Palestine in Film
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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. -
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. -
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. -
Palestinians; from Village Peasants to Camp Refugees: Analogies and Disparities in the Social Use of Space
Palestinians; From Village Peasants to Camp Refugees: Analogies and Disparities in the Social Use of Space Item Type text; Electronic Thesis Authors Maraqa, Hania Nabil Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 25/09/2021 06:50:44 Link to Item http://hdl.handle.net/10150/190208 PALESTINIANS; FROM VILLAGE PEASANTS TO CAMP REFUGEES: ANALOGIES AND DISPARITIES IN THE SOCIAL USE OF SPACE by Hania Nabil Maraqa _____________________ Copyright © Hania Nabil Maraqa 2004 A Thesis Submitted to the Faculty of the SCHOOL OF ARCHITECTURE In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARCHITECTURE In the Graduate College THE UNIVERSITY OF ARIZONA 2 0 0 4 2 STATEMENT BY AUTHOR This thesis has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. 3 ACKNOWLEDGEMENTS I would like to express my gratitude to all those who made this research a reality. Special appreciation goes to my advisor, Dennis Doxtater, who generously showed endless support and guidance. -
FILMS on Palestine-Israel By
PALESTINE-ISRAEL FILMS ON THE HISTORY of the PALESTINE-ISRAEL CONFLICT compiled with brief introduction and commentary by Rosalyn Baxandall A publication of the Palestine-Israel Working Group of Historians Against the War (HAW) December 2014 www.historiansagainstwar.org Licensed under Creative Commons Attribution – NonCommercial – ShareAlike 1 Introduction This compilation of films that relate to the Palestinian-Israeli struggle was made in July 2014. The films are many and the project is ongoing. Why film? Film is often an extraordinarily effective tool. I found that many students in my classes seemed more visually literate than print literate. Whenever I showed a film, they would remember the minute details, characters names and sub-plots. Films were accessible and immediate. Almost the whole class would participate and debates about the film’s meaning were lively. Film showings also improved attendance at teach-ins. At the Truro, Massachusetts, Library in July 2014, the film Voices Across the Divide was shown to the biggest audiences the library has ever had, even though the Wellfleet Library and several churches had refused to allow the film to be shown. Organizing is also important. When a film is controversial, as many in this pamphlet are, a thorough organizing effort including media coverage will augment the turnout for the film. Many Jewish and Palestinian groups list films in their resources. This pamphlet lists them alphabetically, and then by number under themes and categories; the main listings include summaries, to make the films more accessible and easier to use by activist and academic groups. 2 1. 5 Broken Cameras, 2012. -
A Listening Eye: the Films of Mike Dibb Part Three: Conversation Pieces
A Listening Eye: The Films of Mike Dibb Part Three: Conversation Pieces Week Two Available to view 5 - 11 March 2021 For the ninth week of A Listening Eye, as we move further into the final phase of Mike Dibb’s series, we focus on his dynamic films about and with writers, thinkers, activists and public intellectuals, as well as an artist or two. This programme continues to demonstrate the sheer range of engaged lives and ideas that Dibb has documented. Available to view 5 - 11 March: The Further Adventures of Don Quixote, 1995, 50’ The Beginning of the End of the Affair, 1999, 50’ Memories of the Future, John Ruskin and William Morris 1984, 2x52’ A Curious Mind – AS Byatt, 1996, 50’ Somewhere Over the Rainbow, 1982, 50’ Steven Rose – A Profile 2003, 30’ The Spirit of Lorca, 1986, 75’ The Fame and Shame of Salvador Dali, 1997-98, 120’ The Further Adventures of Don Quixote (Bookmark) As early as chapter two in this astonishingly original and prescient novel, Miguel de Cervantes was already aware of his hero’s impending immortality: “Happy shall be the times and happy shall be the age, in which my famous deeds shall come to light; deeds worthy to be engraved in bronZe, carved in marble, and re-created in painting, as a monument to posterity!” Cervantes’ clairvoyance didn’t quite stretch to the arrival of cinema and television; but I’m sure that, if he had known about them, he would have guessed that a film about Don Quixote and Sancho Panza’s astonishing after-life would eventually be made. -
