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Popular Culture, Relational History, and the Question of Power in Palestine and Israel Author(S): Rebecca L
Institute for Palestine Studies Popular Culture, Relational History, and the Question of Power in Palestine and Israel Author(s): Rebecca L. Stein and Ted Swedenburg Source: Journal of Palestine Studies, Vol. 33, No. 4 (Summer, 2004), pp. 5-20 Published by: University of California Press on behalf of the Institute for Palestine Studies Stable URL: http://www.jstor.org/stable/3247543 Accessed: 18/05/2009 11:53 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=ucal. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. University of California Press and Institute for Palestine Studies are collaborating with JSTOR to digitize, preserve and extend access to Journal of Palestine Studies. -
Understanding the Israeli-Palestinian Conflict
Understanding the Israeli-Palestinian Conflict Global Classroom Workshops made possible by: THE Photo Courtesy of Bill Taylor NORCLIFFE FOUNDATION A Resource Packet for Educators Compiled by Kristin Jensen, Jillian Foote, and Tese Wintz Neighbor And World May 12, 2009 Affairs Council Members HOW TO USE THIS RESOURCE GUIDE Please note: many descriptions were excerpted directly from the websites. Packet published: 5/11/2009; Websites checked: 5/11/2009 Recommended Resources Links that include… Lesson Plans & Charts & Graphs Teacher Resources Audio Video Photos & Slideshows Maps TABLE OF CONTENTS MAPS 1 FACT SHEET 3 TIMELINES OF THE CONFLICT 4 GENERAL RESOURCES ON THE ISRAELI-PALESTINIAN CONFLICT 5 TOPICS OF INTEREST 7 CURRENT ARTICLES/EDITORIALS ON THE ISRAELI-PALESTINIAN CONFLICT 8 (Focus on International Policy and Peace-Making) THE CRISIS IN GAZA 9 RIPPED FROM THE HEADLINES: WEEK OF MAY 4TH 10 RELATED REGIONAL ISSUES 11 PROPOSED SOLUTIONS 13 ONE-STATE SOLUTION 14 TWO-STATE SOLUTION 14 THE OVERLAPPING CONUNDRUM – THE SETTLEMENTS 15 CONFLICT RESOLUTION TEACHER RESOURCES 15 MEDIA LITERACY 17 NEWS SOURCES FROM THE MIDEAST 18 NGOS INVOLVED IN ISRAELI-PALESTINIAN RELATIONS 20 LOCAL ORGANIZATIONS & RESOURCES 22 DOCUMENTARIES & FILMS 24 BOOKS 29 MAPS http://johomaps.com/as/mideast.html & www.cia.gov/library/publications/the-world-factbook/geos/is.html Other excellent sources for maps: From the Jewish Virtual Library - http://www.jewishvirtuallibrary.org/jsource/History/maptoc.html Foundation for Middle East Peace - http://www.fmep.org/maps/ -
The Palestinians, As Is Well Known, Are Making Use of the Ancient Jewish Strategy of Exile and Have Removed Themselves from History
Imagining exodus for Israel-Palestine: reading the secular and the sacred, Diaspora and homeland, in Edward Said and David Grossman Anna Hartnell, University of London, Goldsmiths College The Palestinians, as is well known, are making use of the ancient Jewish strategy of exile and have removed themselves from history. They close their eyes against harsh reality, and stubbornly clamping down their eyelids, they fabricate their promised land. (David Grossman) There is no Israel without the conquest of Canaan and the expulsion or inferior status of the Canaanites – then as now. (Edward Said) The one who merely flees is not yet free; in fleeing he is still conditioned by that from which he flees. (Hegel) Introduction The Exodus narrative functions allegorically in the service of all participants in the Palestinian-Israeli dispute. This paper will concentrate specifically on Israeli renderings of this ancient story. The creation of the state of Israel suspends conceptions of Jewish identity between the tropes of Diaspora and homeland, secular Zionism and religious messianism, and the question of Exodus emerges as a central paradigm through which to examine religion as a major facet in what is often considered to be a predominantly secular Israeli identity. Itself caught in the tension between enacting a gesture of belonging and one of escape, the Exodus narrative calls into question the possibility of its central meaning: a going out, a new departure: exodus. By conjuring the dream of the ‘Promised Land’, this biblical myth weaves together national and religious sensibilities and projects them onto the same site. In so doing it links nationhood to an economy of redemption and thus seemingly problematizes those narratives that locate Zionism within a framework of so-called ‘Exodus politics’. -
