DOCSLIB.ORG

Imagining+The+Promised+Land:+ ++ Israel+And+America++ In+Post8war+Hollywood+Cinema+ + + + + + Rodney+Wallis+ + + + + + + + +

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Imagining+The+Promised+Land:+ ++ Israel+And+America++ In+Post8war+Hollywood+Cinema+ + + + + + Rodney+Wallis+ + + + + + + + + (Re)Imagining+the+Promised+Land:+ ++ Israel+and+America++ in+Post8war+Hollywood+Cinema+ + + + + + Rodney+Wallis+ + + + + + + + + Submitted)in)fulfillment)of)the)requirements)of)the)degree)of)Doctor) of)Philosophy) ) ) ) ) ) School)of)the)Arts)&)Media) University)of)New)South)Wales) March)2016) ! PLEASE TYPE THE UNIVERSITY OF NEW SOUTH WALES Thesis/Dissertation Sheet Surname or Family name: Wallis First name: Rodney Other name/s: Bruce Abbreviation for degree as given in the University calendar: PhD School: School of the Arts & Media Faculty: Faculty of Arts & Social Sciences Title: (Re)Imagining the Promised Land: Israel and America in Post-war Hollywood Cinema Abstract 350 words maximum: (PLEASE TYPE) Hollywood'has'frequently'deployed'an'oppositional'logic'as'a'means'of'fostering'an'idealised'notion'of' American'nationhood.'This'is'something'that'is'widely'acknowledged'throughout'film'scholarship.' Significantly'less'critical'attention,'however,'has'been'devoted'to'the'ways'in'which'idealised'conceptions'of' Americanism'have'been'enunciated'through'the'cinematic'mobilisation'of'nations'that'are'seen'as'being' aligned'with'or'culturally'and'politically'similar'to'the'United'States.'This'thesis'examines'the'functionality'of' alignment'and'parallelism'in'the'construction'of'American'nationhood'by'tracking'the'evolution'of' Hollywood’s'various'representations'and'invocations'of'both'preBhistorical'and'presentBday'Israel.'' ' While'Israel'has'seemingly'been'a'minor'presence'in'Hollywood'cinema,'this'thesis'argues'that'there'is'a'long' history'of'Hollywood'deploying'images'of'Israel'as'a'means'of'articulating'an'idealised'notion'of'American' national'identity'and'negotiating'anxieties'peculiar'to'contemporaneous'American'society.'This'argument'is' developed'through'readings'of'The$Ten$Commandments'(Cecil'B.'DeMille,'1956),'Ben.Hur:$A$Tale$of$the$Christ' (William'Wyler,'1959),'Exodus'(Otto'Preminger,'1960),'Cast$a$Giant$Shadow'(Melville'Shavelson,'1966),'Black' Sunday'(John'Frankenheimer,'1977),'The$Delta$Force'(Menahem'Golan,'1986),'and'Munich'(Steven'Spielberg,' 2005).'The'films'selected'for'analysis'encompass'a'range'of'genres,'represent'productions'of'various'scale'and' ambition,'and'also'span the entire history of Israel’s'existence'as'a'state.'Moreover,'they'undoubtedly' constitute'the'most'significant'of'Hollywood‘s'imaginings'of'Israel'by'virtue'of the prominence of each film’s' original'source'material,'the'stature'of'the'filmmakers'and'actors'responsible'for'each'film,'and'the'degree'to' which'each'film'penetrated'the'cultural'consciousness.'The'mobilisation'of'Israel'that'pervades'this'eclectic' group'of'films'effectively'demonstrates'one'of'the'more'surreptitious'ways'in'which'Hollywood'has' historically'constructed'and'circulated'dominant'notions'of'American'national'identity.' Declaration relating to disposition of project thesis/dissertation I hereby grant to the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or in part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all property rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. I also authorise University Microfilms to use the 350 word abstract of my thesis in Dissertation Abstracts International (this is applicable to doctoral theses only). ……………………………………..……………… Signature Witness Signature Date The University recognises that there may be exceptional circumstances requiring restrictions on copying or conditions on use. Requests for restriction for a period of up to 2 years must be made in writing. Requests for a longer period of restriction may be considered in exceptional circumstances and require the approval of the Dean of Graduate Research. FOR OFFICE USE ONLY Date of completion of requirements for Award: THIS SHEET IS TO BE GLUED TO THE INSIDE FRONT COVER OF THE THESIS ORIGINALITY STATEMENT ‘I hereby declare that this submission is my own work and to the best of my knowledge it contains no materials previously published or written by another person, or substantial proportions of material which have been accepted for the award of any other degree or diploma at UNSW or any other educational institution, except where due acknowledgement is made in the thesis. Any contribution made to the research by others, with whom I have worked at UNSW or elsewhere, is explicitly acknowledged in the thesis. I also declare that the intellectual content of this thesis is the product of my own work, except to the extent that assistance from others in the project's design and conception or in style, presentation and linguistic expression is acknowledged.’ Signed …………………………………………….............. Date …………………………………………….............. COPYRIGHT STATEMENT ‘I hereby grant the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all proprietary rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. I also authorise University Microfilms to use the 350 word abstract of my thesis in Dissertation Abstract International (this is applicable to doctoral theses only). I have either used no substantial portions of copyright material in my thesis or I have obtained permission to use copyright material; where permission has not been granted I have applied/will apply for a partial restriction of the digital copy of my thesis or dissertation.' Signed ……………………………………………........................... Date ……………………………………………........................... AUTHENTICITY STATEMENT ‘I certify that the Library deposit digital copy is a direct equivalent of the final officially approved version of my thesis. No emendation of content has occurred and if there are any minor variations in formatting, they are the result of the conversion to digital format.’ Signed ……………………………………………........................... Date ……………………………………………........................... Abstract( ! ! ! ! Hollywood!has!frequently!deployed!an!oppositional!logic!as!a!means!of! fostering!an!idealised!notion!of!American!nationhood.!This!is!something!that!is! widely!acknowledged!throughout!film!scholarship.!Significantly!less!critical! attention,!however,!has!been!devoted!to!the!ways!in!which!idealised!conceptions! of!Americanism!have!been!enunciated!through!the!cinematic!mobilisation!of! nations!that!are!seen!as!being!aligned!with!or!culturally!and!politically!similar!to! the!United!States.!This!thesis!examines!the!functionality!of!alignment!and! parallelism!in!the!construction!of!American!nationhood!by!tracking!the!evolution! of!Hollywood’s!various!representations!and!invocations!of!both!preChistorical! and!presentCday!Israel.!! ! While!Israel!has!seemingly!been!a!minor!presence!in!Hollywood!cinema,! this!thesis!argues!that!there!is!a!long!history!of!Hollywood!deploying!images!of! Israel!as!a!means!of!articulating!an!idealised!notion!of!American!national!identity! and!negotiating!anxieties!peculiar!to!contemporaneous!American!society.!This! argument!is!developed!through!readings!of!The$Ten$Commandments!(Cecil!B.! DeMille,!1956),!Ben.Hur:$A$Tale$of$the$Christ!(William!Wyler,!1959),!Exodus!(Otto! Preminger,!1960),!Cast$a$Giant$Shadow!(Melville!Shavelson,!1966),!Black!Sunday! (John!Frankenheimer,!1977),!The$Delta$Force!(Menahem!Golan,!1986),!and! Munich!(Steven!Spielberg,!2005).!The!films!selected!for!analysis!encompass!a! range!of!genres,!represent!productions!of!various!scale!and!ambition,!and!also! span!the!entire!history!of!Israel’s!existence!as!a!state.!Moreover,!they! undoubtedly!constitute!the!most!significant!of!Hollywood‘s!imaginings!of!Israel! by!virtue!of!the!prominence!of!each!film’s!original!source!material,!the!stature!of! the!filmmakers!and!actors!responsible!for!each!film,!and!the!degree!to!which! each!film!penetrated!the!cultural!consciousness.!The!mobilisation!of!Israel!that! pervades!this!eclectic!group!of!films!effectively!demonstrates!one!of!the!more! surreptitious!ways!in!which!Hollywood!has!historically!constructed!and! circulated!dominant!notions!of!American!national!identity.! ! 1! Acknowledgements( ! An!immense!thank!you!to!my!supervisor!Jodi!Brooks!for!her!years!of! guidance,!patience,!and!encouragement.!Thanks!also!to!Michelle!Langford!for!her! coCsupervision!of!this!thesis.!I!am!also!grateful!to!Mahsa!Salamati!and!Jessica! Ford!for!their!comments,!advice,!and!corrections.!I!would!also!like!to!thank!my! friends!and!family!for!their!unconditional!love!and!support.!Extra!special!thanks! to!Jenn!Mak,!without!whom!nothing!is!possible.! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ( ! 2! Contents( ( ! ! ! Abstract!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!1! ! ! ! Acknowledgements!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!2! ! ! ! Introduction!!!!!!!!!The!United!States!and!Israel:!Parallel!Promised!Lands!!!!!!!!!!!!!!!!!4! ! ! ! Chapter!1!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!“God’s!Chosen!People”:!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!26! America!as!Israel!in!the!Fifties!Cold!War!Epic!
