Eran Riklis Sayed Kashua
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From the Margins to Prime Time: Israeli Arabs on Israeli Television
L. Steir-Livny / A. Mendelson-Maoz, From the margins to prime time: Israeli Arabs on Israeli Television 78 From the Margins to Prime Time: Israeli Arabs on Israeli Television The case of Sayed Kashua's "Arab Labour" Liat Steir-Livny1 | Adia Mendelson-Maoz2 Abstract Over recent decades, with the growing debate over multiculturalism in Israel, the representation of minorities in mass media has received new attention. The current research discusses the place of Israeli Arabs on Israeli television through the case- study of Arab Labour (In Hebrew, Avoda Aravit), a satirical sitcom written by Sayed Kashua (Channel 2, Keshet, 2007, 2010, 2012), which focuses on the shattered identity of Arab Israelis Our research shows that Arab Labour has triggered off changes in the way Arab Israelis are represented on Israeli television, in terms of their visibility on television, the quality of that visibility, and their interaction with the majority group. We examine a corpus of episodes dealing with three central themes: the Israeli identity card; attitudes to Jewish holidays and Jewish history; and the memory of the 1948 War versus the Nakba. Keywords: Sayed Kashua, Israeli television, 1948 War, the Nakba, Israeli identity, Arab-Israeli identity, Sitcom. 1 Dr. Liat Steir-Livny, The Open University & Sapir Academic College [email protected] 2 Dr. Adia Mendelson-Maoz. The Open University [email protected] Israeli Journal for Humor Research, December 2013, Issue 4. L. Steir-Livny / A. Mendelson-Maoz, From the margins to prime time: Israeli Arabs on Israeli Television 79 The politics of recognition and the medium of television Israel, among other countries, has been transformed, in the past two decades, from a 'melting-pot' policy and ideology towards a multicultural perception. -
Second Person Singular
6 BOOKS )""3&5;ď.BZ .BZď)""3&5; Hebrew Fiction Mistaken identity Sayed Kashua’s new novel centers around an Arab lawyer who can pass for Jewish, but who feels like an impostor in both societies. non-citizen Arabs and the Israeli authori- Second Person Singular ties, a few thousand people, living within by Sayed Kashua (translated from the Hebrew, Jerusalem but divorced from the locals “Guf Sheni Yahid,” by Mitch Ginsburg ) Grove Press, 352 pages, $25 among whom they reside. They will always .BTRVFSBEFT5IFDBTUPG,BTIVBhT"WPEB"SBWJU be seen as strangers, somewhat suspicious, but wholly indispensable. ... Somehow, in he was stopped less and less by the police “a functioning airhead.” It’s therefore sur- By Ruth Margalit the eyes of the locals, the Arab citizens of and the university’s security guards. prising to see him become consumed by Israel were considered to be half Jewish.” “He had finally figured out,” Kashua jealousy of his wife’s supposed lover, and n the latest season of “Avoda Aravit,” the In one of the novel’s opening scenes, the writes in his deadpan tone, “that the border his obsession with the idea that she might first Israeli prime-time television show lawyer and his wife, a couple in their 30s, police, the security guards, and the police be having an affair is exacerbated when he I to center exclusively on an Arab family, entertain a group of Arab friends in their officers, all of whom generally hail from realizes that the lover may well be Jewish. Amjad, the main character, joins the cast home for sushi and a salon-like discussion. -
Shaping Israeli-Arab Identity in Hebrew Words—The Case of Sayed Kashua
Shaping Israeli-Arab Identity in Hebrew Words—The Case of Sayed Kashua Batya Shimony Israel Studies, Volume 18, Number 1, Spring 2013, pp. 146-169 (Article) Published by Indiana University Press For additional information about this article http://muse.jhu.edu/journals/is/summary/v018/18.1.shimony.html Access provided by The Ohio State University (7 Jan 2014 22:40 GMT) Batya Shimony Shaping Israeli-Arab Identity in Hebrew Words—The Case of Sayed Kashua ABSTRACT Most research and surveys that deal with the complex identity of the Arabs in Israel refer to the Arab, Palestinian, and Israeli components in their identity. Kashua adds the Jewish-Zionist component to the discussion and explores its dominance in shaping the identities of the Arabs in Israel. I use the term Jewish-Arab as a mirror image of the Arab-Jew in