Bulletin: Israeli Music

Journal ToC: Pe’imot 3 (2016):

peimot3כתב העת פעימות מהווה צוהר אל עולם המוזיקה והמחקר המוזיקולוגי בתוך הקשריו לשיח התרבותי העכשווי בארץ. המשתתפים בכתב העת קשורים בתחום המוזיקולוגיה – חוקרים וסטודנטים מתקדמים, מלחינים ומבצעים. המאמרים מכוונים לקהל מגוון: למוזיקאים, למוזיקולוגים ולכל שוחר מוזיקה, לאנשי ספרות, אמנות וקולנוע ולחוקרי חברה ותרבות.

  • ראובן סרוסי: כמה דברים על אריק שפירא
  • אסף שלג: לחשוב מחדש על דברי הימים של המוזיקה האמנותית הישראלית (וגם על יוסף טל)
  • יוסף גולדנברג: שתי רביעיות כלי קשת ישראליות מודרניות מוקדמות: “קשתות קיץ” מאת צבי אבני ו”תהלים” מאת עדן פרטוש
  • ענת רוזנשיין-ויקס: השאלות, שילובים ו”הלחנה מחדש” בשלוש יצירות מאת בטי אוליברו
  • הילה טמיר-אוסטרובר: התגלמות הטראומה באופרה “פנימה” מאת חיה צ׳רנובין
  • שושנה זאבי: הפואטיקה של חוויית הסף בשירה ובמוזיקה (“השער האפל” – דוד פוגל ואייל אדלר; “הכרמל האי-נראה” – זלדה וינעם ליף; “ציפור כלואה” – יאיר הורוביץ ומנחם ויזנברג)
  • אור שמש: שיחה עם ראובן סרוסי
  • אופיר אילזצקי: בקצה המדבר: שיחה עם אריק שפירא
  • מירה זכאי: שיחה עם עודד זהבי
  • ג’ונתן גולדמן: חיפוש אחר אינטראקציות: שיחה עם עופר פלץ

 

Articles

Events

Ilana Webster-Kogen (SOAS), “Ethiopian Music in Tel Aviv: Performing Otherness along Levinski Street,” Feb 9, 2017, 4pm. Centre for Jewish Studies, University of Manchester

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New Article: Rodley, Viral Propaganda in the 2014 Gaza-Israel Conflict

Rodley, Chris. “When Memes Go to War: Viral Propaganda in the 2014 Gaza-Israel Conflict.” British Journal of Social Work (early view; online first).

 

URL: http://dx.doi.org/10.15307/fcj.27.200.2016

 

Abstract

During the Gaza-Israel conflict of July-August 2014, a large volume of creative, multimodal digital content aimed at influencing public opinion was disseminated on social media by belligerents and their supporters. This paper highlights two related features of this ‘viral agitprop’: the use of a diverse range of novel, hypermediated forms to represent a limited set of messages, and thematisation of the act of mediation itself. I argue that these practices are a response to the challenges of communicating with multiple publics within data streams that are crowded, competitive and fast-moving. I suggest this content represents a distinctive new Internet genre which problematises accounts of the relationship between war and media by Friedrich Kittler and Jean Baudrillard.

 

 

 

New Article: Weiss, The Politics of Yiddish in Israeli Popular Culture

Weiss, Shayna. “Shtisel’s Ghosts: The Politics of Yiddish in Israeli Popular Culture.” In Geveb, March 6, 2016.

 

URL: http://ingeveb.org/blog/shtisel-s-ghosts-the-politics-of-yiddish-in-israeli-popular-culture

 

Extract

The popular embrace, in newspapers and talkbacks, of Shtisel’s Yiddish stands in contrast to the unease with which Arabic is received in Israeli society, even on television; Yiddish is a softer, safer other for mainstream Jewish Israeli viewers. Yet Yiddish is not feminized and defanged, because Shtisel succeeds in challenging those stereotypes by displaying the breadth of Yiddish in the Israeli Hasidic context. Shtisel also humanizes Israeli Haredim, whose reputation among secular Israelis is often stereotyped to the point of invoking anti-Semitic tropes. Not all non-Hebrew languages in Israel are created equal.

