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Israeli Cinema East/West and the Politics of Representation

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Israeli Cinema East/West and the Politics of Representation P1: KpB Trim: 156mm × 234mm Top: .5in Gutter: .75in IBBK008-FM IBBK008/Shohat ISBN: 978 1 84511 312 4 March 17, 2010 21:23 Ella Shohat is Professor of Cultural Studies at New York University. Her books include Taboo Memories, Diasporic Voices, Talking Visions,andwithRobertStam Unthinking Eurocentrism and Flagging Patriotism: Crises of Narcissism and Anti- Americanism. P1: KpB Trim: 156mm × 234mm Top: .5in Gutter: .75in IBBK008-FM IBBK008/Shohat ISBN: 978 1 84511 312 4 March 17, 2010 21:23 P1: KpB Trim: 156mm × 234mm Top: .5in Gutter: .75in IBBK008-FM IBBK008/Shohat ISBN: 978 1 84511 312 4 March 17, 2010 21:23 Israeli Cinema East/West and the Politics of Representation Ella Shohat P1: KpB Trim: 156mm × 234mm Top: .5in Gutter: .75in IBBK008-FM IBBK008/Shohat ISBN: 978 1 84511 312 4 March 17, 2010 21:23 Published in 2010 by I.B.Tauris & Co Ltd 6 Salem Road, London W2 4BU 175 Fifth Avenue, New York NY 10010 www.ibtauris.com Distributed in the United States and Canada Exclusively by Palgrave Macmillan 175 Fifth Avenue, New York NY 10010 First printed in 1989 by University of Texas Press Copyright © 1989, 2010 Ella Shohat “Drifting” © 1987 by the Regents of the University of California, reprinted from Film Quarterly, Vol. XL, No. 3, Spring 1987, p. 58, by permission. “The Return of the Repressed: The Palestinian Wave in Recent Israeli Cinema,” Cineaste, Vol. XV, No. 3 (1987), and “Ricochets,” Cineaste, Vol. XVI, No. 3 (1988), both reprinted by permission. The right of Ella Shohat to be identified as the author of this work has been asserted by her in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. Except for brief quotations in a review, this book, or any part thereof, may not be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the publisher. Library of Modern Middle East Studies: 78 ISBN: 978 1 84511 312 4 (hb) 978 1 84511 313 1 (pb) A full CIP record for this book is available from the British Library A full CIP record is available from the Library of Congress Library of Congress Catalog Card Number: available Printed and bound in India by Thomson Press India Ltd P1: KpB Trim: 156mm × 234mm Top: .5in Gutter: .75in IBBK008-FM IBBK008/Shohat ISBN: 978 1 84511 312 4 March 17, 2010 21:23 Contents Acknowledgments vii Introduction 1 Chapter 1. Beginnings in the Yishuv: Promised Land and Civilizing Mission 13 “Making the Desert Bloom:” The Production of Emptiness 25 Imaging Palestine: Pioneer Sabras and Exotic Arabs 34 The War of Languages 48 Chapter 2. Post-1948: The Heroic-Nationalist Genre 53 State of Siege and Didactic Allegories 54 The Orient and the Promethean Narrative 70 Spectacle of War in the Wake of 1967 94 Chapter 3. The Representation of Sephardim/Mizrahim 105 Orientalism and its Discontents 109 The Bourekas and the Carnivalesque 113 Narrating Nation and Modernization 126 Rescue Fantasies and the Libidinal South 140 Arab-Jews, Dislocation and Nostalgia 150 The Imaginary of Inside/Outside 157 P1: KpB Trim: 156mm × 234mm Top: .5in Gutter: .75in IBBK008-FM IBBK008/Shohat ISBN: 978 1 84511 312 4 March 17, 2010 21:23 vi/Contents Chapter 4. Personal Cinema and the Politics of Allegor y 163 The Context of Production 164 Reflexivity, Parody and the Zionist Epic 168 Personal Cinema and the Diverse New Waves 179 The Seeds of Disillusionment 184 The Foregrounding of Marginality 189 The Hidden Face of Militarism 196 The Signification of Style 201 Marginality Revisited 205 Chapter 5. The Return of the Repressed: The Palestinian Wave in Recent Israeli Cinema 215 The Focalization of Politics 217 The Politics of Focalization 229 Postscript 249 Writing Between “the National” and “the Colonial” 250 The Politics of Representation Revisited 256 Addressing the Intertext 264 Palestinians-in-Israel: Cinematic Citizenship in the Liminal Zone 270 Independence, Nakba and the Visual Archive 278 Iconographies of Spatial Anxiety 287 The Arab-Jew and the Inscription of Memory 296 The Mizrahi Cinema of Displacement 303 Revisionist Cultural Practice 312 Translation, Reception, and Traveling Postcolonialism 319 Notes 327 Selected Bibliography 349 Name Index 355 General Index 369 P1: KpB Trim: 156mm × 234mm Top: .5in Gutter: .75in IBBK008-FM IBBK008/Shohat ISBN: 978 1 84511 312 4 March 17, 2010 21:23 Acknowledgments I thank the following journals for granting me permission to use previously pub- lished material: Cineaste for “The Return of the Repressed: The ‘Palestinian Wave’ in Recent Israeli Cinema” and “Ricochets”andFilm Quarterly for “Drifting.”I also thank the following institutions and persons for lending me stills: Israel Film Archive; G”G (Golan-Globus); Israeli Film Institute; Nachshon Films; Museum of Modern Art/Film Stills Archive; Film Ventures International; IsraFest Founda- tion; InterPictures; Forum Film; Nathan Axelrod; Yossef Shiloach; Baruch Dienar, Yerach Gover; and Yehuda Ne’eman. I also thank the following institutions and persons for