order to analyze the conflicted identity of Kashu’s Arab characters. The use of the identity of Arab-Jew by the third generation of Mizrahi writers functions as a chal- lenge to the hegemony of Zionist discourse. Kashua’s Herzl Disappears at Midnight (2005) and Second Person Singular (2008) create a realization of the term Jewish-Arab and take the situation of the conflicted identity to an extreme and provocative end, in order to emphasize the dead-end situation of Arabs in Israel. INTRODUCTION The identity crisis of the Arabs in Israel has been discussed in many studies.1 One of the main reasons for this crisis is that Israeli Arabs are simultaneously influenced by two significant identity factors—on the one hand, Palestinian society in the occupied territories, and on the other, Jewish society. -
Palestinian) Space: Sayed Kashua’S Chronotopic Approach in Let It Be Morning Sadia Agsous École Des Hautes Études En Sciences Sociales
Hegemonic (Israeli) Time and Minority (Palestinian) Space: Sayed Kashua’s Chronotopic Approach in Let It Be Morning Sadia Agsous École des hautes études en sciences sociales abstract: Sayed Kashua, a Palestinian writer in Israel who has published novels exclusively in Hebrew, was celebrated as a successful writer and journalist in the Hebrew literary field. If the author’s usage of Hebrew and his novels were examined from an Israeli and a Jewish perspective and from the prospects of minority speech acts, these critics did, however, situate his literature within the immediate political context, that of the impossible situation of Palestinians in Israel. This article reads his second from a different perspective and considers Kashua’s ,(ויהי בוקר) novel, Let It Be Morning literary strategy that consists in transforming a futuristic and allegorist perspective into a chronotope set between hegemonic (Israeli) time and minority (Palestinian) space. This novel highlights, between text and context, different visions of the future: a dystopian situation reflecting both a disastrous outcome of the Zionist wing call- ing for the transfer of the Palestinians and an internal conflict between Palestinians (fitnah); the utopian vision of the writer, who used his writing in Hebrew to create a hybrid space of negotiation with the Hebrew reader and therefore suggesting literature as a way to prevent dystopia. This article emphasizes a futuristic storytelling from its content to its form used by Kashua as a literary strategy to express the impossibility of a Palestinian voice, his voice, in Hebrew fiction. dibur literary journal Issue 6, Fall 2018 Visions of the Future 20 dibur a palestinian hybrid text, between a dystopian future and the utopia of the writer At long last, the Zionist dream is coming true. -
GSC Films: S-Z
GSC Films: S-Z Saboteur 1942 Alfred Hitchcock 3.0 Robert Cummings, Patricia Lane as not so charismatic love interest, Otto Kruger as rather dull villain (although something of prefigure of James Mason’s very suave villain in ‘NNW’), Norman Lloyd who makes impression as rather melancholy saboteur, especially when he is hanging by his sleeve in Statue of Liberty sequence. One of lesser Hitchcock products, done on loan out from Selznick for Universal. Suffers from lackluster cast (Cummings does not have acting weight to make us care for his character or to make us believe that he is going to all that trouble to find the real saboteur), and an often inconsistent story line that provides opportunity for interesting set pieces – the circus freaks, the high society fund-raising dance; and of course the final famous Statue of Liberty sequence (vertigo impression with the two characters perched high on the finger of the statue, the suspense generated by the slow tearing of the sleeve seam, and the scary fall when the sleeve tears off – Lloyd rotating slowly and screaming as he recedes from Cummings’ view). Many scenes are obviously done on the cheap – anything with the trucks, the home of Kruger, riding a taxi through New York. Some of the scenes are very flat – the kindly blind hermit (riff on the hermit in ‘Frankenstein?’), Kruger’s affection for his grandchild around the swimming pool in his Highway 395 ranch home, the meeting with the bad guys in the Soda City scene next to Hoover Dam. The encounter with the circus freaks (Siamese twins who don’t get along, the bearded lady whose beard is in curlers, the militaristic midget who wants to turn the couple in, etc.) is amusing and piquant (perhaps the scene was written by Dorothy Parker?), but it doesn’t seem to relate to anything. -
