FILMS on Palestine-Israel By
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Adolf Eichmann in Buenos Aires
CAPTURING THE DEVIL The real story of the capture of Adolph Eichmann Based on the memoirs of Peter Zvi Malkin A feature film written and directed by Philippe Azoulay PITCH Peter Zvi Malkin, one of the best Israeli agents, is volunteering to be part of the commando set up to capture Adolf Eichmann in Buenos Aires. As the others, he wants to take revenge for the killing of his family, but the mission is to bring Eichmann alive so that he may be put on trial in Jerusalem. As Peter comes to consider his prisoner an ordinary and banal being he wants to understand the incomprehensible. To do so, he disobeys orders. During the confrontation between the soldier and his prisoner, a strange relationship develops… CAPTURING THE DEVIL HISTORICAL CONTEXT 1945 The Nuremberg trial is intended to clear the way to for the rebuilding of Western Europe Several Nazi hierarchs have managed to hide or escape Europe 1945 Adolph Eichmann who has organized the deportations and killings of millions of people is hiding in Europe. 1950 Eichmann is briefly detained in Germany but escapes to South America thanks to a Red Cross passport. In Europe and in Israel, Jews who survived the camps try to move into a new life. The young state of Israel fights for its survival throughout two wars in 1948 and 1956. The Nazi hunt is considered a “private“ matter. 1957 the Bavarian General Attorney Fritz Bauer, who has engaged into a second denazification of Germany’s elite, gets confirmation that Eichmann may be located in Argentina. -
Conceptual Descriptors of Enduring Interstate Rivalry: the Unremitting Conflict in the Middle East
Journal of Global Peace and Conflict December 2015, Vol. 3, No. 2, pp. 13-37 ISSN: 2333-584X(Print), 2333-5858(Online) Copyright © The Author(s).All Rights Reserved. Published by American Research Institute for Policy Development DOI: 10.15640/jgpc.v3n2a2 URL: http://dx.doi.org/10.15640/jgpc.v3n2a2 Conceptual Descriptors of Enduring Interstate Rivalry: The Unremitting Conflict in the Middle East Ali Alghafli1 Abstract This paper describes the multiple concepts commonly used to designate lingering interstate conflicts, and proposes an integrative conceptual approach that synthesizes components introduced by ‘protracted conflict’ and ‘enduring rivalry’ conceptualizations. Facts and events pertaining to the Middle East conflict before and after the introduction of the peace process are interpreted through three conceptually-driven propositions suggested by the integrative approach. In addition to validating the characteristic longevity of the Middle East conflict, the proposed integrative approach facilitates understanding major events of interstate and domestic violence in the region, ascertains the role of nongovernmental forces in maintaining the endurance of interstate rivalries, and identifies the geographic enlargement of the conflict. Keywords: Enduring Rivalry, Conceptual Descriptors, Middle East Conflict, Peace Process Introduction The Middle East encompasses several unresolved conflicts. The Palestinian Problem continues to persist as the tricky core of the outstanding conflict, causing conflict between Israel and the majority of Arab states to endure. After the outbreak of the Islamic Revolution in Iran more than three decades ago the lingering conflict in the Middle East enlarged to include the knotty rivalry between Israel and Iran. Unresolved tensions between Israel and Turkey have further expanded the lingering conflict in the region. -
Sfiff 2019 Program Here