making my research on Israeli cinema possible—Jerusalem Film Cen- ter: Israel Film Archive/Jerusalem Cinematheque, its president, Lia Van Leer, for her encouragement and generosity which made possible this “voyage” into the history of Israeli cinema, and its workers, particularly Ilan de Fris, Shiba Skir- ball, Emanuel Chouraqi, and Deborah Seagal; the Israeli Film Institute, especially Dani Vert; the Film Division of the Histadrut, especially Arye Menahem; the Cinema Studies Department at New York University for its support in the form of scholarships; ISEF for the dissertation fellowships; and Nathan Axelrod, Baruch- Dienar, and Shimon Povsner for the interviews on the early days of filmmaking in Palestine/Israel. I am deeply grateful to my colleagues and friends; to Robert Stam for his unfailing support and sincere enthusiasm for this project, which has benefited im- mensely from his careful and provocative reading, his methodological suggestions, and his superb sense of style as well as from his interdisciplinary and cross-cultural awareness; to Jay Leyda for his warm encouragement and extreme care in read- ing and commenting on the chapters, as well as for his invaluable commitment to young scholars and his contribution to the field of cinema studies, in which his extraordinary modesty and generosity will be long remembered by many; to William Simon for his dedicated teaching and concern for his students; to Ismail Xavier for his insightful comments; to Roberta Strauss Feuerlicht for her solidarity; to Robert Sklar for the many supportive gestures; to Richard Porton for P1: KpB Trim: 156mm × 234mm Top: .5in Gutter: .75in IBBK008-FM IBBK008/Shohat ISBN: 978 1 84511 312 4 March 17, 2010 21:23 viii / Acknowledgments his attentive reading of the manuscript and his stylistic suggestions, for the intellec- tually stimulating discussions, and for the warm concern he has always shown; to Ivone Margulies for her support, affection, and everyday generosities over the years; and to Lynne Jackson for her care and devotion. I would like to express my deep appreciation as well to Richard Pena,˜ Susan Ryan, Yerach Gover, Bruce Robbins, Catherine Benamou, Joao˜ Luiz Vieira, Luiz Antonio Coelho, Karen Backstein, William Boddy, Elia Suleiman, Carmel Eitan, Ido Zuckerman, Ayse Franco, Joel Kanoff, Randal Johnson, Amiel Alcalay, Patricia Erens, Annette Michelson, and Margaret Pennar, whose devotion for promoting Middle-Eastern culture will al- ways be missed. And in Israel I thank Renen Schorr (Beit Tzvi Film School), Gabriel Ben-Simhon, Moshe Zimmerman, Yehuda Ne’eman, Nahman Ingber, Arnon Zuckerman, Ronnie Serr (Film Department, Tel Aviv University), and Yeshayahu Nir (Communication Institute, Hebrew University). Finally, I extend my gratitude to Carole Pipolo, who has been most helpful in the final stage of this work. Date of Publication 1989 Acknowledgments for the New Edition Revisiting the media and cultural practices in-and-around Israel and Palestine is in part an answer to the inquisitive readers, colleagues and students, who have expressed their desire, over the years, to see Israeli Cinema: East/West and the Poli- tics of Representation republished and updated with a new postscript. It was Sheila Whitaker of I.B.Tauris, however, who initiated this new edition project. I truly appreciate her invitation, just as I value the efforts on behalf of the republication of the I.B.Tauris team, especially Philippa Brewster, Jayne Ansell, and Manish Sharma. I thank the filmmakers Michel Khleifi and Eyal Sivan, as well as Armelle Laborie at Momento-production for giving permission to use the still image from Route 181 that appears on the cover. I am indebted to Ori Kleiner who was instru- mental in designing the cover. The process of writing the postscript was closely correlated with my teaching of various seminars at New York University, notably “Imaging Palestine & Israel: Issues in the Politics of Representation,” ‘Represent- ing the Middle East: Issues in the Politics of Culture,’ “Performing Post/Colonial Memory,” “The Media of Displacement: Postcolonial Culture,” and “Arab-Jew and the Writing of Memory.” I thank my students for making the revisiting pro- cess inspiring and meaningful. I especially would like to acknowledge TSOA Dean Mary Schmidt Campbell, Randy Martin, Anita Dwyer, and Emily Brown for their invaluable support. Finally, I am deeply grateful for the indispensable help and vital input at various stages of this project to: Jennifer Kelly, Benjamin Min Han, Richard Porton, Yigal Nizri, Shaista Husain, Yaron Shemer, Tikva Levi, Yvette Raby, Ivone Margulies, Evelyn Alsultany, and Yerach & Raquel Gover. And, as always, Robert Stam was closely engaged with the project. I thank him for his immense generosity. P1: KpB Trim: 156mm × 234mm Top: .5in Gutter: .75in IBBK008-INTRO IBBK008/Shohat ISBN: 978 1 84511 312 4 January 16, 2010 11:52 Introduction A veritable palimpsest of historical influences, Israel stands at the point of conver- gence of multiple cultures, languages, traditions, and political tendencies.
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