New Article: Barak-Brandes, Mothers in Contemporary Israeli TV Commercials

Barak-Brandes, Sigal. “‘And she does it all in heels’: Mothers in Contemporary Israeli TV Commercials.” Feminist Media Studies (early view; online first).

 

URL: http://dx.doi.org/10.1080/14680777.2016.1178160

 

Abstract

Although numerous studies have examined the image of women in advertising, the current study is exceptional in looking at the representations of motherhood and mothering practices in contemporary Israeli TV commercials, in an attempt to shed light on the ideological messages they reflect and promote. Sixty-four TV commercials were analyzed using critical discourse analysis. In many ads the mother is depicted as aesthetically pleasing and shapely. This inclusion of the beauty myth in all its cruel demands into the can-do mother myth, could lead Israeli women to a sense of failure as they compare themselves to the glamorous image in the ads and invariably fall short. The hetero-couple-headed nuclear family shown in many ads seems to be a conservative manifestation of the assumption that the “good mother” exists only in the framework of the normative family unit. It seems that in the context of the advertising genre, these are products that lie at the heart of family and couple relationships, and that it is therefore possible to speak of the commodification of the family. The study also found progressive images of the clever, resourceful mother alongside the pathetic, ridiculed one—a new kind of a “bad mother.”

Thesis: Gilichinskaya, IDF Soldiers in Recent Israeli and Palestinian Cinema

Gilichinskaya, Yulia. All Sides of a Soldier: Representation of IDF Soldiers in Recent Israeli and Palestinian Cinema, MFA Thesis. State University of New York at Buffalo, 2016.

 

URL: http://gradworks.umi.com/10/01/10013504.html

 

Abstract

The Israel Defense Force (IDF) is a powerful military structure that defines social and cultural discourse in addition to existing as a military body in Israel and occupied Palestinian territories. Cinematic representations of IDF soldiers in recent Israeli and Palestinian cinema are emblematic of the social and cultural processes accompanying the development of the conflict. Responding to the events following the Second Intifada, Israeli and Palestinian films began to represent IDF soldiers in new ways. Soldiers depicted as victims, as members of marginalized groups, or in the background of the narrative appear in recent Israeli films. Palestinian cinema after 2000 offers representations of the IDF as the military machine and on the periphery of the plot.

 

 

 

New Article: Chyutin, Female Modesty in Judaic-Themed Israeli Cinema

Chyutin, Dan. “‘The King’s Daughter is All Glorious Within’: Female Modesty in Judaic-Themed Israeli Cinema.” Journal of Jewish Identities 9.1 (2016): 39-58.

 

URL: https://muse.jhu.edu/article/614551

 

Extract

In the latter months of 2011, the issue of female marginalization within Judaism became the focus of a heated debate in Israeli public discourse. During this period, the national press reported on a variety of incidents involving Judaic exclusionary practices: for example, male Israeli Defense Forces (IDF) soldiers purposely leaving an official ceremony because it involved a female singing performance; ultra-Orthodox men spitting on a thirteen-year-old girl who was dressed ‘indecently’; and women being harassed on buses for not observing gender separation by moving to the back. These and other similar occurrences were denounced by secular politicians and media, and even prominent figures within the observant community spoke against the spread of segregation. Concurrently, Israeli citizens took to the streets on more than one occasion in support of the victims of Judaic discrimination. The social uproar around these events signals a growing awareness within Israeli society of the patriarchal facets of Judaic practice and their control and oppression of women. This understanding recognizes that the Bible, as a text written by and for men, situates women as the quintessential Other, and thus acts as the condition for an institutional marginalization of womanhood that covers all spheres of Jewish religious life. With reference to this state of affairs, the Judaic demand for sexually-based tzniut (modesty), visible in the aforementioned incidents, has become particularly important for Israeli feminist critique. As Shira Wolosky explains, Judaism’s modesty discourse has defined the danger of women as “that of ‘ervah, a nakedness that contains an erotic element and requires covering.” In protection of a supposed male vulnerability, the Judaic world sought to contain this danger by imposing detailed disciplines [on] women, regulating their seating in the synagogue, eating at feasts, and positioning in recreational and education settings, alongside myriad and multiplying regulations of dress, hair covering, greetings, deportment and, in the ultra-Orthodox world, also work spaces and public travel. These measures, which may be collected under the general heading of mechitzah (separation), engender Foucauldian ‘analytic spaces’ that ‘provide fixed positions’ and establish operational links as means of social regulation. As such, they become obvious targets for the feminist appreciation of female subjectivity under Judaism. Cognizant of the oppressive implications of the mechitzah, religious feminist discourse does not call for its abolishment but rather attempts to reinterpret it; for example, by looking at modesty-regulated spaces as offering opportunities for women to express and strengthen a self-conscious identity, or by expanding the purview of modesty to all members of the community so as to help them ‘view themselves [not] according to the images of each other that have been generated through generations of cagey anxiety and misguided notions, but in the far more forgiving gaze of the divine.’ In contrast, Israeli secular feminist discourse, as reflected through the 2011 public debate on female marginalization, has been largely uninterested in such reasoning. Instead, it has defined feminism and Judaism as fundamentally incompatible, and therefore offered the breaking of mechitzah as the only proper solution for the religious woman’s plight. This position did not emerge ex nihilo. Rather, we find it mirrored in the proliferation of contemporary Israeli films that aim, so it seems, to stage scenes where religious Jewish (or ‘Judaic’) women transgress modesty norms in sexual and romantic contexts. As a genre, these filmic texts imagine observant women to be not only the principal victims of Israeli-Judaic reality, but also its primary challengers. Their challenge is seen as originating from a desire for sexual exploration, a desire that is deemed natural and thus inherently in conflict with Judaism’s artificial laws of sexual management. Accordingly, these works place their characters on a collision course with Judaism’s power structures, a process that ultimately necessitates they abandon their religiosity or live in painful tension with it. The goal of the following pages is to evaluate this corpus of media texts as manifesting the current Israeli secular critique of Judaic androcentrism.

