Zionist and Palestinian Honor and Universal Dignity in Israeli Cinema

2016 ◽  
Vol 15 (6) ◽  
pp. 639-668
Author(s):  
Orit Kamir
Keyword(s):  
Human Dignity ◽  
Film Analysis ◽  
Honor Codes ◽  
Feature Films ◽  
Israeli Cinema ◽  
Universal Dignity

This article offers a film analysis of Israeli films which, it claims, embrace or critique Israel’s Zionist and Palestinian perceptions of honor, as compared with universal human dignity. The article groups together and examines six acclaimed Israeli feature films that, it argues, present and comment on Zionist and Palestinian perceptions of honor, as well as human dignity. The Israeli-Zionist Kazablan (1973) and the Israeli-Palestinian Wedding in Galilee (1987) each construct an ideal version of Zionist and Palestinian honor codes and mentalities, respectively. More critical and recent films, James’ Journey to Jerusalem (2003), Attash (2004) and Ajami (2009), suggest that these happy ideals conceal monstrous shadow images that undermine the reverence and promotion of human dignity. Finally, Bethlehem (2013) is read as portraying both Zionist and Palestinian mentalities concerning honor as macho, adolescent, insensitive and hurtful. According to this reading, Bethlehem demonstrates how both honor codes preclude the adherence to and cherishing of universal human dignity, locking the two nations in an eternal blood feud.

Film Aesthetics and New Methods of Film Analysis

1989 ◽  
Vol 7 (2) ◽  
pp. 175-190 ◽  
Author(s):  
Werner Faulstich
Keyword(s):  
Quantitative Analysis ◽  
Narrative Structure ◽  
Great Length ◽  
Film Analysis ◽  
The Past ◽  
New Methods ◽  
Feature Films ◽  
Full Picture ◽  
Formal Construction ◽  
Film Aesthetics

Almost every piece of scientific or critical work which is concerned with the film expresses at the same time opinions both about the nature of film and about the methods of film analysis, in most cases only implicitly. In contrast to such implicit statements, I will try here to make these theoretical and methodological positions explicit and demonstrate them with examples. First of all, I should like to refresh our memory about the basic theoretical premises of what I call “film aesthetics” (a concept which was presented in 1982 at great length). Then we have to name the rather more practical prerequisites essential to any serious film analysis. Third, we should concentrate on new methods of film analysis paying special attention to quantitative analysis. It would hardly be possible to give a full picture of all the various methods which in the past have been applied to various feature films with various results-many of them are presented and discussed in several introductory books on the analysis of film [1]. The new methods will be described here as suitable for analyzing that part which one could call the narrative structure of a film, i.e., its formal construction and the conceptional ordering of the action (this is more than just story and plot).

scholarly journals Human Dignity and Rights in the Context of Gender and the Sacramental Priesthood

2020 ◽  
Vol 6 (1) ◽  
pp. 140-157
Author(s):  
Tina Beattie
Keyword(s):  
Hierarchical Model ◽  
Human Dignity ◽  
Sexual Difference ◽  
Thomas Aquinas ◽  
Women's Ordination ◽  
Universal Dignity ◽  
Catholic Tradition ◽  
Modern Form ◽  
Made In ◽  
Innovative Concept

Abstract This paper considers the question of women’s ordination to the sacramental priesthood in the context of human dignity and rights. Differentiating between two forms of ontological or intrinsic dignity – the universal dignity of the human being made in the imago Dei, and the particular dignity of those baptised into the imago Trinitatis – it argues that the refusal of ordination to women is a violation of baptismal dignity that constitutes a refusal of women’s rights. It analyses the arguments against women’s ordination and shows them to be based on a misreading of Thomas Aquinas, on the innovative concept of sexual complementarity which has replaced the earlier hierarchical model of sexual difference, and on appeals to mystery that might be better described as mystification. It concludes that the refusal to allow women to respond to the call to ordination is based on a modern form of essentialised sexual difference that is alien to the Catholic tradition and that violates Christological orthodoxy, insofar as it suggests that women are not able to image Christ.

scholarly journals Terror films: The socio-cultural reconstruction of trauma in contemporary Israeli cinema

2019 ◽  
Vol 25 (34) ◽  
Author(s):  
Yael Ben-Moshe ◽  
Tobias Ebbrecht-Hartmann
Keyword(s):  
Public Discourse ◽  
Traumatic Experience ◽  
The Public ◽  
Cultural Reconstruction ◽  
Terror Attacks ◽  
Feature Films ◽  
The Holocaust ◽  
Second Intifada ◽  
Israeli Cinema ◽  
Terrorist Violence

Ben-Moshe Yael, Ebbrecht-Hartmann Tobias, Terror films: The socio-cultural reconstruction of trauma in contemporary Israeli cinema. “Images” vol. XXV, no. 34. Poznań 2019. Adam Mickiewicz University Press. Pp. 69–86. ISSN 1731-450X. DOI 10.14746/i.2019.34.05. The public discourse in Israel regarding events such as the Holocaust, war, or terror attacks mostly failed to embrace the trauma caused by such events, and to integrate their effects in the collective memory. According to trauma theoreticians, the location of trauma in the discourse is related to the character of trauma as a non-narratable memory, since personal trauma exist in the void, thus marking a missing memory. This paper explores the notion of trauma in contemporary Israeli cinema as it was reconstructed during and after the Second Intifada (2000–2008). The paper focuses on feature films reflecting on experiences of terrorist violence, among them Avanim (2004), Distortion (2004), Frozen Days (2006), The Bubble (2006), 7 Minutes in Heaven (2009). These films embrace parallel elements structuring a worldview, in the private as well as the collective sphere, thus shaping the surroundings as a mirror of the self and the subjective traumatic experience as a reflection of a complex social reality.A particular focus of our analysis will also be on aesthetic strategies that cinematically express rupture and distortion of terrorist violence and trauma, especially moments of suddenness and disruption in contrast to duration and circular repetition, elements of a specific temporality of trauma that also shaped the narration and style of recent Israeli war films, such as Waltz with Bashir (2008) or Beaufort (2007).

