ToC: Journal of Israeli History 34.2 (2015)

Journal of Israeli History, 34.2 (2015)

No Trinity: The tripartite relations between Agudat Yisrael, the Mizrahi movement, and the Zionist Organization
Daniel Mahla
pages 117-140

Judaism and communism: Hanukkah, Passover, and the Jewish Communists in Mandate Palestine and Israel, 1919–1965
Amir Locker-Biletzki
pages 141-158

Olei Hagardom: Between official and popular memory
Amir Goldstein
pages 159-180

Practices of photography on kibbutz: The case of Eliezer Sklarz
Edna Barromi Perlman
pages 181-203

The Shishakli assault on the Syrian Druze and the Israeli response, January–February 1954
Randall S. Geller
pages 205-220

Book Reviews

Becoming Israeli: National Ideals and Everyday Life in the 1950s

Deborah Bernstein
pages 221-224

The “Magic Carpet” Exodus of Yemenite Jewry: An Israeli Formative Myth

Ari Ariel
pages 224-227

The Bride and the Dowry: Israel, Jordan, and the Palestinians in the Aftermath of the June 1967 War

Itamar Radai
pages 227-230

Editorial Board

Editorial Board

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New Article: Perlman, Practices of Photography on Kibbutz

Perlman, Edna Barromi. “Practices of Photography on Kibbutz: The Case of Eliezer Sklarz.” Journal of Israeli History (early view; online first).

 

URL: https://dx.doi.org/10.1080/13531042.2015.1068976

 

Abstract
This article explores how socialist egalitarian ideology affected forms of documentation on the kibbutz in Israel, by examining its practices of photography. The study analyzes the work of one photographer, Eliezer Sklarz, and his role and function in the community, focusing on the visual content and style of his work. The article also describes the role of the kibbutz archive in promoting his work and in constructing kibbutz identity through its photographic archive, as a mechanism for creating Zionist kibbutz historiography. The study addresses the conflicted approach of kibbutz society towards photography: promoting documentation through the function of the archive on the one hand, while maintaining a dismissive role towards photography as a highbrow, middle-class practice, on the other.