 

 

 

New Article: Barak-Brandes, Ideologies of Motherhood in Contemporary Israeli TV Commercials

Barak-Brandes, Sigal. “Ideologies of Motherhood in Contemporary Israeli TV Commercials.” Communication, Culture & Critique (early view; online first).

 

URL: http://dx.doi.org/10.1111/cccr.12143

 

Abstract

This article is the first to scrutinize representations of motherhood and mothering practices in contemporary Israeli TV commercials in an attempt to shed light on the ideological constructs that these representations reflect and promote. I employ critical discourse analysis to identify the major recurring features in commercials that represent mothers and mothering. These features indicate advertising’s ability to mobilize the patriarchal ideology of motherhood while using different thematic motifs, and such a mobilization of ideology occurs in the case of both antiessentialist and essentialist messages on motherhood. These different messages complete and complement each other, while in the end they enable advertising to exploit cultural norms and expectations in the service of the marketing and promotion of commodities.

New Article: Gavriely-Nuri, The Outbreak of Peace in Israeli Children’s Periodicals, 1977–79

Gavriely-Nuri, Dalia. “The Outbreak of Peace in Israeli Children’s Periodicals, 1977–1979.” Journal of Multicultural Discourses (early view; online first).

 
URL: http://dx.doi.org/10.1080/17447143.2016.1153643

 
Abstract

This study focuses on two exceptional moments in the Egyptian–Israeli history of conflict: the visit of President Anwar Sadat to Jerusalem in November 1977 and the signing of the Israeli–Egyptian peace treaty in March 1979. Combining peace studies, cultural studies and discourse analysis, the article analyzes the response of Israeli most popular children’s periodicals to these dramatic peace events in real time, during the months in which they occurred. The article’s contribution to peace research lies in its ability to shed light on how intergenerational discourse conveys peace legacy, a relatively neglected arena in peace research. In doing so, it likewise focuses on the discursive ‘failures’ embedded in the Israeli peace discourse.

 

 

 

New Article: Bourdon & Boudana, Controversial Cartoons in the Israeli-Palestinian Conflict

Bourdon, Jerome, and Sandrine Boudana. “Controversial Cartoons in the Israeli-Palestinian Conflict: Cries of Outrage and Dialogue of the Deaf.” The International Journal of Press/Politics (early view; online first).
 