Naomi Seidman to Speak at Cornell on March 27 Ithaca College to Hold
March 24-30, 2017 Published by the Jewish Federation of Greater Binghamton Volume XLVI, Number 12 BINGHAMTON, NEW YORK Ithaca College to hold annual Israel Film Festival on March 25, 29 and 30 The fourth annual Israel Film Festival rael is Real,” highlighting human elements catch a glimpse into the internal world of “Mr. Gaga” at Ithaca College will be held on March of Israel life and culture exclusively through those with Down Syndrome. Thursday, March 30, 6:20 pm work- 25, 29 and 30, and will feature three documentary film selections. “The Essential Link: The Story of Wil- shop; 7 pm screening, Cinemapolis, Itha- documentaries illustrating stories from “This year’s festival portrays a unique frid Israel” ca. Workshop: “Gaga Dance Workshop” life in Israel and beyond. For the first reality through art, disabilities and his- Wednesday, March 29, 7pm screening, with Prof. Lindsay Gilmour, assistant time, IFF has partnered with local theater tory with a selection of unique, vibrant Textor Hall 102, thaca College; discussion: professor, Department of Theatre Arts, Cinemapolis to present the third and final and diverse Israeli cinema,” said Mirit Director Yonatan Nir and Dr. Michael and instructor of modern dance at Ithaca film of the series, “Mr. Gaga,” which will Hadar, IFF co-founder and director. Richardson, professor, Department of College, and students. be screened there on the festival’s closing “We are honored to present these films Modern Languages and Literatures and Ohad Naharin, artistic director of the night, Thursday, March 30. around Ithaca communities and, for the 20th and 21st century German literature and Batsheva Dance Company, has been called All communities are welcome to learn first time, in downtown Ithaca at the cinema, Holocaust studies. -
Lemon Tree (Etz Limon)
Lemon Tree (Etz Limon) 106 minutes, 2008, Israel/Germany/France Director, Eran Riklis Cast: Hiam Abbass, Doron Tavori, Ali Suliman Synopsis Salma, a Palestinian widow - living there for decades - has to stand up against her new neighbour, the Israeli Defence Minister, when he moves into his new house opposite her lemon grove, on the green line border between Israel and the West Bank. The Israeli security forces are quick to declare that Salma's trees pose a threat to the Ministers safety and issue orders to uproot them. Together with Ziad Daud, a young Palestinian lawyer, Salma goes all the way to the Israeli Supreme Court to try and save her trees. Her struggle raises the interest of Mira Navon, the Defense ministers wife, trapped in her new home and in an unhappy life. Despite their differences and the borders between them the two women develop an invisible bond, while forbidden ties grow stronger between Salma and Ziad. Salma’s legal and personal journey lead her deep into the complex, dark and sometimes funny chaos of the ongoing struggle in the Middle East Review, Tom Dawson Channel 4 Film Written and directed by Israeli filmmaker Eran Riklis, Lemon Tree explores the Palestinian-Israeli conflict through the story of a Palestinian widow seeking to protect her lemon grove. Although based on several real-life cases, Lemon Tree has the feel of an allegorical story. Writer-director Riklis has stated that he wanted to show "people trapped in a political deadlock", and Lemon Tree provides a plausible context for his characters' actions. -
La Sposa Siriana
LA SPOSA SIRIANA Sito: http://www.syrianbride.com/english.html Anno: 2004 Data di uscita: 1/7/2005 Durata: 97 Origine: FRANCIA - GERMANIA - ISRAELE Genere: DRAMMATICO - COMMEDIA Produzione: ERAN RIKLIS, BETTINA BROKEMPER, ANTOINE DE CLERMONT-TONNERRE, MICHAEL ECKELT PER ERAN RIKLIS PRODUCTIONS, NEUE IMPULS FILM, MACT PRODUCTIONS, ARTE FRANCE CINEMA, ARTE WDR Distribuzione: MIKADO (2005) Regia: ERAN RIKLIS Attori: HIAM ABBASS AMAL MAKRAM J. KHOURY HAMMED CLARA KHOURY MONA, LA SPOSA ASHRAF BARHOUM MARWAN EYAD SHEETY HATTEM EVELYNE KAPLUN EVELYNA JULIE-ANNE ROTH JEANNE ADNAN TRABSHI AMIN MARLENE BAJJALI LA MADRE URI GAVRIEL SIMON ALON DAHAN ARIK ROBERT HOENIG JOSEPH DERAR SLIMAN TALLEL, LO SPOSO RANIN BOULOS MAI Soggetto: SUHA ARRAF - ERAN RIKLIS Sceneggiatura: SUHA ARRAF - ERAN RIKLIS Fotografia: MICHAEL WIESWEG