SantaFeIndependent.com 2019 team and advisory board 2019 SFIFF TEAM Jacques Paisner Artistic Director Liesette Paisner Bailey Executive Director Jena Braziel Guest Service Director Derek Horne Director of Shorts Programmer Beau Farrell Associate Programmer Stephanie Love Office Manager Dawn Hoffman Events Manager Deb French Venue Coordinator Chris Bredenberg Tech Director Allie Salazar Graphic Designer Blake Lewis Headquarters Manager Castle Searcy Festival Dailies Adelaide Zhang Box Office Assistant Sarah Mease Box Office Assistant Eileen O’Brien MC Sage Paisner Photographer 2019 SFIFF ADVISORY BOARD Gary Farmer, Chair Chris Eyre Kirk Ellis David Sontag Alexandria Bombach Nicole Guillemet “A young Sundance” Alton Walpole —Indiewire Kimi Ginoza Green Paul Langland Beth Caldarello Xavier Horan “An all inclusive Marissa Juarez resort for cinephiles...” —Filmmaker Magazine “Bringing the community together” 505-349-1414 —Slant Magazine www.santafeindependent.com • [email protected] 418 Montezuma Ave. Suite 22 Santa Fe, NM 87501 3 AD AD welcome WELCOME Dear Santa Fe Independent Film Festival Visitors and Community, Welcome to Santa Fe, and to the festival The Albuquerque Journal calls “The Next Sundance.” The Santa Fe Independent Film Festival (SFIFF), now in its eleventh year, has become one of Santa Fe’s most celebrated annual events. I know you will enjoy SFIFF’s world-class programming and award-winning guests, including renowned ac- tors Jane Seymour and Tantoo Cardinal. I encourage you to investi- gate the many activities, museums, galleries, restaurants, and more that Santa Fe has to offer. The Santa Fe Independent Film Festival fills five days with screen- ings, workshops, educational panels, book signings, and celebra- tions. -
De Ani 15-24
DE ANI 15-24 MARTIE 2019 12 Festival Internațional de Documentar și Drepturile Omului 15-24 MARTIE 2019 12 Festival Internațional de Documentar și Drepturile Omului CINEMA ELVIRE POPESCO CINEMATECA EFORIE CINEMATECA UNION ARCUB POINT PAVILION 32 INFO & BILETE WWW.ONEWORLD.RO FACEBOOK: ONE.WORLD.ROMANIA ORGANIZATOR / ORGANIZER Asociația One World Romania PARTENER PRINCIPAL / MAIN PARTNER Programul Statul de Drept Europa de Sud Est al Fundației Konrad Adenauer CU SPRIJINUL / WITH THE SUPPORT OF Administrația Fondului Cultural Național, Centrul Național al Cinematografiei, Primăria Capitalei prin ARCUB – Centrul Cultural al Municipiului București, UNHCR – Agenția ONU pentru Refugiați, Reprezentanța Comisiei Eu- ropene în România, Uniunea Cineaștilor din România, DACIN-SARA, Organizația Internațională pentru Migrație, Institutul Cultural Român, Institutul de Investigare a Crimelor Comunismului și Memoria Exilului Românesc, Con- siliul Național pentru Combaterea Discriminării, Agenția de Cooperare Internaționalâ pentru Dezvoltare - RoAid SPONSORI / SPONSORS BOSCH, Aqua Carpatica, Domeniile Sâmburești CINEMA ELVIRE POPESCO PARTENERI / PARTNERS Ambasada Franței în România, Institutul Francez din București, Goethe-Institut București, Ambasada Statelor PARTENERI CINEMATECA EFORIE Unite ale Americii, Ambasada Regatului Țărilor de Jos în România, Forumul Cultural Austriac, Swiss Sponsor’s Fund, Ambasada Elveției în România, British Council, Ambasada Statului Palestina, Centrul Cultural Palestin- CINEMATECA UNION ian “Mahmoud Darwish”, Festivalul -
Ashkenaz-Press-Kit-708.Pdf
SYNOPSES (120 WORDS) Ashkenazim—Jews of European origin—are Israel’s “white folks.” And like most white folks in a multicultural society, they see themselves as the social norm and don’t think of themselves in racial or ethnic terms because by now, “aren’t we all Israeli?” Yiddish has been replaced with Hebrew, exile with occupation, the shtetl with the kibbutz and old-fashioned irony with post-modern cynicism. But the paradox of whiteness in Israel is that Ashkenazim aren’t exactly “white folks” historically. A story that begins in the Rhineland and ends in the holy land (or is it the other way around?), Ashkenaz looks at whiteness in Israel and wonders: How did the “Others” of Europe become the “Europe” of the others? (100 WORDS) Ashkenazim—Jews of European origin—are Israel’s “white folks.” And like most white folks in a multicultural society, they see themselves as the social norm and don’t think of themselves in racial or ethnic terms because by now, “aren’t we all Israeli?” Yiddish has been replaced with Hebrew, exile with occupation, the shtetl with the kibbutz and old-fashioned irony with post-modern cynicism. But the paradox of whiteness in Israel is that Ashkenazim aren’t exactly “white folks” historically. Ashkenaz looks at whiteness in Israel and wonders: How did the “Others” of Europe become the “Europe” of the others? (50 WORDS) Ashkenazim—Jews of European origin—are Israel’s “white folks.” But the paradox of whiteness in Israel is that Ashkenazim aren’t exactly “white folks” historically... Ashkenaz looks at whiteness in Israel and wonders: How did the “Others” of Europe become the “Europe” of the others? (25 WORDS) Ashkenaz looks at Ashkenaziness —the Israeli version of whiteness — and wonders: How did the “Others” of Europe become the “Europe” of the others? DIRECTOR’S BIO/FILMOGRAPHY Rachel Leah Jones is a director/producer born in Berkeley, California and raised in Tel Aviv. -
