Contributors

Kapitel in diesem Buch

1. Frontmatter i
2. Contents v
3. Introduction ix
4. Part 1. The Nation Imagined on Film
5. 1. Filming the Homeland: Cinema in Eretz Israel and the Zionist Movement, 1917–1939 3
6. Ariel L. Feldestein 16
7. 3. Ecce Homo: The Transfiguration of Israeli Manhood in Israeli Films 30
8. Part 2. War and Its Aftermath
9. 4. From Hill to Hill: A Brief History of the Representation of War in Israeli Cinema 43
10. 5. From Hero to Victim: The Changing Image of the Soldier on the Israeli Screen 59
11. 6. The Lady and the Death Mask 70
12. 7. Coping with the Legacy of Death: The War Widow in Israeli Films 84
13. 8. The Privatization of War Memory in Recent Israeli Cinema 96
14. Part 3. An Ethno-Cultural Kaleidoscope
15. 9. Disjointed Narratives in Contemporary Israeli Films 113
16. 10. Trajectories of Mizrahi Cinema 120
17. 11. Immigrant Cinema: Russian Israelis on Screens and behind the Cameras 134
18. Part 4. Holocaust and Trauma
19. 12. The Holocaust in Israeli Cinema as a Conflict between Survival and Morality 151
20. 13. Near and Far: The Representation of Holocaust Survivors in Israeli Feature Films 168
21. 14. Homonational Desires: Masculinity, Sexuality, and Trauma in the Cinema of Eytan Fox 181
22. Part 5. Jewish Orthodoxy Revisited
23. 15. Negotiating Judaism in Contemporary Israeli Cinema: The Spiritual Style of My Father, My Lord 201
24. 16. Seeking the Local, Engaging the Global: Women and Religious Oppression in a Minor Film 213
25. 17. Beaufort and My Father, My Lord: Traces of the Binding Myth and the Mother’s Voice 225
26. Part 6. Filming the Palestinian Other
27. 18. The Foreigner Within and the Question of Identity in Fictitious Marriage and Streets of Yesterday 241
28. 19. A Rave against the Occupation?: Speaking for the Self and Excluding the Other in Contemporary Israeli Political Cinema 257
29. 20. Borders in Motion: The Evolution of the Portrayal of the Israeli-Palestinian Conflict in Contemporary Israeli Cinema 276
30. 21. Smashing Up the Face of History: Trauma and Subversion in Kedma and Atash 294
31. Part 7. New Cinematic Discourses
32. 22. Discursive Identities in the (R)evolution of the New Israeli Queer Cinema 313
33. 23. Kibbutz Films in Transition: From Morality to Ethics 326
34. 24. The End of a World, the Beginning of a New World: The New Discourse of Authenticity and New Versions of Collective Memory in Israeli Cinema 340
35. Contributors 357
36. Index 363