AN ANGEL in HELL: ARTUR BRAUNER and the ATTEMPT to MAKE a GERMAN OSKAR- SCHINDLER-BIOPIC Peter Krämer
AN ANGEL IN HELL: ARTUR BRAUNER AND THE ATTEMPT TO MAKE A GERMAN OSKAR- SCHINDLER-BIOPIC Peter Krämer University of East Anglia, UK Abstract Film Studies tends to deal only with film projects that have been completed and pays particular attention to the work of directors, thus largely ignoring the fact that the vast majority of attempts to make movies fail, and marginalising the crucial role played by scriptwriters and producers in the initiation and development of flm projects. To counter this tendency, this essay examines the unsuccessful attempt, between the 1970s and the early 1990s, of Artur Brauner, one of the leading producers in postwar (West) Germany, to make a biopic about Oskar Schindler. Like the Jewish workers rescued by Schindler, Brauner is a Jewish Holocaust survivor from Poland whose career as a producer has combined mainstream entertainment movies with flms about the Third Reich and especially about the Holocaust. The essay explores the full range of his activities as a producer on the Schindler biopic – ranging from script development and fnancing to negotiations with actors and directors; highlights their transnational dimensions (through the involvement of personnel and co- production partners from France, the UK, Israel, the US, Poland, and the Soviet Union); and explores the refusal of (West) German funding bodies to support this project. Keywords: Artur Brauner, Oskar Schindler, unrealised flm projects, pro- ducers, flm funding. Bu çalışma 18 Aralık 2017 tarihinde sinecine dergisine ulaşmış; 06 Mart 2018 tarihinde kabul almıştır. Krämer, P. (2018). An Angel in Hell: Artur Brauner and The Attempt to Make a German Oskar-Schindler-Biopic. -
MECHILOT Panorama FORGIVENESS FORGIVENESS FORGIVENESS Regie: Udi Aloni
P-1257_K 26.01.2006 22:05 Uhr Seite 144 Berlinale 2006 MECHILOT Panorama FORGIVENESS FORGIVENESS FORGIVENESS Regie: Udi Aloni Israel/USA 2006 Darsteller David Itay Tiran Länge 96 Min. Henry Adler Michael Sarne Format 35 mm, 1:1.85 Lila Clara Khoury Farbe Dr. Isaac Shefer Makram J. Khoury Yaakov, der Stabliste „Musliman“ Moni Moshonov Buch Udi Aloni Kleines Mädchen Tamara Mansour Kamera Amnon Zlayet Nawal Ruba Blal Kameraführung Mauricio Rubenstein Yoni Omer Barnea Kameraassistenz Mike Best Dror Eli Eltanany Eltonyo Schnitt Galia Mor Colonel Daniel Idit Teperson Schnittassistenz Amber Haas Offizier Elon Oren Katz Ton Mike Gassert Patienten Samuel Wolf Mischung Teffera McKenzie Izhak Kremnizer Musik Tamir Muscat Zwi Kanar Production Design Tommaso Ortino Lupu Bercovicz Ausstattung Jimena Azula Yehuda Fuchs Requisite Patrick McGowan Jay Koller Kostüm Amanda Ford Maske Christina Brice Clara Khoury, Itay Tiran Regieassistenz Shimon Azulay Casting Cindy Tolan Herstellungsltg. Fran Giblin FORGIVENESS Produktionsltg. Nick Vanderpool In einer Mischung aus Polit- und Psycho-Thriller erzählt der aus Israel stam- Aufnahmeleitung Tomer Yanay mende Regisseur Udi Aloni von einem jungen Israeli, der aus Amerika nach Produzenten David Silber Israel zurückkehrt und dort traumatische Erfahrungen durchlebt. Diesen Lemore Syvan Erfahrungen entspricht die erzählerische Form des Films: Erst allmählich, in Co-Produktion Elevation Filmworks, New York Rückblenden und zeitlichen Vorgriffen, zwischen Realität und Traum, tritt das Schicksal des 20 Jahre alten David Adler in all seinen Zusammenhängen Produktion zutage. David ist in einer psychiatrischen Anstalt untergebracht, die sich in Metro Communications den Ruinen des palästinensischen Dorfes Deir Yassin befindet; seine Ein- 34 Alenby St. wohner wurden vom israelischen Militär massakriert. -
Israelis Look at Poles Via the Lens of the Cine -Camera
