New Book: Morag, Waltzing with Bashir: Perpetrator Trauma and Cinema

Morag, Raya. Waltzing with Bashir: Perpetrator Trauma and Cinema. London: Tauris, 2013.

 

Waltzing with Bashir proposes a new paradigm for cinema trauma studies – the trauma of the perpetrator. Recognizing a current shift in interest from the trauma suffered by victims to that suffered by perpetrators, the book seeks to theorize this still under-studied field thus breaking the repression of this concept and phenomenon in psychoanalysis and in cinema literature. Taking as a point of departure the distinction between testimony given by the victim and confession made by the perpetrator, this pioneering work ventures to define and analyze perpetrator trauma in scholarly, representational, literary, and societal contexts. In contrast to the twentieth-century definition of the perpetrator based on modern wars and totalitarian regimes,Morag defines the perpetrator in the context of the twenty-first century’s new wars and democratic regimes. The direct result of a drastic transformation in the very nature of war, made manifest by the lethal clash between soldier and civilian in a battlefield newly defined in bodily terms, the new trauma paradigm stages the trauma of the soldier turned perpetrator, thus offering a novel perspective on issues of responsibility and guilt.

Such theoretical insights demonstrate that the epistemology of the post-witness era requires breaking deep-seated psychological and psychiatric, as well as cultural and political, repression. Driven by the emergence of a new wave of Israeli documentary cinema, Waltzing with Bashir analyzes the Israeli film and literature produced in the aftermath of the second Intifada. As Ari Folman’s Waltz with Bashir and other new wave films demonstrate, Israeli cinema, attached on one side to the legacy of the Holocaust and on the other to the Israeli Occupation, is a highly relevant case for probing the limits of both victim and perpetrator traumas, and for revisiting and recontextualizing the crucial moment in which the victim/perpetrator cultural symbiosis is dismantled.

Raya Morag is an Associate Professor of Cinema Studies at the Department of Communication and Journalism, The Hebrew University of Jerusalem, Israel.

Table of Contents

Introduction
From Victim to Perpetrator Trauma

Part I: Victim Trauma
1. The Body as the Battlefield
2. Chronic Victim Trauma and Terror
3. Queerness, Ethnicity, and Terror

Part II: Perpetrator Trauma
4. The New Wave of Documentary Cinema: The Male Perpetrator
5. The New Wave of Documentary Cinema: The Female Perpetrator
6. The New Wave of Documentary Literature

Conclusion
The Perpetrator Complex

Cite: McDonald, Imaginaries of Exile and Emergence in Israeli Jewish and Palestinian Hip Hop

McDonald, David A. “Imaginaries of Exile and Emergence in Israeli Jewish and Palestinian Hip Hop.” TDR: The Drama Review 57.3 (2013): 69-87.

 

URL:  http://muse.jhu.edu/journals/the_drama_review/v057/57.3.mcdonald.htm

 

Extract

Anat Halachmi’s acclaimed 2003 documentary, Channels of Rage, begins with a furious argument between two prominent Israeli hip hop groups: DAM, a Palestinian-Israeli crew from Lyd comprised of Tamer Nafar, Suheil Nafar, and Mahmoud Jrere; and TACT, a collection of Jewish-Israeli rappers led by Subliminal (Kobi Shimoni) and Shadow (Yoav Eliasi). Meeting in a dark alley in Tel Aviv, the groups nearly come to blows over recent comments made by the two leaders, Tamer Nafar and Shimoni. Once collaborative and nurturing, the relationship between the two young rappers quickly dissolved as each began to embody contrasting political ideologies within the ongoing al-Aqsa intifada. Coming to terms with the violence on the streets of Tel Aviv and Jenin, both artists retreated from their once supportive relationship, based in a mutual love of hip hop, into the rigid, uncompromising nationalisms of Israel and Palestine.