Load more

Recommended publications
  • WALTER CRONKITE – IMAGE #28 the 20Th Summer Olympic Games
    WALTER CRONKITE – IMAGE #28 The 20th Summer Olympic Games were held in Munich, Germany, in 1972. Tensions ran high at these Olympics, because they were the first Olympic games held in Germany since the Nazis hosted them in 1936. The Israeli athletes and their trainers were especially nervous. Many had family members who had been murdered during the Holocaust or were themselves Holocaust survivors. The first few days of the Olympic Games went smoothly. On September 4th the Israeli team spent the evening out, seeing the play, Fiddler on the Roof. Then they went back to the Olympic Village to sleep. A little after 4 a.m. on September 5th, as the Israeli athletes slept, eight members of the Palestinian Liberation Organization terrorist group, Black September, jumped over the six-foot high fence that encircled the Olympic Village. The terrorists headed straight for 31 Connollystrasse, the building where the Israeli contingent was staying. Around 4:30 a.m. the terrorists entered the building. They rounded up the occupants of apartment 1 and, then, apartment 3. Several of the Israelis fought back. Two of them were killed. A couple of others were able to escape out windows. Nine were taken hostage. By 5:10 a.m. the police had been alerted, and news of the attack had spread around the world. The terrorists then dropped a list of their demands out the window. They wanted 234 prisoners released from Israeli prisons and two from German prisons by 9 a.m. Negotiators were able to extend the deadline to noon, then to 1 p.m., then to 3 p.m., then to 5 p.m.
    [Show full text]
  • ALPHABETICAL LIST of Dvds and Vts 9/6/2011 DVD a Mighty Heart
    ALPHABETICAL LIST OF DVDs AND VTs 9/6/2011 DVD A Mighty Heart: Story of Daniel Pearl A Nurse I am – Documentary and educational film about nurses A Single Man –with Colin Firth and Julianne Moore (R) Abe and the Amazing Promise: a lesson in Patience (VeggieTales) Akeelah and the Bee August Rush - with Freddie Highmore, Keri Russell, Jonathan Rhys Meyers, Terrence Howard, Robin Williams Australia - with Hugh Jackman, Nicole Kidman Aviator (story of Howard Hughes - with Leonardo DiCaprio Because of Winn-Dixie Beethoven - with Charles Grodin, Bonnie Hunt Big Red Black Beauty Cats & Dogs Changeling - with Angelina Jolie Charlie and the Chocolate Factory - with Johnny Depp Charlie Wilson’s War - with Tom Hanks, Julie Roerts, Phil Seymour Hoffman Charlotte’s Web Chicago Chocolat - with Juliette Binoche, Judi Dench, Alfred Molina, Lena Olin & Johnny Depp Christmas Blessing - with Neal Patrick Harris Close Encounters of the Third Kind – with Richard Dreyfuss Date Night – with Steve Carell and Tina Fey (PG-13) Dear John – with Channing Tatum and Amanda Seyfried (PG-13) Doctor Zhivago Dune Duplicity - with Julia Roberts and Clive Owen Enchanted Evita Finding Nemo Finding Neverland Fireproof – with Kirk Cameron on Erin Bethea (PG) Five People You Meet in Heaven Fluke Girl With a Pearl Earring – with Colin Firth, Scarlett Johannson, Tom Wilkinson Grand Torino (with Clint Eastwood) Green Zone – with Matt Damon (R) Happy Feet Harry Potter and the Half-Blood Prince Hildalgo with Viggo Mortensen (PG13) Holiday, The – with Cameron Diaz, Kate Winslet,
    [Show full text]
  • David Stratton's Stories of Australian Cinema