The London School of Economics and Political Science
The London School of Economics and Political Science Conceptualising Suicide Bombings and Rethinking International Relations Theory: The Case of Hamas, 1987-2006 Rashmi Singh A thesis submitted to the Department of International Relations of the London School of Economics for the degree of Doctor of Philosophy, London, July 2008 UMI Number: U615475 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U615475 Published by ProQuest LLC 2014. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 ■ rc s g e s F g ^ l \ 12 ^ 0 % im 'zoT - Battles “They'll wake up in the morning And they will fight. That which you saw last night was my dream The other will answer: no, it was my dream They will gently retrieve two pistols From the sides of the same pillow And at the same moment They will fire” - Salvos of Mercy From a selection of poems by Ibrahim Nasrallah Translated by Ibrahim Muhawi Declaration I certify that the thesis I have presented for examination for the MPhil/PhD degree of the London School of Economics and Political Science is solely my own work other than where I have clearly indicated that it is the work of others (in which case the extent of any work carried out jointly by me and any other person is clearly identified in it). -
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. -
“This Is the Kairos...”
Films & Books Find More Films, Books, and Other Resources at umhltf.org “This is the Kairos...” Resources for Israel-Palestine Education and Advocacy Occupation 101 Fast Times in Palestine, Pam Olson Thought-provoking documentary covers a wide Harrowing, funny, vivid, moving and inspiring range of topics – history from 1880s to now, personal story that opens a rare window onto obstacles to peace, role of the US, settlements, Palestinian life under Israeli occupation. Easy the Separation Wall, Gaza, and more. 90 mins. and engaging to read, a fascinating memoir. Find Watch online or purchase at: occupation101.tv at: pamolson.org or Amazon. The Stones Cry Out The Ethnic Cleansing of Palestine, Ilan Pappe Powerful film speaks for Christian Palestinians Renowned Israeli historian offers impressive living with oppression and occupation for over archival evidence that, from its inception, Israel's 60 years, from the 1948 Nakba until today. 55 founding ideology was the forced removal of the mins. Find at: thestonescryoutmovie.com indigenous population. Indispensable for those interested in this region. Find at Amazon, etc. 5 Broken Cameras Critically-acclaimed, Oscar-nominated, and The Lemon Tree, Sandy Tolan deeply personal cinematic diary of life and This story of an extraordinary friendship non-violent resistance in a West Bank village spanning 35 years brings the Israeli-Palestinian surrounded by Israeli settlements. 94 mins. conflict down to its most human level, "This is the kairos, the moment of grace and opportunity, Find at Amazon, Watch -
Palestine — Palestine 2013
ART / STATES CULTURE / OF POST POLITICS / COLONIALITY / 2013 Palestine — Palestine SHORT FUSE FEATURES 5 alQAWS FOR 10 ACTUAL SIZE SEXUAL & GENDER 18 BASIL ALZERI DIVERSITY IN 26 SHATER HASSAN 2 SPRING PALESTINIAN 28 KAMAL ALJAFARI – SOCIETY 36 INSIDE 7 INDIGENOUS DECOLONIZING YOUTH DELEGATION ARCHITECTURE TO PALESTINE 9 BOYCOTT, DIVEST– MENT, SANCTIONS REVIEWS 15 ZAINAB AMADAHY 17 LADY GAZA 50 SECTOR ZERO 51 VICKY MOUFAWAD-PAUL COLUMNS 53 EYAL WEIZMAN FUSE MAGAZINE 36 54 FÉMINISMES 44 CLOSE READINGS ÉLECTRIQUES 47 MAKING IT WORK 8.50 CAD / USD Printed in Canada on Indigenous land EDITORIAL Palestine — Palestine The struggle for the liberation of Palestine Palestine – Palestine is the fourth in the FUSE series States is rooted in the struggle against its settler colonial of Postcoloniality. Launched in the fall of 2011, the series has taken a distinctly artlike approach to cataloguing present symptoms of context [1], and is part of a wider network of colonialism and the challenges mounted against them. The regionally anti-colonial resistance. [2] In this issue of FUSE, themed