„Narracje o Zagładzie” 2018, nr 4 ISSN 2450 -4424 (wersja drukowana) ISSN 2451- 2133 (wersja elektroniczna) DOI: 10.31261/NoZ.2018.04.08 Ela Bauer ORCID: 0000-0002-9755-4389 Media & Film Department, Kibbutzim College in Tel Aviv Israelis Look at Poles via the Lens of the Cine -Camera The ways in which the Holocaust is represented in Israeli cinema is discussed in a rich corpus of research. Nurith Gertz, Yael Munk, Ilan Avisar, Yosefa Lo- shitzky, Moshe Zimmerman, and Liat Steir -Livny point to the relatively wide spectrum of themes, processes, and points of view in which the Holocaust is presented in Israeli cinema.1 According to these studies, from 1946 until early 1960s, the Holocaust was presented in Israeli films almost exclusively via the lens of Zionism and the formation of the State of Israel. The personal trauma was presented only through the prism of Jewish national trauma.2 Europe was presented in dark settings, while the Israeli landscapes were bright.3 The arrival of the survivors – first to Palestine and after May 1948 to the State of Israel – was presented as a salvation, and the State of Israel was presented as the only place where the survivors could recover. However, this successful “healing” could happen only if the survivors left behind their pasts and became Israelis.4 This perspective can be found, for example, in Dima’t HaNehamah (The Great Prom 1 Among these works, see: I. Avisar: Screening the Holocaust: Cinema’s Images of the Unim aginable. Indiana 1988; N. Gertz: Makhela Akhere: Nitzolei Sho’ah, Zarim Va’akherim Basiporet Hayisra’elit. -
Electric Boogaloo: the Wild, Untold Story of Cannon Films
Press Kit ELECTRIC BOOGALOO: THE WILD, UNTOLD STORY OF CANNON FILMS Table Of Contents CONTACT DETAILS And Technical Information 1 SYNOPSIS: LOGLINE AND ONE PARAGRAPH 2 SYNOPSIS: ONE PAGE 3 DIRECTOR’S STATEMENT 4 PRODUCER’S STATEMENT 5 KEY CREATIVE CREDITS 6 DIRECTOR BIOGRAPHY 7 PRODUCER BIOGRAPHY 8 KEY CREATIVEs 10 INTERVIEWEE LIST 11 - 12 SELECT INTERVIEWEE BIOGRAPHIES 13 - 16 FINAL END CREDITS 17 - 34 A CELEBRATION OF HOLLYWOOD’S LEAST LOVED STUDIO FROM THE DIRECTOR OF NOT QUITE HOLLYWOOD RATPAC DOCUMENTARY FILMS WILDBEAR ENTERTAINMENT IN ASSOCIATION WITH MELBOURNE INTERNATIONAL FILM FESTIVAL PREMIERE FUND SCREEN QUEENSLAND FILM VICTORIA AND CELLULOID NIGHTMARES PRESENT ELECTRIC BOOGALOO: THE WILD, UNTOLD STORY OF CANNON FILMS ORIGINAL MUSIC JAMIE BLANKS CINEMATOGRAPHER GARRY RICHARDS EDITED BY MARK HARTLEY SARA EDWARDS JAMIE BLANKS Check the Classification EXECUTIVE PRODUCERS NATE BOLOTIN TODD BROWN JEFF HARRISON HUGH MARKS JAMES PACKER PRODUCED BY BRETT RATNER VERONICA FURY WRITTEN AND DIRECTED BY MARK HARTLEY Press Kit A CELEBRATION OF HOLLYWOOD’S LEAST LOVED STUDIO FROM THE DIRECTOR OF NOT QUITE HOLLYWOOD RATPAC DOCUMENTARY FILMS WILDBEAR ENTERTAINMENT IN ASSOCIATION WITH MELBOURNE INTERNATIONAL FILM FESTIVAL PREMIERE FUND SCREEN QUEENSLAND FILM VICTORIA AND CELLULOID NIGHTMARES PRESENT ELECTRIC BOOGALOO: THE WILD, UNTOLD STORY OF CANNON FILMS ORIGINAL MUSIC JAMIE BLANKS CINEMATOGRAPHER GARRY RICHARDS EDITED BY MARK HARTLEY SARA EDWARDS JAMIE BLANKS Check the Classification EXECUTIVE PRODUCERS NATE BOLOTIN TODD BROWN JEFF HARRISON -
There Is Nothing New About Art on the Web. There Must Be More Self Proclaimed Artists out There on the Net Than There Ever Have
With the advent of the World Wide Web, new art forms are being created where the vehicle bringing the art form to the visitor, via a small and intimate screen can be accessed equally well from within and without the museum walls and are in fact accessed from a remote computer far beyond the fourth wall. In 1996. Udi Aloni exhibited Re-U-Man" at the Israel Museum, Jerusalem. "Re-U-Man", an interactive digital presentation that had been conceptually devised for a web-site: http://www.re-u-rnan.com With virtual exhibitions on-line, original digital art flowing into ourpersonal computers at the click of a mouse and now entire installations becoming available beyond the fourth wall, why does the visitor need to even come into the real museum? These and similar questions are already being faced by curators who have the responsibility of presenting similar