URL: http://dx.doi.org/10.1177/1940161215626565
 
Abstract

This article analyzes the controversies triggered by sixteen cartoons about the Israeli-Palestinian conflict, published in nine western countries between 2001 and 2014. For this, we use E.D. Hirsch’s distinction between the meaning of a text—which refers to the author’s intentions—and its significance—which emphasizes the contexts of production and reception. Critics focused mostly on significance, defenders on meaning. Using this distinction, we first examine the rhetoric of cartoons: stereotypes linked to antisemitism (accusations of deicide and blood libel), use of the Star of David as metonym of Israel, disputed historical analogies (between Israeli policy and Nazism or Apartheid). Second, we analyze four levels of contextual interpretations that have framed the debates: the cartoon as genre, the ethotic arguments about the cartoonist and/or newspaper’s track record, the cartoons’ historical and transnational intertextuality (especially with the Arab press), and the issue of audiences’ sensitivities. We analyze the complex exchanges of arguments that led mostly to a dialogue of the deaf, but also, in some cases, to partial agreement on the offensive character of the cartoons. We conclude that this methodology can be applied to other controversies around popular political texts, which offer similar characteristics.

 

 

 

New Article: First, Common Sense, Good Sense, and Commercial Television

First, Anat. “Common Sense, Good Sense, and Commercial Television.” International Journal of Communication 10 (2016): 530-48.

 

URL: http://ijoc.org/index.php/ijoc/article/view/3551

 

Abstract

In an era when identity is a hybrid process, it is interesting to examine whether and how it is possible to glean the presence or absence of certain cultural groups from their representations in a given culture. To do so, I employ two key Gramscian concepts: common sense and good sense. Using three research reports (from 2003, 2005, and 2011) that employed content analysis techniques, this article assesses the visibility of various subgroups in Israeli TV programs and majority-minority power relations in a variety of genres on commercial channels in the prime-time slot. This article focuses on three aspects of identity: nationality, ethnicity, and gender.

 

 

 

New Article: Shoshana, Reflexivity, Conformity, and Israeli Big Brother

Shoshana, Avihu. “Reflexivity, Conformity, and Israeli Big Brother.” Television & New Media 17.3 (2016): 243-53.

 

URL: http://dx.doi.org/10.1177/1527476415602779

 

Abstract

This article examines how regular viewers of the reality program Big Brother interpret the program in Israel. The findings of the study reveal that viewers emphasize the formal characteristics of the program stimulate them in a way that other reality programs do not. The interviewees report the program influences them in three ways: excessive preoccupation about personal reflexivity (talking with the televisual other), an experience of inundation, and the development of a new desire: “the desire to be discovered.” These three influences connect personal reflexivity to, inter alia, actions aligned with social control and the ideal-cultural self, which are at the foundation of psychological and neoliberal discourses.

 

 

New Article: Eyal & Te’eni-Harari, Advertising Food Products on Israeli Television

Eyal, Keren, and Tali Te’eni-Harari. “High on Attractiveness, Low on Nutrition: An Over-Time Comparison of Advertising Food Products on Israeli Television.” Health Communication (early view; online first).

 

URL: http://dx.doi.org/10.1080/10410236.2015.1026431

 

Abstract

This content analysis examines Israeli television food advertising. It compares 2008–2009 and 2012–2013, two periods immediately before and several years after regulatory, educational, and public-advocacy efforts have been advanced to raise awareness of and tackle the television–obesity link. Advertisements were drawn from a composite week sample aired on Israeli broadcast channels from 4:00 p.m. until midnight in each of the two periods. Nearly a quarter of ads were for food products, even after a significant drop over the years. The most common food categories included candies and sweetened drinks, whereas fruit and vegetables were among the least common products advertised. The most prevalent central message in food advertisements was that the product makes for an economically sensible purchase, with a much lower focus on the health qualities of the food products. Food advertisements were characterized by a very short duration and an increased reliance on emotional, rather than cognitive, appeal, especially in ads for low-nutrient foods. A significant increase was observed in 2012–2013 in the reliance on thin models in food advertisements, and these were most often associated with high levels of physical attractiveness, promoting the thin ideal. Findings are discussed in light of theory, previous research conducted worldwide, and audience effects. Implications are addressed for health and media industry regulation efforts.