Musiche: CYRIL MORIN Montaggio: TOVA ASHER Scenografia: AVI FAHIMA Costumi: INBAL SHUKI Trama: Mona sta lasciando il villaggio druso di Majdal Shams, sulle Alture del Golan (occupate dagli israeliani dal 1967), perché sta per sposarsi con Tallel, un noto personaggio della televisione siriana. Tuttavia, quello che dovrebbe essere il giorno più bello della sua vita sarà anche il più brutto. La ragazza infatti, una volta superato il confine tra Israele e Siria non potrà più tornare indietro e quindi non vedrà più la sua adorata famiglia. Uno spaccato sulla complessa vita delle donne in Medio Oriente, divise tra famiglia, tradizioni e confini oppure in continua lotta per imporre idee moderne e progressiste. Come Amal, la sorella di Mona, che vorrebbe liberarsi dagli obblighi che la tradizione le impone... Critica: Batte altre strade e affronta le reti spinate di altri confini, invece, il film del regista Eran Riklis The Syrian Bride che mette casa in una famiglia araba del più grande villaggio dei Drusi nel Golan, fin dal 1967 territorio occupato dagli israeliani. -
Art and Culture in Contemporary Israel
Art and Culture in Contemporary Israel Class code CORE-UA 9764 Instructor Details Aviv Livnat Prerequisites None Class Description The location of Israel at the geographic junction between the West and the East, between the Arab world and the Western world, against the background of the long historical complexity of this piece of land provides the context for the course Expressive Culture: Art and Culture in Contemporary Israel" which will offer a panoramic view of expressive cultures in modern Israel. This course will provide an introduction to Israeli culture and art by examining thematic crossroads and ideas, via problems and social conflicts which lie at the heart of those art works and are reflected by them. Themes to be addressed will include: religion and secularism, universalism/globalism versus localism, Jews and Arabs, Ashkenazic and Sephardic cultures, multiculturalism in Israel, Zionism and Post-Zionism, right and left political world views, questions of gender, historical perspectives on war and peace and the Holocaust. The students will explore the way different forms of art – visual, literary, and performance – reflect and shape the understanding of the "Israeli mosaic" while learning about the way the artists and writers internalize, consciously and unconsciously the complex Israeli reality. Towards this end, the course will incorporate an exclusive audiography, image bank and collection of video materials and will include excursions to cultural institutions and events in Tel Aviv-Jaffa. Expressive culture is a way to embody, analyze and express culture through sensory experiences such as movements, sounds texts and images. The students will be invited to engage in processes, exposed to ideas and emotions, bound within the social production of aesthetic forms and performances in Israeli life and culture. -
Download: 15Th Tau Isff 2013.Pdf
The 15th International Student Film Festival Tel Aviv June 19th-24th 2013 Summary Report The 15th International Student Film Festival Tel Aviv The 15th International Student Film Festival took place on June 19th-24th 2013 in Tel Aviv Cinemateque. This year, the Festival was produced as an annual event for the first time (rather than being a biannual event). Still, as one of the biggest and most important in its field, the Festival set its goal to portray a vast portrait of current international student films, create a unique and free environment for cinematic discourse and to expose the students to new and classic films, technologies, creators and more. The biggest event of the festival was the "2013 CILECT Prize", featuring 100 short student films from all over the world. 80 international students arrived to Israel for the festival, as well as a dozen lecturers of film studies from major international film schools (all from CILECT institutes). Alongside the International Panorama (CILECT Prize), the Israeli Competition was held, the largest and most important in Israel, the Mediterranean and Arab Countries Competition. Also for the first time – we held an Israeli independent Short Films Competition (short films who weren't produced as part of an academic institute). The Festival collaborated with the Israeli Film & TV Academy, and initiated a new academy award for the best Israeli Short Film. The winning film will be chosen out of a shortlist created by the Festival's jury. We believe this will give the Israeli student films a greater exposure for the wide audience as well as for the film industry persons, members of the academy, thus giving young filmmakers new opportunities. -