500 DUNAM on the MOON a Documentary by RACHEL LEAH JONES 500 DUNAM on the MOON a Documentary by RACHEL LEAH JONES
500 DUNAM ON THE MOON a documentary by RACHEL LEAH JONES 500 DUNAM ON THE MOON a documentary by RACHEL LEAH JONES SYNOPSIS 500 DUNAM ON THE M00N is a documentary about the Palestinian village of Ayn Hawd which was captured and depopulated by Israeli forces in the 1948 war and subsequently transformed into a Jewish artist's colony and renamed Ein Hod. It tells the story of the village's original inhabitants who, after expulsion, settled only 1.5 kilometers away in the outlying hills. Since Israeli law prevents Palestinian refugees from returning to their homes, the refugees of Ayn Hawd established a new village: “Ayn Hawd al-Jadida” (The New Ayn Hawd). Ayn Hawd al-Jadida is an unrecognized village, which means that it receives no services such as electricity, water, or an access road. Relations between the artists and the refugees are complex: unlike most Israelis, the residents of Ein Hod know the Palestinians who lived there before them, since the latter have worked as hired hands for the former. Unlike most Palestinian refugees, the residents of Ayn Hawd al-Jadida know the Israelis who now occupy their homes, the art they produce, and the peculiar ways they try to deal with the fact that their society was created upon the ruins of another. It echoes the story of indigenous peoples everywhere: oppression, resistance, and the struggle to negotiate the scars of the past with the needs of the present and the hopes for the future. Addressing the universal issues of colonization, landlessness, housing rights, gentrification, and cultural appropriation in the specific context of Israel/Palestine, 500 DUNAM ON THE M00N documents the art of dispossession and the creativity of the dispossessed. -
Zochrot Annual Report 2019 January 2020
Zochrot Annual Report 2019 January 2020 1 Opening As can be clearly shown in the report below, Zochrot activity and public outreach had increased significantly in 2019. During the time of the report, January 2019 – December 2019 we had carried out more than 60 different activities in public sphere including tours to destroyed Palestinian localities, lectures, symposiums, workshops, exhibition, educational courses, film festival, direct actions and more, all designed to make the Nakba present in public spaces, to resist the ongoing Nakba, and to oppose the mechanisms of denial and erasure. We continue to call upon Israelis to acknowledge their responsibility for the Nakba and to uphold justice by supporting Palestinian return. Over 2,400 people participated in our activities over the past year and took an active part in discussion about the Nakba and return. This year we also reached almost 100,000 visitors on our websites, which continues to be a leading resource to many people all over the world about the Nakba and the Return. About Zochrot Zochrot ("remembering" in Hebrew) is a grassroots NGO working since 2002 in Palestine-Israel to promote acknowledgement of and accountability for the ongoing injustices of the Nakba, the Palestinian catastrophe of 1948. Zochrot works towards the reconceptualization of the right of return as the imperative redress of the Nakba and a chance for a better life for all the country's inhabitants. Zochrot is the first and major Israeli nonprofit organization and growing movement devoted to the commemoration of the Nakba and for advocating for Palestinian return, first and foremost among the Jewish Israeli majority in Israel. -
A Film by Catherine BREILLAT Jean-François Lepetit Présents