 

 

 

Lecture: Danjoux, Political Cartoons and the Israeli-Palestinian Conflict

Political Cartoons and the Israeli-Palestinian Conflict

Wednesday, January 27, 2016 at 1:00 pm

CEREV Exhibition Lab – LB 671.00

1400 de Maisonneuve Blvd. W

Ilan Danjoux

Affiliate Assistant Professor

Azrieli Institute of Israel Studies

 

Danjoux

Despite growing analytical interest and explosive international attention, political cartoons remains on the outskirts of serious academic research. The visceral debate and violent reaction to both the Danish Cartoon controversy and the Charlie Hebdo caricatures only underscores the need for cartoon literacy. Using over 1,200 Israeli and Palestinian editorial cartoons published in the weeks preceding the outbreak of the Second Intifada, Dr. Danjoux will examine the cartoon’s relationship with violence and its ability to anticipate outbreak of conflict.

 

New Article: Yarchi, Imagefare’ as a State’s Strategy in Asymmetric Conflicts

Yarchi, Moran. “Does Using ‘Imagefare’ as a State’s Strategy in Asymmetric Conflicts Improve Its Foreign Media Coverage? The Case of Israel.” Media, War & Conflict (early view, online first).

 

URL: http://dx.doi.org/10.1177/1750635215620826

 

Extract

In their 2014 article in Terrorism and Political Violence, Ayalon, Popovich and Yarchi proposed a different strategy for states to better manage asymmetric conflict, presenting the notion of ‘imagefare’ – ‘the use, or misuse, of images as a guiding principle or a substitute for traditional military means to achieve political objectives’ (p. 12). The current study tests their theoretical framework, and examines whether the use of imagefare as part of a political actor’s conflict strategy improves its foreign image as presented by its ability to promote its preferred frames to the foreign press. The study compares the foreign media’s coverage of two recent rounds of the Israeli–Palestinian conflict, in one of which (operation ‘Pillar of Defence’) image considerations played a significant role in the Israeli policy-making process. Findings suggest that whenever a country uses imagefare as part of its strategy, it increases its ability to promote its preferred messages to the foreign press and to improve the country’s image.

 

 

 

ToC: Jewish Social Studies 21,1 (2015)

Jewish Social Studies 21.1 (2015)

Table of Contents

 Front Matter

JSS-Front

Workshop: Erez on Greek Popular Music; Rosenhek on Israel’s Political Economy (NYU, Dec 4, 2015)

12/4/15 – Taub Center Graduate Workshop

 

10am – 2pm

The Taub Center organizes regular workshops for graduate students and faculty in the field of Israel Studies at NYU and other universities in the tri-state area. The regional workshops are an opportunity for students and faculty to present and discuss their respective areas of research.  The workshops also serve as an important forum for networking and strengthening the field of Israel Studies.

First Floor, 14A Washington Mews

Coffee is served from 10 – 10:30am, and a kosher lunch served at noon.

 

RSVP here.

 

10:30am
Oded Erez
UCLA

Becoming Mediterranean: Greek Popular Music and the Politics of Ethnicity in Israel

Oded Erez is a doctoral candidate in the Department of Musicology and the Program in Experimental Critical Theory at UCLA. His current research focuses on the politics of ethnicity, diaspora, and vernacular cosmopolitanism in popular music and film. He has presented his work in wide range of disciplinary contexts, including at the annual meetings of the American Musicological Society, the American Comparative Literature Association, and the  Association for Israel Studies. He currently teaches at the Hebrew University’s School of Arts. His paper “The Practice of Quoting Everyday Life: Quotation as Political Praxis in the songs of HaBiluim” will be published in the upcoming issue of Theory and Criticism (Teoria U’vikoret).

 

12:30pm
Ze’ev Rosenhek
The Open University of Israel

The Dynamics of Israel’s Political Economy: Change and Continuity in State-Economy Relations

Zeev Rosenhek is Associate Professor in the Department of Sociology, Political Science and Communication at the Open University of Israel. His main research interests lie in the fields of political and economic sociology, with a particular focus on processes of institutional change and continuity in state-economy relations. He has conducted research on the political economy of the welfare state, labor migration, and the politics of institutionalization of the neo-liberal regime in Israel. He is the co-author of The Israeli Central Bank: Political Economy, Global Logics and Local Actors (Routledge, 2011) with Daniel Maman, and has published numerous articles in books and journals. He is currently conducting research on the emergence and dynamics of the institutional field of financial literacy in Israel and its interfaces with transnational knowledge and policy networks.