    David Stratton’s Stories of Australian Cinema With thanks to the extraordinary filmmakers and actors who make these films possible. Presenter DAVID STRATTON Writer & Director SALLY AITKEN Producers JO-ANNE McGOWAN JENNIFER PEEDOM Executive Producer MANDY CHANG Director of Photography KEVIN SCOTT Editors ADRIAN ROSTIROLLA MARK MIDDIS KARIN STEININGER HILARY BALMOND Sound Design LIAM EGAN Composer CAITLIN YEO Line Producer JODI MADDOCKS Head of Arts MANDY CHANG Series Producer CLAUDE GONZALES Development Research & Writing ALEX BARRY Legals STEPHEN BOYLE SOPHIE GODDARD SC SALLY McCAUSLAND Production Manager JODIE PASSMORE Production Co-ordinator KATIE AMOS Researchers RACHEL ROBINSON CAMERON MANION Interview & Post Transcripts JESSICA IMMER Sound Recordists DAN MIAU LEO SULLIVAN DANE CODY NICK BATTERHAM Additional Photography JUDD OVERTON JUSTINE KERRIGAN STEPHEN STANDEN ASHLEIGH CARTER ROBB SHAW-VELZEN Drone Operators NICK ROBINSON JONATHAN HARDING Camera Assistants GERARD MAHER ROB TENCH MARK COLLINS DREW ENGLISH JOSHUA DANG SIMON WILLIAMS NICHOLAS EVERETT ANTHONY RILOCAPRO LUKE WHITMORE Hair & Makeup FERN MADDEN DIANE DUSTING NATALIE VINCETICH BELINDA MOORE Post Producers ALEX BARRY LISA MATTHEWS Assistant Editors WAYNE C BLAIR ANNIE ZHANG Archive Consultant MIRIAM KENTER Graphics Designer THE KINGDOM OF LUDD Production Accountant LEAH HALL Stills Photographers PETER ADAMS JAMIE BILLING MARIA BOYADGIS RAYMOND MAHER MARK ROGERS PETER TARASUIK Post Production Facility DEFINITION FILMS SYDNEY Head of Post Production DAVID GROSS Online Editor
    [Show full text]
  • The Munich Massacre: a New History
    The Munich Massacre: A New History Eppie Briggs (aka Marigold Black) A thesis submitted in partial fulfilment of the requirements of the degree of BA (Hons) in History University of Sydney October 2011 1 Contents Introduction and Historiography Part I – Quiet the Zionist Rage 1. The Burdened Alliance 2. Domestic Unrest Part II – Rouse the Global Wrath 3. International Condemnation 4. The New Terrorism Conclusion 2 Acknowledgments I would like to thank first and foremost Dr Glenda Sluga to whom I am greatly indebted for her guidance, support and encouragement. Without Glenda‟s sage advice, the writing of this thesis would have been an infinitely more difficult and painful experience. I would also like to thank Dr Michael Ondaatje for his excellent counsel, good-humour and friendship throughout the last few years. Heartfelt thanks go to Elise and Dean Briggs for all their love, support and patience and finally, to Angus Harker and Janie Briggs. I cannot adequately convey the thanks I owe Angus and Janie for their encouragement, love, and strength, and for being a constant reminder as to why I was writing this thesis. 3 Abstract This thesis examines the Nixon administration’s response to the Munich Massacre; a terrorist attack which took place at the 1972 Olympic Games in Munich. By examining the contextual considerations influencing the administration’s response in both the domestic and international spheres, this thesis will determine the manner in which diplomatic intricacies impacted on the introduction of precedent setting counterterrorism institutions. Furthermore, it will expound the correlation between the Nixon administration’s response and a developing conceptualisation of acts of modern international terrorism.