works to the museum public, but what is being challenged here is not the validity of these new art forms or the vehicle imperative to their presentation but the gallery space of the museum, as defined by the curator - real or virtual. WORDS Re-U-Man; Kabbalah; Udi-Aloni; Zohar; Post-Modemism; Sphirot; Fourth Wall; Tree-of-Life There is nothing new about art on the Web. There This trend followed the relatively recent establish- must be more self proclaimed artists out there on ment of video as an accepted medium of original the net than there ever have been since man first art and video art is now days popular in art muse- molded clay. -
It Seems Barely an Exaggeration to Say That Arab and Muslim Americans Are Constantly Talked About but Almost Never Heard From. T
It seems barely an exaggeration to say that Arab and Muslim Americans are constantly talked about but almost never heard from. The problem is not that they lack representations but that they have too many. And these are all abstractions. Arabs and Muslims have become a foreign-policy issue, an argument on the domestic agenda, a law-enforcement priority, and a point of well-meaning concern. They appear as shadowy characters on terror television shows, have become objects of sociological inquiry, and get paraded around as puppets for public diplomacy…They are floating everywhere in the virtual landscape of the national imagination, as either villains of Islam or victims of Arab culture. — Moustafa Bayoumi, How Does it Feel to be a Problem1 36 Waleed F. Mahdi investigation of the historical trajectory of Hollywood's engagement with the Arab American cultural identity. INTRODUCTION Popular culture in the United States functions through sensational and rating based entertainment. It also promotes a hegemonic frame of reference for cultural citizenship and national belonging in the life of "cultural citizens.'" It serves as an ideological state apparatus, to echo French philosopher Louis Althusser, guiding citizens through an acculturation process that homogenizes their own subjectivity.' In this sense, this article defines cultural citizenship as a tool to sUbjectify minorities through the mediation of popular culture.4 In his scholarly reviews of Hollywood's history, Lary May emphasizes the cinema's role in enunciating cultural citizenship. Hollywood, he argues, has been a site of fury for debates around "good citizenship" because of its connection to "political power, cultural authority, and the very meaning of national identity."5 For decades, Hollywood has played a major role in Circulating a popular sense of American collective imagination and manufacturing sensational conceptions of cultural Otherness. -
Mikan, Journal for Hebrew and Israeli Literature and Culture Studies Ethics and Responsibility in Israeli Cinema
Mikan, Journal for Hebrew and Israeli Literature and Culture Studies Ethics and Responsibility in Israeli Cinema Vol. 13, October 2013 מכון והמחלקה לספרות עברית, אוניברסיטת בן־גוריון בנגב Ethics and Responsibility in Israeli Cinema Editor in chief: Zahava Caspi Guest editor: Raz Yosef Editorial board: Tamar Alexander, Yitzhak Ben-Mordechai, Yigal Schwartz (Second Editor) Junior editors: Yael Balaban, Moria Dayan, Nirit Kurman, Ron Lasri, Miri Peled, Michal Peles-Almagor, Irit Ronen, Uri Rosenberg, Noa Walden, Lliron Waxman, Dror Yosef Editorial advisors: Robert Alter, Arnold J. Band, Dan Ben-Amos, Daniel Boyarin, Menachem Brinker, Nissim Calderon, Tova Cohen, Michael Gluzman (First Editor), Nili Scharf Gold, Benjamin Harshav, Galit Hasan-Rokem, Hannan Hever, Ariel Hirschfeld, Avraham Holtz, Avner Holtzman, Matti Huss, Zipporah Kagan, Ruth Kartun-Blum, Chana Kronfeld, Louis Landa, Dan Laor, Avidov Lipsker, Dan Miron, Gilead Morahg, Hannah Nave, Ilana Pardes, Iris Parush, Ilana Rosen, Tova Rosen, Yigal Schwartz, Gershon Shaked (1929-2006), Uzi Shavit, Raymond Sheindlin, Eli Yassif, Gabriel Zoran Editorial coordinator: Miri Peled, Irit Ronen Language editors: Liora Herzig (Hebrew); Oran Moked (English) Graphic editor: Tamir Lahav-Radlmesser Layout and composition: Yossi Luxenburg Cover photo: Itay Tiran, Forgiveness (Udi Aloni, 2006) IBSN: 978-965-552-477-2 All rights reserved © 2013 Heksherim Institute for Jewish and Israeli Literature and Culture, Ben Gurion University, Beer Sheva, and Kinneret, Zmora-Bitan, Dvir - Publishing House Ltd., -
