberman zt”l Father of the Zilberman Method became a favored talmid of its rosh yeshiva, for most of his life, although he earned his Rav Eliezer Yehuda Finkel. livelihood as a sofer. With regard to Torah When he came of age, Rav Zilberman learning, he espoused following the precise Rav Yitzchok Shlomo Zilberman was the father of a married the daughter of Rav Yom Tov Zlot- guidelines of Chazal in Pirkei Avos: A child unique educational method that bears his name and nick, in a shidduch arranged by the Chazon should begin learning Tanach at the age of is quite popular. In honor of his twentieth yahrtzeit, Ish. He settled in Shaare Chessed, near his fa- five, Mishnah at ten, and Gemara at fifteen. I met with his son, Rav Yom Tov Zilberman, to learn ther-in-law’s home, and quickly became one In the Zilberman cheder, the children begin of the most prominent residents of the neigh- learning Tanach in first grade and commit about the origin of the method and about many of borhood. He went on to open Talmud Torah five sedorim of mishnayos to memory before the other highlights of his life—including his success Kaminetz, which quickly developed an ex- their graduation. The sixth seder of mishnay- at turning some of the members of Tel Aviv’s bohemi- cellent reputation, but when his recommen- os is learned during their first year ofyeshiva . dations regarding the derech halimud were ketana. an society into baalei teshuvah Chief among them, not accepted there, he opened another school, Today, Rav Zilberman’s method is em- of course, is Rav Uri Zohar.
    [Show full text]
  • An Introduction to Israeli Cinema
    Israeli Series Autumn/Winter 2016-2017 An Introduction to Israeli Cinema Cinema of Israel Article sourced from Wikiwand: http://www.wikiwand.com/en/Cinema_of_Israel History Movies were made in Mandatory Palestine from the beginning of the silent film era although the development of the local film industry accelerated after the establishment of the state. Early films were mainly documentary or news roundups, shown in Israeli cinemas before the movie started. One of the pioneers of cinema in Israel was Baruch Agadati. Agadati purchased cinematographer Yaakov Ben Dov's film archives in 1934 when Ben Dov retired from filmmaking and together with his brother Yitzhak established the AGA Newsreel. He directed the early Zionist film entitled This is the Land (1935). In 1948, Yosef Navon, a soundman, and Yitzhak Agadati, producer of the first Hebrew-language film with his brother, Baruch Agadati, found an investor, businessman Mordechai Navon, who invested his own money in film and lab equipment. Agadati used his connections among Haganah comrades to acquire land for a studio. In 1949 the Geva film labs were established on the site of an abandoned woodshed in Givatayim. .(הישראלי הסרט לעידוד החוק) In 1954, the Knesset passed the Law for the Encouragement of Israeli Films Leading filmmakers in the 1960s were Menahem Golan, Ephraim Kishon, and Uri Zohar. The first Bourekas film was Sallah Shabati, produced by Ephraim Kishon in 1964. In 1965 Uri Zohar produced the film Hole in the Moon, influenced by French New Wave films. In the first decade of the 21st century, several Israeli films won awards in film festivals around the world.
    [Show full text]
  • Israeli Cinema
    Department of Cinema Studies New York University Spring 2007 ISRAELI CINEMA Ohad Landesman H72.0136.001 Mondays 12:30-4:30pm email: [email protected] office hours: Mondays, 10:00am-12:00pm, room 698 on 719 Broadway. Since its origination in Palestine almost seventy years ago, Israeli cinema has been forced to deal with the hardships of representing the culture and history of a country under a never-ending siege, a nation liking to see itself as facing an ongoing war for survival. This course surveys the development of Israeli cinema in its social, historical and aesthetic contexts, exploring a remarkable evolution from almost primitive infancy to sophisticated maturity of a national cinema still struggling to even exist. Focusing on cinematic representations of state-building, war and trauma, military service, the Holocaust, the Israeli/Palestinian conflict, and the multifaceted Israeli Jewish identity, this course will attempt to provide insight into both the history of Israel since its establishment in 1948 and the bourgeoning culture of its indigenous filmmaking. Breakdown of Grades: Mid-Term Exam...........................................30% Final Paper....................................................40% Participation in Class....................................15% Attendance……………………....................15% Course Policy: 1. Attendance is vital. Three absences will result in the loss of one full grade when final grades are tabulated. Six absences will result in a failure for the course. 2. Papers are to be typed (double-spaced) and submitted on time. I reserve the right to lower the grade of any late paper unless the student has made arrangements in advance of the due date. 3. Plagiarized material found in any paper is inexcusable and will result in a failing grade for the paper; in extremis it leads to expulsion from school.