    [Show full text]
  • (Pdf) Download
    Artist Song 2 Unlimited Maximum Overdrive 2 Unlimited Twilight Zone 2Pac All Eyez On Me 3 Doors Down When I'm Gone 3 Doors Down Away From The Sun 3 Doors Down Let Me Go 3 Doors Down Behind Those Eyes 3 Doors Down Here By Me 3 Doors Down Live For Today 3 Doors Down Citizen Soldier 3 Doors Down Train 3 Doors Down Let Me Be Myself 3 Doors Down Here Without You 3 Doors Down Be Like That 3 Doors Down The Road I'm On 3 Doors Down It's Not My Time (I Won't Go) 3 Doors Down Featuring Bob Seger Landing In London 38 Special If I'd Been The One 4him The Basics Of Life 98 Degrees Because Of You 98 Degrees This Gift 98 Degrees I Do (Cherish You) 98 Degrees Feat. Stevie Wonder True To Your Heart A Flock Of Seagulls The More You Live The More You Love A Flock Of Seagulls Wishing (If I Had A Photograph Of You) A Flock Of Seagulls I Ran (So Far Away) A Great Big World Say Something A Great Big World ft Chritina Aguilara Say Something A Great Big World ftg. Christina Aguilera Say Something A Taste Of Honey Boogie Oogie Oogie A.R. Rahman And The Pussycat Dolls Jai Ho Aaliyah Age Ain't Nothing But A Number Aaliyah I Can Be Aaliyah I Refuse Aaliyah Never No More Aaliyah Read Between The Lines Aaliyah What If Aaron Carter Oh Aaron Aaron Carter Aaron's Party (Come And Get It) Aaron Carter How I Beat Shaq Aaron Lines Love Changes Everything Aaron Neville Don't Take Away My Heaven Aaron Neville Everybody Plays The Fool Aaron Tippin Her Aaron Watson Outta Style ABC All Of My Heart ABC Poison Arrow Ad Libs The Boy From New York City Afroman Because I Got High Air
    [Show full text]
  • Israeli Character Depictions in Hollywood Films (1948-2008)
    American University in Cairo AUC Knowledge Fountain Theses and Dissertations 6-1-2016 Israeli character depictions in Hollywood films (1948-2008) Hanan Omary Follow this and additional works at: https://fount.aucegypt.edu/etds Recommended Citation APA Citation Omary, H. (2016).Israeli character depictions in Hollywood films (1948-2008) [Master’s thesis, the American University in Cairo]. AUC Knowledge Fountain. https://fount.aucegypt.edu/etds/290 MLA Citation Omary, Hanan. Israeli character depictions in Hollywood films (1948-2008). 2016. American University in Cairo, Master's thesis. AUC Knowledge Fountain. https://fount.aucegypt.edu/etds/290 This Thesis is brought to you for free and open access by AUC Knowledge Fountain. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of AUC Knowledge Fountain. For more information, please contact [email protected]. The American University in Cairo School of Global Affairs and Public Policy ISRAELI CHARACTER DEPICTIONS IN HOLLYWOOD FILMS (1948 - 2008) A Thesis Submitted to Department of Journalism and Mass Communications in partial fulfillment of the requirements for the degree of Master of Arts by Hanan H Omary (Under the supervision of Dr Ronnie Close) April 2016 The American University in Cairo School of Global Affairs and Public Policy Israeli Character Depictions in Hollywood Films (1948 – 2008) A Thesis Submitted by Hanan Omary to the Department of Journalism and Mass Communication (May 2016) in partial fulfillment of the requirements for the degree of Master of Arts in Journalism and Mass Communications has been approved by Name _______________________________ Thesis Adviser Affiliation ____________________________________________ Date ____________________ Name _______________________________ Thesis Second Reader Affiliation ____________________________________________ Date ____________________ Name _______________________________________________ Thesis Third Reader Affiliation ___________________________________________ Date ___________________ Dr.
    [Show full text]
  • “Why So Serious?” Comics, Film and Politics, Or the Comic Book Film As the Answer to the Question of Identity and Narrative in a Post-9/11 World
    ABSTRACT “WHY SO SERIOUS?” COMICS, FILM AND POLITICS, OR THE COMIC BOOK FILM AS THE ANSWER TO THE QUESTION OF IDENTITY AND NARRATIVE IN A POST-9/11 WORLD by Kyle Andrew Moody This thesis analyzes a trend in a subgenre of motion pictures that are designed to not only entertain, but also provide a message for the modern world after the terrorist attacks of September 11, 2001. The analysis provides a critical look at three different films as artifacts of post-9/11 culture, showing how the integration of certain elements made them allegorical works regarding the status of the United States in the aftermath of the attacks. Jean Baudrillard‟s postmodern theory of simulation and simulacra was utilized to provide a context for the films that tap into themes reflecting post-9/11 reality. The results were analyzed by critically examining the source material, with a cultural criticism emerging regarding the progression of this subgenre of motion pictures as meaningful work. “WHY SO SERIOUS?” COMICS, FILM AND POLITICS, OR THE COMIC BOOK FILM AS THE ANSWER TO THE QUESTION OF IDENTITY AND NARRATIVE IN A POST-9/11 WORLD A Thesis Submitted to the Faculty of Miami University in partial fulfillment of the requirements for the degree of Master of Arts Department of Communications Mass Communications Area by Kyle Andrew Moody Miami University Oxford, Ohio 2009 Advisor ___________________ Dr. Bruce Drushel Reader ___________________ Dr. Ronald Scott Reader ___________________ Dr. David Sholle TABLE OF CONTENTS ACKNOWLEDGMENTS .......................................................................................................................... III CHAPTER ONE: COMIC BOOK MOVIES AND THE REAL WORLD ............................................. 1 PURPOSE OF STUDY ...................................................................................................................................