a film by Catherine BREILLAT Jean-François Lepetit présents WORLD SALES: PYRAMIDE INTERNATIONAL FOR FLASH FILMS Asia Argento IN PARIS: PRESSE: AS COMMUNICATION 5, rue du Chevalier de Saint George Alexandra Schamis, Sandra Cornevaux 75008 Paris France www.pyramidefilms.com/pyramideinternational/ IN PARIS: Phone: +33 1 42 96 02 20 11 bis rue Magellan 75008 Paris Fax: +33 1 40 20 05 51 Phone: +33 (1) 47 23 00 02 [email protected] Fax: +33 (1) 47 23 00 01 a film by Catherine BREILLAT IN CANNES: IN CANNES: with Cannes Market Riviera - Booth : N10 Alexandra Schamis: +33 (0)6 07 37 10 30 Fu’ad Aït Aattou Phone: 04.92.99.33.25 Sandra Cornevaux: +33 (0)6 20 41 49 55 Roxane Mesquida Contacts : Valentina Merli - Yoann Ubermulhin [email protected] Claude Sarraute Yolande Moreau Michael Lonsdale 114 minutes French release date: 30th May 2007 Screenplay: Catherine Breillat Adapted from the eponymous novel by Jules Barbey d’Aurevilly Download photos & press kit on www.studiocanal-distribution.com Produced by Jean-François Lepetit The storyline This future wedding is on everyone’s lips. The young and dissolute Ryno de Marigny is betrothed to marry Hermangarde, an extremely virtuous gem of the French aristocracy. But some, who wish to prevent the union, despite the young couples’ mutual love, whisper that the young man will never break off his passionate love affair with Vellini, which has been going on for years. In a whirlpool of confidences, betrayals and secrets, facing conventions and destiny, feelings will prove their strength is invincible... Interview with Catherine Breillat Film Director Photo: Guillaume LAVIT d’HAUTEFORT © Flach Film d’HAUTEFORT Guillaume LAVIT Photo: The idea “When I first met producer Jean-François Lepetit, the idea the Marquise de Flers, I am absolutely “18th century”. -
Julian Schnabel Childhood and Other Graphic Works
JULIAN SCHNABEL CHILDHOOD AND OTHER GRAPHIC WORKS September 14 – November 11, 2017 Opening: September 13 | 6 – 9 pm Circle Culture | Gipsstraße 11 | 10119 Berlin Reception at Hotel de Rome with acoustic live music by Frida Gold: September 15 | 5 – 7 pm Hotel de Rome | Behrenstraße 37 | 10117 Berlin Childhood (4), 2016, carbon print on etching paper, 80 x 57 cm On the occasion of this year’s Berlin Art Week, Circle Culture is delighted to present graphic works by American artist and filmmaker Julian Schnabel. The two-part exhibition will be on display at Circle Culture, Gipsstraße 11 and at Hotel de Rome, and will be opening on two evenings. This first exhibition of the gallery with Julian Schnabel also marks the return of Circle Culture to its place of origin in Berlin-Mitte. This place will be revitalized as a main location for exhibitions, round tables and cultural projects in a wide spectrum. Graphic works represent an impressive compendium within the oeuvre of Julian Schnabel, which he continues with the current works for the first time after 18 years. As in his paintings, they reflect the diversity and intrinsic creative urge of the artist, who constantly applies surprising printing techniques and materials. Characteristic for Julian Schnabel‘s expressionist work is the free experimentation with different materials, techniques and also citations. His complex overpaintings are characterized by associative, encyclopedic- seeming visual worlds, which Schnabel borrows and alienates artistically. The results are intertextual embed- ded works of art with a deliberately open character. Often they tell about the hidden, the fragmentary yet seemingly all-connected, while moving along an emotional and irrational level with an expressive intensity. -
The Israeli Experience in Lebanon, 1982-1985
THE ISRAELI EXPERIENCE IN LEBANON, 1982-1985 Major George C. Solley Marine Corps Command and Staff College Marine Corps Development and Education Command Quantico, Virginia 10 May 1987 ABSTRACT Author: Solley, George C., Major, USMC Title: Israel's Lebanon War, 1982-1985 Date: 16 February 1987 On 6 June 1982, the armed forces of Israel invaded Lebanon in a campaign which, although initially perceived as limited in purpose, scope, and duration, would become the longest and most controversial military action in Israel's history. Operation Peace for Galilee was launched to meet five national strategy goals: (1) eliminate the PLO threat to Israel's northern border; (2) destroy the PLO infrastructure in Lebanon; (3) remove Syrian military presence in the Bekaa Valley and reduce its influence in Lebanon; (4) create a stable