Note: Sample below may appear distorted but all corresponding word document files contain proper formattingExcerpt from Term Paper:
cinematic image of the Sabra beginning with the early Zionist films, through the national-heroic mode, and ending with the critical attitude of the late 1970s and 1980s
The 1955 film Hill 24 Doesn't Answer is one of the first products of Israeli cinema. It is meant to be a stirring portrait of the new Jewish state. It dramatizes the then-recent war of independence. The film shows the war bringing together Jews of disparate backgrounds, all united by the need to defend Israel. "In Israeli culture, the figure of the Sabra" during the time period when Hill was made was considered a kind of ideal national type, exemplifying the new Jewish attitude that was free from fear and persecution (Avisar 132). The national ideal of a state that could triumph against all odds and was strong, both spiritually and militarily, is conveyed by the film through the physical strength and determination of the soldiers.
In one scene, one of the soldiers confronts a Nazi who uses the fact that he is a prisoner of war as his defense, and hides behind the words that 'he was just following orders.' He begs for forgiveness in an attempt to preserve his life. The silent Israeli soldier shows tremendous strength and power in the scene over the man, embodying how the new Israel can never be beholden to anti-Semites again. The group of soldiers fighting for Israel is remarkable for its diversity, and collectively they symbolize the multinational unity of the new Jewish state.
Hill 24 Doesn't Answer, although sensitively directed, is fundamentally a heroic war film. However, as Israel grew more established as a nation, its cinematic culture began to move beyond the purely patriotic and adopt a slightly more critical lens. For example, the 'cult classic' Israeli film Charlie Ve'hetzi (1974) takes a far more deflationary view of Israel. It portrays the central character Charlie as a ne'er do-well but likeable con man who plays three-card Monte to make a living. Virtually every other word out of Charlie's mouth is a lie, as he tries to pass himself off as rich and successful. He is a bad influence on a young boy who admires him and hangs out with Charlie instead of going to school. The film itself is not surprising in the sense that it features an antihero (many films of the era did, not just Israeli films) but the fact that the comedy is clearly directed at an Israeli audience, about Israelis is a clear step forward in Israel's national cinematic maturity. Hill 24 Doesn't Answer, is, in contrast, clearly is intended as a message to the world, proclaiming the new values and strength of the Jewish state. But merely because Charlie is a resident of Israel and a Sabra does not make him above the morality of the other nationalities that appear in the film, such as the wealthy American businessman his beloved Gila's parents want her to wed.
In the contemporary era, Israeli cinema has shown a far more intensely self-critical eye upon the military strength that was once its nation's proudest accomplishment. Eyal, the hero of Walking on Water, is a Sabra who is capable of killing in a silent and deadly fashion, thanks to his Mossad training. However, he is also depressed -- his wife has committed suicide, and it is later revealed in the film that he is thinking of giving up his job as a secret agent because he feels as if he is a killing machine that can give no life to others. The politics of the past are clearly shown to affect Israel's present, as Eyal's relatives were killed by the Nazis when he was growing up, a fact which is used by his superior to goad him into assassinating an ex-Nazi as revenge.
But rather than asking whether Israel can defend itself (for in the film there is no question that it can), Walking on Water asks the question if it this type of destruction is truly beneficial for the contemporary residents of the land. Israel's sense of cultural identity -- its common 'rootedness,' and sense of collective unity, myths, traditions and distinctiveness is no longer in question and in need of being established in a heroic format alone, and instead can be questioned as well as affirmed (Smith 195).
Q2. Discuss the changes in the cinematic depiction of Holocaust survivors and collective memory, beginning with the post-Zionist approach of the late 1970s, and ending with…[continue]
"Israeli Cinema" (2012, January 12) Retrieved October 28, 2016, from http://www.paperdue.com/essay/israeli-cinema-115182
"Israeli Cinema" 12 January 2012. Web.28 October. 2016. <http://www.paperdue.com/essay/israeli-cinema-115182>
"Israeli Cinema", 12 January 2012, Accessed.28 October. 2016, http://www.paperdue.com/essay/israeli-cinema-115182
Walking on Water: Film Interpretation The protagonist Eyal of the film Walking on Water (2004) is a member of Israel's secret service organization, the Mossad. This is communicated in the first scene of the film, which depicts an apparently ordinary family in a boat. Suddenly, Eyal kills the father of the family with a lethal injection. The audience is immediately predisposed not to like Eyal, until they discover that he is
Holocaust affected Israeli society and culture and how Jews memorialize/Remember it today There exists no doubt regarding the massacre of the Jews during the phase of World War II and its impact on the lives of the Jewish people and the people who were near and dear to them. A dissention is required against those who assert that the tragedy never occurred, irrespective of whether they hold an opposite perspective
Waltz With Bashir (Vals Im Bashir) is a 2008 Israeli animated autobiographical docudrama by Ari Folman that is based on his experiences as a soldier during the First Lebanon War in 1982. The film is directed, written, and produced by Ari Folman, who also stars in the film as himself (Folman, 2008; IMDB, n.d.). With a budget of approximately $1.5 million, the film has grossed approximately $2.1 million (Rotten Tomatoes,
What is certain from all three films is that technology essentially shapes the way in which modern stories are told. Abstraction and Cinematic Modernism Cinematic modernism, as defined by a certain purposeful ambiguity and a rather high level of abstraction, has become a prominent feature of many films made in the past several decades. Rather than making meaning less apparent in films through the lack of concrete and certain interpretations of
He had an engineering degree from the university of Swansea in Britain. He too participated in the afghan war and was a friend of Bin laden since the late eighties. He was the emissary of bin laden in Philippines and trained the Muslim fundamentalists there. He made his way into the U.S. without a visa and continued his stay there by seeking political asylum. He was a skilled expert
In Iran, the American-backed Shah had become increasingly unpopular throughout the 1970s. The Shah fled Iran in 1979, finding temporary refuge in the United States. Religious extremist Ayatollah Khomeni easily filled Iran's political and social need for a backlash against American interventionism. Iran's 1979 Revolution had a major impact on its relationship with the United States and with the rest of the world. Whereas the Shah had guaranteed a steady
Thus, paramount American interests were to be presented as being really the interests of the Europeans themselves. It would be a situation wherein America was simply helping along people who were, at present, unable to adequately help themselves. The concept had much in common with the goals of many charity or self-help organizations - people grow and are transformed by learning to help themselves. They are given assistance so as