scholarly journals Модернизација у филму "Видео јела, зелен бор" - антрополошка анализа

2017 ◽  
Vol 12 (4) ◽  
pp. 1091
Author(s):  
Marija Brujić
Keyword(s):  
Cultural Identity ◽  
The Other ◽  
Cognitive Tools ◽  
Film Analysis ◽  
Guest Workers ◽  
Feature Film ◽  
Inner Voice ◽  
Feature Films ◽  
The World ◽  
The Subject

The subject of this paper is a Serbian feature film Dear Video from 1991. Two brothers, one who is living in Germany and the other who is living in Serbian village and their families are communicating through VHS video tapes. Instead of facilitating their communication, the VHS video tapes actually reveal all that was suppressed and hidden from surface relationships (dishonesty, jealousy, deceptions).  Thus, this paper combines two approaches: film ethnography (its diegesis) explained by Kovačević and Herzfeld’s cultural intimacy applied in Serbian film analysis by Naumović. Feature films, as part of pop cultural phenomena, interpret and give comments on socio-cultural phenomena and therefore can serve also as cognitive tools for understanding the world around us. The aim of the paper is to examine how this film solves the issue of unsuccessful modernization of Serbian villages, in other words, why guest workers did not have greater and more important influence on modernization on their places of origins. The film shows discord between the two brothers, discord among cousines, discord among villagers and discord among different nationalities in Yugoslavia. At the same time, discord can be interpreted as a self-defiant inner voice of the Serbs, and thus as the example of cultural intimacy and part of Serbian cultural identity. Consequently, these disharmonies can be understood as the answer of failed modernization. 

The rights of the child: Progress toward human dignity.

1991 ◽  
Vol 46 (1) ◽  
pp. 49-49 ◽  
Author(s):  
Brian L. Wilcox ◽  
Hedwin Nalmark
Keyword(s):  
Human Dignity ◽  
Rights Of The Child

The Formation of a Budding Man Alone: The God Boy (Murray Reece, 1976)

2018 ◽  
Author(s):  
Alistair Fox
Keyword(s):  
Twentieth Century ◽  
World War Ii ◽  
New Zealand ◽  
Religious Beliefs ◽  
Coming Of Age ◽  
World War ◽  
Value System ◽  
Feature Films ◽  
The Family

This chapter analyses the earliest of the New Zealand coming-of-age feature films, an adaptation of Ian Cross’s novel The God Boy, to demonstrate how it addresses the destructive impact on a child of the puritanical value-system that had dominated Pākehā (white) society through much of the twentieth century, being particularly strong during the interwar years, and the decade immediately following World War II. The discussion explores how dysfunction within the family and repressive religious beliefs eventuate in pressures that cause Jimmy, the protagonist, to act out transgressively, and then to turn inwards to seek refuge in the form of self-containment that makes him a prototype of the Man Alone figure that is ubiquitous in New Zealand fiction.

Formative Influences

2018 ◽  
Author(s):  
Hilary Radner ◽  
Alistair Fox
Keyword(s):  
Michel Foucault ◽  
Roland Barthes ◽  
Film Analysis ◽  
The 1960S ◽  
Christian Metz ◽  
The Way

In this section of the interview, Bellour describes how he began to engage in film analysis in the 1960s, beginning with a sequence from Alfred Hitchcock’s The Birds, with the aim of establishing the way it worked as a “text.” He proceeds to describe his personal encounters with major figures like Roland Barthes, Claude Lévi-Strauss, Michel Foucault, and his friendship with Christian Metz, suggesting how his interchanges with them helped to shape his own thinking, and how it diverged from theirs.

Film Analysis: Image and Movement

2018 ◽  
Author(s):  
Hilary Radner ◽  
Alistair Fox
Keyword(s):  
Scientific Practice ◽  
Film Analysis ◽  
Hollywood Film ◽  
Poetic Expression ◽  
French Tradition ◽  
Classical Hollywood

This chapter assesses Raymond Bellour’s contribution to the area of research known as “film analysis,” arguing that it is best understood as an “art” rather than a scientific practice. Grounded in the French tradition of “explication du texte” as a means of approaching literature, Bellour was among the first film scholars to bring a French literary sensibility to the analysis of Classical Hollywood film, which enabled him to recognize the rhetorical refinements of the cinematic medium and its potential for poetic expression. The chapter explores the significant concepts that define Bellour’s approach: segmentation; “the unattainable text” (also referred to as “the undiscoverable text” or “le texte introuvable”); le blocage symbolique (also referred to as “the symbolic blockage”);“the textual volume”; Hitchcock and psychoanalysis; and enunciation.

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