issues (Egypt, Inuit Nunangat and Lithuania thus far) have guest-edited by Nasrin Himada and Reena Katz, we mainly featured knowledge produced in and around the industry of contemporary art. But the thing that most squarely places the series highlight the shared structures and contemporary within the universe of an artist’s magazine is the editorial insistence effects of settler colonialism brought to bear on on telling the truth but telling it slant. [5] Designed as a critical communities in Palestine and on Turtle Island. As intervention into the contemporary art discourse in southern Canada, where most of our readers are located, the series has not addressed the Idle No More movement continues to thrive, it is colonial realities in our immediate communities but looked elsewhere, clear that its goals are to undermine the numerous hoping to be a part of collectively breaking the public fiction that colonial policies and procedures that are crucial to Canada is not a settler state. -
Searching for Peace in the West Bank Through 5 Broken Cameras
From the Instructor Camden Dean’s excellent paper, written for WR 100: “Global Documen- tary,” explores the destructive role that cameras play in the Israeli-Palestin- ian conflict. He focuses on the Academy Award-nominated documentary 5 Broken Cameras (2011), which tells the story of a Palestinian farmer who films his fellow villagers’ protest against the Israeli wall erected on their land. We studied this film at a poignant moment in the semester. The Israel-Gaza conflict had ended four months earlier. And we had just studied One Day in September (1999), which revisits the 1972 Munich Olympics, where 11 Israeli athletes and trainers were taken hostage and then killed by Palestinian terrorists—an event largely streamed on live television. The assignment’s sole requirement was that students pose and answer a question about any of our semester’s documentaries. After presenting an outline of his ideas and receiving feedback from the class, Camden began to write. Many of our theoretical readings helped to shape his ambitious argument—Jean Rouch on cinéma vérité, Michel Foucault on the Panopti- con, Susan Sontag on the desensitizing effect that images engender. While drafting his essay, however, Camden started to question the direction of his argument and wondered whether he should abandon it. Peer reviewers stepped in to offer just the right kind of feedback, inspiring the counter- arguments that frame his position for a skeptical reader and motivating him to keep going. Camden’s ability to view the role of cameras in the West Bank from multiple angles gives his essay its rhetorical force and judicious tone. -
Instructor's Name
Dr. Terry Hidichuk The United Centre for Theological Studies (204) 786-9247 [email protected] Dr. Dean Peachey Global College (204)988-7106 [email protected] GTHEO 7362 730 Theological Reflections in Context: Religion, Rights and Relationships in Israel and the West Bank Location: Room 3M60 Dates: On-campus classes - Thursday, 6:00-9:00 pm – Jan 8, 15, 22, 29, Feb 5, 12 Field portion - February 15-27 On-campus classes - 6:00-9:00 pm – March 12, 19, 26 Course Description: This course explores contemporary conflict and justice issues in Israeli-Palestinian relations, with particular attention to the perspectives and contributions of the three Abrahamic faith traditions, along with secular narratives. The course will meet once a week on campus, and include two weeks in Israel and the West Bank. This field portion will include guest lectures from various individuals and groups, visits to sites of historical, political and theological significance. Learning Outcomes: 1: Students will be able to articulate an understanding of the conflict in Israel and the West Bank from a variety of perspectives. 2: Students will be able to think critically about and respond to scholars and authors who have researched and written about rights, religion and relationship in the region. 3: Through the process of compassionate listening, students will learn how to listen without judgment and in ways that invite disagreement. 4: (outcomes to be determined during the first class in discussion with students) 5: (outcomes to be determined during the first class in discussion with students) Required Textbooks: (TENTATIVE) Chacour, E.