    [Show full text]
  • Israel at the Polls, 2019: Perspectives on the 21St Knesset Election Chair: Csaba Nikolenyi, Concordia University
    Dear Conference Participants, Welcome to Kinneret Academic College, located on the beautiful shores of the Sea of Galilee. We are happy to host on our campus The 35th Annual Conference of the Association for Israel Studies, Images and Realities: Land of Promise to Startup Nation? This year’s location provides an opportunity for many to see and experience the region up close and in person. We are honored to have you here on our campus to see the pleasing accomplishments and growth we have experienced over the past few years. Including the restored Tzemach Railway Station where our Center for Land of Israel Studies department sits. Our prestigious department offering undergraduate and postgraduate programs in regional studies of the Land of Israel/Palestine while exploring its human and natural landscape - past and present. In 2019 the Kinneret Innovation center opened its doors on the ground floor of the Robert and Yadelle Sklare Family Library. A first center of its kind in the north of Israel, a technology innovation hub and a “living lab”, a place in which academia , industry and innovation connect on a daily basis. You are welcome to see it for yourself. The conference objective of in-depth discussions with leading researchers and global scholars will facilitate an enriching, innovative and expert dialogue on important and relevant topic for academia. The aspects of which will address the challenges and trends in changing visions and values in Israeli society, since pre-state mandatory Palestine to the present day. 2 | Images and Realities: Land of Promise to Startup Nation? This program highlights the subjects that will be discussed at the conference, and which comprise the leading area of research and the region in which we are located.
    [Show full text]
  • The Kibbutz and Israeli Cinema : Deterritorializing Representation and Ideology
    UvA-DARE (Digital Academic Repository) The kibbutz and Israeli cinema : deterritorializing representation and ideology Kedem, E.M. Publication date 2007 Document Version Final published version Link to publication Citation for published version (APA): Kedem, E. M. (2007). The kibbutz and Israeli cinema : deterritorializing representation and ideology. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:01 Oct 2021 The Kibbutz and Israeli Cinema: Deterritorializing Representation and Ideology ACADEMISCH PROEFSCHRIFT ter verkrijging van de graad van doctor aan de Universiteit van Amsterdam op gezag van de Rector Magnificus prof.dr. J.W. Zwemmer ten overstaan van een door het college voor promoties ingestelde commissie, in het openbaar te verdedigen in de Aula der Universiteit op dinsdag 11 september 2007, te 12:00 uur door Eldad Meshulam Kedem geboren te Kibbutz Maagan, Tiberias Faculteit der Geesteswetenschappen Promotiecommissie: promotor: prof.dr.
    [Show full text]
  • Chapter Three
    Chapter Three When David Get Lost: Is it Still Good to Die for the Country? 82 83 3.1 The 1973 Yom Kippur War and the Political Mahapach Overturn of the Seventies …Why they never told us that is going to be a bloody battle? Why they left us alone those who were sitting in the upper floors 1?... (from The Song of David , poem composed by a soldier on the Budapest outpost on the Suez Canal, 1973) From the post-1967 Euphoria to the 1973 Hysteria Unlike the relatively stable cease-fire agreements which followed the War of Independence and the 1956 Sinai Campaign, the 1967 Six Day War was followed by Egypt’s war of Attrition against Israel (1967-1970). This war consisted of sporadic yet constant military clashes along the cease- fire border by the Suez Canal, as well as guerrilla and terrorist activity on behalf of the different Palestinian organizations, which operated mainly from Jordan and the occupied territories of the West Bank and Gaza Strip. The intermittent military and guerrilla activities continued until the next major war in October 1973, which is referred to in Israel as the Yom Kippur War,2 for the Jewish Day of Atonement. With the 1973 war, Israel was strategically surprised by a coordinated attack by Egypt and Syria from north and south. Egyptian and Syrian forces crossed ceasefire lines to enter the Israeli-held Sinai Peninsula and Golan Heights respectively, which had been Fig. 3.1 Territories occupied by Israel after 1967 Six Day War. מדוע לא אמרו לנו שכאן יהיה קרב דמים ? מדוע נטשונו אלה שישבו בחלונות הגבוהים ? :1In the original version in Hebrew 2 Mil ẖemet Yom Kipur ) is also known as the 1973 Arab-Israeli , מלחמת יום כיפור The Yom Kippur War (in Hebrew War and the Fourth Arab-Israeli War, October War or Ramadan War, because the war coincided that year with the Muslim month of Ramadan.
    [Show full text]