The Rosemarie Nathanson Charitable Trust the Shoresh Charitable Trust the R and S Cohen Foundation the Margolis Family the Kobler Trust
SPONSORS THE ROSEMARIE NATHANSON CHARITABLE TRUST THE SHORESH CHARITABLE TRUST THE R AND S COHEN FOUNDATION THE MARGOLIS FAMILY THE KOBLER TRUST BANK LEUMI (UK) DIGITAL MARKETING MEDIA TRAVEL GALA SPONSOR SPONSOR SPONSOR SPONSOR President: Hilton Nathanson Patrons Carolyn and Harry Black Peter and Leanda Englander Isabelle and Ivor Seddon Sir Ronald Cohen and Lady The Kyte Group Ltd Eric Senat Sharon Harel-Cohen Lord and Lady Mitchell Andrew Stone Honorary Patrons Honorary Life Patron: Sir Sydney Samuelson CBE Tim Angel OBE Romaine Hart OBE Tracy-Ann Oberman Helen Bamber OBE Sir Terry Heiser Lord Puttnam of Queensgate CBE Dame Hilary Blume Stephen Hermer Selwyn Remington Lord Collins of Mapesbury Lord Janner of Braunstone QC Ivor Richards Simon Fanshawe Samir Joory Jason Solomons Vanessa Feltz Lia van Leer Chaim Topol Sir Martin Gilbert Maureen Lipman CBE Michael Grabiner Paul Morrison Funding Contributors In Kind Sponsors Film Sponsors The Arthur Matyas & Jewish Genetic Disorders UK - The Mond Family Edward (Oded) Wojakovski with thanks to The Dr. Benjamin Fiona and Peter Needleman Charitable Foundation Angel Foundation The Normalyn Charitable Trust Anthony Filer Stella and Samir Joory Stuart and Erica Peters The Blair Partnership Joyce and David Kustow René Cassin Foundation The Ingram Family The Gerald Ronson Foundation The Rudnick Family Charlotta and Roger Gherson Veronique and Jonathan Lewis The Skolnick Family Jane and Michael Grabiner London Jewish Cultural Centre Velo Partners Dov Hamburger/ Carolyn and Mark Mishon Yachad Searchlight Electric The Lowy Mitchell Foundation 1 Welcome to the 16th UK JeWish Film Festival It is with enormous pleasure that I invite you to join us at the 16th UK Jewish Film Festival which, for the first time, will bring screenings simultaneously to London, Glasgow, Leeds, Liverpool and Manchester. -
Uniwersytet Warszawski Wydział Orientalistyczny Maria Jurek Nr
Uniwersytet Warszawski Wydział Orientalistyczny Maria Jurek Nr albumu 298071 Obrazy przyjaźni między Żydami i Arabami w kinie izraelskim. Analiza wybranych przykładów Praca magisterska na kierunku orientalistyka w zakresie hebraistyki Praca wykonana pod kierunkiem Prof. dr hab. Shoshany Ronen Zakład Hebraistyki Warszawa, maj 2018 1 Oświadczam, że niniejsza praca została przygotowana pod moim kierunkiem i stwierdzam, że spełnia ona warunki do przedstawienia jej w postępowaniu o nadanie tytułu zawodowego. Data Podpis kierującego pracą Świadom odpowiedzialności prawnej oświadczam, że niniejsza praca dyplomowa została napisana przez mnie samodzielnie i nie zawiera treści uzyskanych w sposób niezgodny z obowiązującymi przepisami. Oświadczam również, że przedstawiona praca nie była wcześniej przedmiotem procedur związanych z uzyskaniem tytułu zawodowego w wyższej uczelni. Oświadczam ponadto, że niniejsza wersja pracy jest identyczna z załączoną wersją elektroniczną. Data Podpis autora pracy 2 Streszczenie pracy Celem niniejszej pracy jest analiza motywu przyjaźni pomiędzy Żydem i Arabem obecnego w kinematografii izraelskiej. Właściwą analizę poprzedza nakreślenie kontekstu historycznego – prześledzenie sposobu portretowania bohaterów arabskich w kinie izraelskim od jego początków aż po produkcje ostatnich lat ze szczególnym uwzględnieniem okresów, w których kinowy obraz Araba ulegał głębokim przeobrażeniom. Następnie szczegółowej analizie poddano pięć filmów: Meachorej ha- soragim (reż. Uri Barabasz, 1984), Avanti popolo (reż. Rafi Bukai, 1986), Chiuch ha-gdi (reż. Szimon Dotan, 1986), Ec limon (reż. Eran Riklis, 2007) oraz Arawim rokdim: zehut szeula (reż. Eran Riklis, 2014). Słowa kluczowe Arab, film, Izrael, kino, kino izraelskie, Palestyńczyk, przyjaźń, Żyd Dziedzina pracy 08.900 – inne nauki humanistyczne Tytuł w języku angielskim Jewish-Arab Friendship as Portrayed in Israeli Cinema. A Selection of Examples 3 Spis treści Wstęp ..................................................................................................................................