Music in Conflict: Palestine, Israel, and the Politics of Aesthetic Production
Music in Conflict: Palestine, Israel, and the Politics of Aesthetic Production Nili Belkind Submitted in partial fulfillment of the Requirements for the degree Of Doctor of Philosophy In the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 © 2014 Nili Belkind All Rights Reserved ABSTRACT Music in Conflict: Palestine, Israel and the Politics of Aesthetic Production Nili Belkind This is an ethnographic study of the fraught and complex cultural politics of music making in Palestine-Israel in the context of the post-Oslo era. I examine the politics of sound and the ways in which music making and attached discourses reflect and constitute identities, and also, contextualize political action. Ethical and aesthetic positions that shape contemporary artistic production in Israel-Palestine are informed by profound imbalances of power between the State (Israel), the stateless (Palestinians of the occupied Palestinian territories), the complex positioning of Israel’s Palestinian minority, and contingent exposure to ongoing political violence. Cultural production in this period is also profoundly informed by highly polarized sentiments and retreat from the expressive modes of relationality that accompanied the 1990s peace process, strategic shifts in the Palestinian struggle for liberation, which is increasingly taking place on the world stage through diplomatic and cultural work, and the conceptual life and currency Palestine has gained as an entity deserving of statehood around the world. The ethnography attends to how the conflict is lived and expressed, musically and discursively, in both Israel and the occupied Palestinian territories (oPt) of the West Bank, encompassing different sites, institutions and individuals. I examine the ways in which music making and attached discourses reflect and constitute identities, with the understanding that musical culture is a sphere in which power and hegemony are asserted, negotiated and resisted through shifting relations between and within different groups. -
What Is Psychoanalytic Activism?
FALL 2011 ISSUE #19 Newsletter of Section IX, Psychoanalysts for Social Responsibility, Division of Psychoanalysis, American Psychological Association Invited Column: WHAT IS PSYCHOANALYTIC ACTIVISM? The Psychoanalytic Work Group FROM THE EDITORS for Peace in Palestine/Israel Ghislaine Boulanger, Ph.D. Ruth Fallenbaum, Ph.D. American psychoanalytic colleagues to better by Nancy Hollander, Ph.D. At a time when the conflict between and Stephen Portuges, Ph.D. understand the Palestinian as well as the Israeli Israel and Palestine is becoming even For the past seven years we have been perspective on this conflict that is at the heart of more fraught in Israel, in Palestine, and in engaged in a group called “Psychoanalytic Work intensifying global tensions. America, in this issue several members of Section IX report on their contributions as Group for Peace in Palestine/Israel.” The group We gather twice a year from our far-flung American psychoanalytic activists working was formed by Nadia Ramzy, Faculty Member parts of the world for weekend-long meetings with Palestinians who live under the harsh and participate in discussion groups on the conditions of statelessness and occupation. of the St. Louis Psychoanalytic Institute and As Judy Roth puts it, as psychoanalysts each co-editor of the International Journal of Applied application of psychoanalysis to social issues of them had to struggle against the “binary Psychoanalytic Studies. In 2004, Ramzy, long and prejudice at American Psychoanalytic thinking and rhetoric that activism can Association meetings. Periodic conference calls trigger,” monitoring their own responses interested in the psychosocial dynamics of the and attempting to remain reflective.