    [Show full text]
  • Targeted Killing: Self-Defense, Preemption, and the War on Terrorism
    Journal of Strategic Security Volume 2 Number 2 Volume 2, No. 2: May 2009 Article 1 Targeted Killing: Self-Defense, Preemption, and the War on Terrorism Thomas Byron Hunter Follow this and additional works at: https://scholarcommons.usf.edu/jss Part of the Defense and Security Studies Commons, National Security Law Commons, and the Portfolio and Security Analysis Commons pp. 1-52 Recommended Citation Hunter, Thomas Byron. "Targeted Killing: Self-Defense, Preemption, and the War on Terrorism." Journal of Strategic Security 2, no. 2 (2010) : 1-52. DOI: http://dx.doi.org/10.5038/1944-0472.2.2.1 Available at: https://scholarcommons.usf.edu/jss/vol2/iss2/1 This Article is brought to you for free and open access by the Open Access Journals at Scholar Commons. It has been accepted for inclusion in Journal of Strategic Security by an authorized editor of Scholar Commons. For more information, please contact [email protected]. Targeted Killing: Self-Defense, Preemption, and the War on Terrorism Abstract This paper assesses the parameters and utility of “targeted killing” in combating terrorism and its role within the norm of state self-defense in the international community. The author’s thesis is that, while targeted killing provides states with a method of combating terrorism, and while it is “effective” on a number of levels, it is inherently limited and not a panacea. The adoption and execution of such a program brings with it, among other potential pitfalls, political repercussions. Targeted killing is defined herein as the premeditated, preemptive, and intentional killing of an individual or individuals known or believed to represent a present and/or future threat to the safety and security of a state through affiliation with terrorist groups or individuals.
    [Show full text]
  • Michael Tilson Thomas
    • 35 YE 21 AR 0 S 2 BERKSHIRE JEWISH FILM FESTIVAL 2021 marks the 35th anniversary of the Berkshire Jewish Film Festival. The brainchild of Dr. Zev Raviv, the festival was led by Margie Metzger for 30 years. For the first 20 years, the films were shown on a 16mm projector at Knesset Israel in either the Sanctuary or the Social Hall. At the very beginning, a crowd of 25 was considered a success. Amy Abramovich helped run the concession where people could buy ice cream and other goodies. Because it was (and still is) a fundraiser for the Knesset Israel Hebrew School, it was important to involve the students, and each year a contest was held to design the program cover. The tide turned with the screening of the documenta- ry, The Life and Times of Hank Greenberg. There was stand- ing room only and it was then that public perception of the film festival changed. And the rest is history! Over these past 35 years, the BJFF has shown hundreds of films to thousands of people. Last year with the pan- demic forcing us to close the theater doors, we were able to continue as a virtual festival showing films online and engaging our audience members with Zoom talkbacks. This year we are celebrating with a full seven weeks of programming. Including the five short films being shown on August 9th, we are offering eighteen films in total. Our films range from political documentaries and biographies to comedies, heartfelt family stories, and animation. We couldn’t run this festival without our loyal volunteers.