Lebanese government; and (5) therefore strengthen Israel's position in the West Bank. This study examines Israel's experience in Lebanon from the growth of a significant PLO threat during the 1970's to the present, concentrating on the events from the initial Israeli invasion in June 1982 to the completion of the withdrawal in June 1985. In doing so, the study pays particular attention to three aspects of the war: military operations, strategic goals, and overall results. The examination of the Lebanon War lends itself to division into three parts. Part One recounts the background necessary for an understanding of the war's context -- the growth of PLO power in Lebanon, the internal power struggle in Lebanon during the long and continuing civil war, and Israeli involvement in Lebanon prior to 1982. -
The Reproduction of Settler Colonialism in Palestine
JPR The Reproduction of Settler Colonialism in Palestine Marcelo Svirsky Abstract: Critical scholarship on Palestine/Israel tends to focus on conceptualising the settler colonial practices that characterise this conflict but have failed to account for how these practices are reproduced and sustained over time. To address this gap, rather than focusing on Israel’s quantifiable strengths such as military might, the use of law, the economy, and diplomacy, this article investigates the reciprocal relations between the formation of Israeli modes of being or subjectivities, on the one hand, and the generation and distribution of settler colonial surplus, on the other. The examination of the processes of subjectivity formation in their settler colonial register on the side of the coloniser allows understating how the circuits of settler colonial power endure. Keywords: Israel, Palestine, settler colonialism, subjectivity Introduction mages of Israeli aggression abound in the media: reports, photographs and video clips of Israeli soldiers and police officers beating and shooting unarmed Palestinians; airplanes indiscriminately bombing cities and towns in the Gaza Strip; Israelis uprooting Palestinian Iolive groves in the West Bank; army tractors using their blades to flatten Palestinian villages; Israeli politicians announcing new discriminatory laws against the Palestinian citizens of Israel, or threatening a new attack on Gaza or the West Bank; everyday harassment occurring at checkpoints; interviews with Israeli passers-by shouting out their -
Three Perspectives on the Second Intifada
Three Perspectives on the Second Intifada Perspective I: “What Caused the Current Wave of Palestinian Terrorism?” Source: Israeli Ministry of Foreign Affairs; http://mfa.gov.il/MFA/MFA-Archive/2003/Pages/Israel- %20the%20Conflict%20and%20Peace-%20Answers%20to%20Frequen.aspx#terror The wave of terrorism that began in September 2000 is the direct result of a strategic Palestinian decision to use violence - rather than negotiation - as the primary means to advance their agenda. Despite Palestinian claims to the contrary, Israel's so-called "occupation" of the territories is not the true cause of the terrorism, as negotiations could have peacefully resolved all aspects of the Palestinian-Israeli conflict well before the violence started. When the wave of violence and terrorism began in September 2000, the Palestinians originally claimed that it was a spontaneous reaction to the visit of then-opposition leader Ariel Sharon to the Temple Mount. However, later statements by Palestinian leaders in the Arab-language media contradicted this assertion. Neither did the report issued by the Mitchell Committee, composed of American and European leaders, give support to the earlier Palestinian claim. Consequently, Palestinian spokespersons changed their tactics and instead began to assert that the violence was a response to Israel's "occupation" of the West Bank and Gaza. This claim ignores events both before and after 1967 (when Israel came into control of the territories during a war of self-defense) that prove that the "occupation" is not the true cause of Palestinian terrorism. Not only did Palestinian terrorism precede Israel's presence in the West Bank and Gaza; it has often hit brutally at those moments, as in 1994-1996, when the peace process was making the greatest progress.