 

New Article: Perkins, Translating the Television ‘Treatment’ Genre: Be’Tipul and In Treatment

Perkins, Claire. “Translating the Television ‘Treatment’ Genre: Be’Tipul and In Treatment.” Continuum 29.5 (2015): 781-94.

 

URL: http://dx.doi.org/10.1080/10304312.2015.1068730

 

Abstract

In Treatment (2008–2010) was the first Israeli series to be remade for US television, and its largely positive critical reception established a reputation for Israel as a home for quality drama – setting the stage for the remake of Hatufim (Prisoners of War, 2009–2012) into Homeland (2011–). This article takes up the case of In Treatment to examine how the process of transnational television remaking can illuminate the concept of US quality television in the millennial era. Arguing that the aesthetic and industrial brand of ‘quality’ is defined by the theme and device of transformation, the article analyses how the American remake gradually diverges from the original series Be’Tipul (2005–2008) to accentuate this concept in its stories and narrative style. The resulting text presents the quintessential contemporary example of what I call the television ‘treatment’ genre: a mode of programming that operates by centripetal narrative complexity to present ‘serial selves,’ or characters whose time in therapy produces progressive or regressive modifications in their emotional state. When read against the more halting and circular narratives of Be’Tipul, this format demonstrates a clear socio-cultural remapping of its topic: where therapeutic culture in America is presented as a site that is underpinned by contested neoliberal ideologies on the government of subjectivity.

 

 

New Article: Zanger, Between Homeland and Prisoners of War: Remaking Terror

Zanger, Anat. “Between Homeland and Prisoners of War: Remaking Terror.” Continuum 29.5 (2015): 731-42.

 

URL: http://dx.doi.org/10.1080/10304312.2015.1068733

 

Abstract

The Israeli series Prisoners of War (Hatufim, Keshet, Israel, Gideon Raff, 2009–2011) and Homeland (Showtime, US 2011–2013; developed by Howard Gordon and Alex Gansa based on the Israeli series with Gideon Raff as one of the producers) is a special case of hypertextuality (Genette 1982). Both serial dramas revolve around prisoners of war who have returned home and their families, intelligence agency operatives and terror organizations operating behind the scenes. In these serializations of the thriller genre, narratives of paranoia and conspiracy render invisible terror visible on the screen. The focalization of the various plots and sub-plots as well as their reception spaces are different however. Prisoners of War tells the story of three soldiers who are kidnapped, held captive for 17 years and suffer from post-traumatic stress disorder on their return home. The series was broadcast at a time when intensive negotiations were underway for the release of three IDF soldiers who had been kidnapped. Homeland, on the other hand, places centre stage a female CIA operative (Claire Danes) who suffers from bipolar disorder. The first season was broadcast in post-9/11 America while American soldiers were still fighting in Iraq. Both series therefore directly address their audiences and relate to the public sphere outside the studio. The reception of these texts incorporates their meaning as reconstructed by their publics. Thus, while both series involve a ritual of scapegoating as a means of resolving conflict, each reflects and produces its own repertoire of reality (‘realemes’). Interestingly, a traumatic excess is inscribed on both male and female bodies as each series rewrites its own society’s myth: the binding of Isaac in the Israeli Prisoners of War and Joan of Arc in the American Homeland.

 

 

New Article: Katz, Religion and Ethnicity in Israeli National Dolls

Katz, Maya Balakirsky. “Dressing Up: Religion and Ethnicity in Israeli National Dolls.” Religion & Gender 5.1 (2015): 71-90.

 
URL: http://dx.doi.org/10.18352/rg.10108  [PDF]
 
Dolls
 
Abstract

This article considers Israel’s national image both at home and abroad through the framework of Israeli costume dolls, looking specifically at the way that gender played a role in Israel’s national image as it travelled from domestic production to international reception. Initially, predominantly female doll makers produced three main types of Israeli dolls, but over time the religious Eastern European male doll triumphed in the pantheon of national types. Produced for retail sale to non-Hebrew speaking tourists by immigrant woman, the Eastern European religious male doll came to represent Israel abroad while the market pushed representations of the Middle Eastern Jewish woman and the native sabra child to the side-lines. This article examines the shift from the multi-ethnic collection of dolls as representative of the nation’s idea of itself to the privileging of the male Eastern European doll as representative of the normative image of Israel abroad.