    [Show full text]
  • 9/11 Report”), July 2, 2004, Pp
    Final FM.1pp 7/17/04 5:25 PM Page i THE 9/11 COMMISSION REPORT Final FM.1pp 7/17/04 5:25 PM Page v CONTENTS List of Illustrations and Tables ix Member List xi Staff List xiii–xiv Preface xv 1. “WE HAVE SOME PLANES” 1 1.1 Inside the Four Flights 1 1.2 Improvising a Homeland Defense 14 1.3 National Crisis Management 35 2. THE FOUNDATION OF THE NEW TERRORISM 47 2.1 A Declaration of War 47 2.2 Bin Ladin’s Appeal in the Islamic World 48 2.3 The Rise of Bin Ladin and al Qaeda (1988–1992) 55 2.4 Building an Organization, Declaring War on the United States (1992–1996) 59 2.5 Al Qaeda’s Renewal in Afghanistan (1996–1998) 63 3. COUNTERTERRORISM EVOLVES 71 3.1 From the Old Terrorism to the New: The First World Trade Center Bombing 71 3.2 Adaptation—and Nonadaptation— ...in the Law Enforcement Community 73 3.3 . and in the Federal Aviation Administration 82 3.4 . and in the Intelligence Community 86 v Final FM.1pp 7/17/04 5:25 PM Page vi 3.5 . and in the State Department and the Defense Department 93 3.6 . and in the White House 98 3.7 . and in the Congress 102 4. RESPONSES TO AL QAEDA’S INITIAL ASSAULTS 108 4.1 Before the Bombings in Kenya and Tanzania 108 4.2 Crisis:August 1998 115 4.3 Diplomacy 121 4.4 Covert Action 126 4.5 Searching for Fresh Options 134 5.
    [Show full text]
  • March 12Th 1986
    California State University, San Bernardino CSUSB ScholarWorks Coyote Chronicle (1984-) Arthur E. Nelson University Archives 3-12-1986 March 12th 1986 CSUSB Follow this and additional works at: https://scholarworks.lib.csusb.edu/coyote-chronicle Recommended Citation CSUSB, "March 12th 1986" (1986). Coyote Chronicle (1984-). 206. https://scholarworks.lib.csusb.edu/coyote-chronicle/206 This Newspaper is brought to you for free and open access by the Arthur E. Nelson University Archives at CSUSB ScholarWorks. It has been accepted for inclusion in Coyote Chronicle (1984-) by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. Voliune 20 Number 17 March 12,1986 Bus Stop Well Young Republican "Blast from the Past 99 Performed Is political awaicucss ucau la accusea tne Young Repbulicans ot in tiiHing intending to start coyote land? Certainly not!I At the being Rambo lovers and StaUone problemsl WeU, no proUem herel by John PurceU last meetiiig of the Young groupies, along with less As a matter of frict, tte Jane Fonda William Inge's Bus Stop, as love must be given fredy and Republicans, this campus got to printable...Yuppies perhaps, but Fan Club did nothing short ot perfonned by CSUSB's Thea^e cannot be demanded, the other see a "blast from the past" if you Stallone groupie^ PUH-LEEZEll making the Young Republican Arts Department, is a i^y which diaracters show diflerent outlooks wfll when some throwbacks of the But the point here is that the meeting a unifying success. serves as a wondofiil veUde for on love.
    [Show full text]
  • Fake Realities: Assassination and Race in Popular Culture Kevin Marinella
    Bridgewater State University Virtual Commons - Bridgewater State University Master’s Theses and Projects College of Graduate Studies 2018 Fake Realities: Assassination and Race in Popular Culture Kevin Marinella Follow this and additional works at: http://vc.bridgew.edu/theses Part of the Criminology Commons Recommended Citation Marinella, Kevin. (2018). Fake Realities: Assassination and Race in Popular Culture. In BSU Master’s Theses and Projects. Item 56. Available at http://vc.bridgew.edu/theses/56 Copyright © 2018 Kevin Marinella This item is available as part of Virtual Commons, the open-access institutional repository of Bridgewater State University, Bridgewater, Massachusetts. Running Head: FAKE REALITIES: ASSASSINATION AND RACE IN POPULAR CULTURE 1 Fake realities: Assassination and race in popular culture A Thesis Presented by KEVIN MARINELLA Submitted to the College of Graduate Studies Bridgewater State University Bridgewater, Massachusetts in partial fulfillment of the requirements for the Degree of Master of Science in Criminal Justice MAY 2018 Fake realities: Assassination and race in popular culture 2 Fake realities: Assassination and race in popular culture A Thesis Presented by KEVIN MARINELLA MAY 2018 Approved as to style and content by: Signature:______________________________________________________________ Dr. Wendy Wright, Chair Date: Signature:______________________________________________________________ Dr. Carolyn Petrosino, Member Date: Signature:______________________________________________________________ Dr. Jamie Huff, Member Date: Fake realities: Assassination and race in popular culture 3 ABSTRACT Since the September 11th, 2011 terrorist attacks the United States had been involved in conflicts across the globe. These conflict have given rise to the use of target killing, commonly known as assassination as a way to eliminate enemies of the United States. A majority of those killed are of Middle-Eastern descent and/or are followers of Islam.
    [Show full text]