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: Kohn, Refugee Camp Narratives

Kohn, Ayelet. “Refugee Camp Narratives: The Role of ‘Eye-Witness Testimony’ in Journalists’ Travel Accounts.” Current Sociology 64.1 (2016): 83-100.

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URL: http://dx.doi.org/10.1177/0011392115587748

 

Extract

This article examines three narrative formats which Israeli journalists use to describe their tours in Palestinian refugee camps. The article aims to suggest possibilities for reporting patterns, carefully framing a sense of urgency, which attempt to form a right measure of proximity and distance from the sufferers which might motivate audiences into action. The discussion focuses on three narratives, one literary and the other an article which was published in a popular Israeli journal, both unique in their deliberate emphasis on writing style and their reflection of the ongoing tension between the reporters’ professional, creative and national identities. The third format is a testimony, given by the narrator in Ari Folman’s animated film Waltz with Bashir (2008). The film ends with a few minutes of documented events, filmed at Sabra and Shatila refugee camp in Lebanon in 1982. While all three narratives use direct showing, personal testimonies and a variety of written, illustrated and photographed portraits, the written narratives focus on the reporters’ central role and on the Israeli readers, while Waltz with Bashir challenges the possible feeling of guilt on the Israeli side and invokes the viewer’s human empathy through a direct encounter with personal comments and shocking images.

 

 

 

New Book: Hochberg, Visual Occupations

 

Hochberg, Gil Z. Visual Occupations: Violence and Visibility in a Conflict Zone, Perverse Modernities. Durham, NC and London: Duke University Press, 2015.

 

 

In Visual Occupations Gil Z. Hochberg shows how the Israeli Occupation of Palestine is driven by the unequal access to visual rights, or the right to control what can be seen, how, and from which position. Israel maintains this unequal balance by erasing the history and denying the existence of Palestinians, and by carefully concealing its own militarization. Israeli surveillance of Palestinians, combined with the militarized gaze of Israeli soldiers at places like roadside checkpoints, also serve as tools of dominance. Hochberg analyzes various works by Palestinian and Israeli artists, among them Elia Suleiman, Rula Halawani, Sharif Waked, Ari Folman, and Larry Abramson, whose films, art, and photography challenge the inequity of visual rights by altering, queering, and manipulating dominant modes of representing the conflict. These artists’ creation of new ways of seeing—such as the refusal of Palestinian filmmakers and photographers to show Palestinian suffering or the Israeli artists’ exposure of state manipulated Israeli blindness —offers a crucial gateway, Hochberg suggests, for overcoming and undoing Israel’s militarized dominance and political oppression of Palestinians.

Gil Z. Hochberg is Associate Professor of Comparative Literature and Gender Studies at UCLA. She is the author of In Spite of Partition: Jews, Arabs and the Limits of Separatist Imagination.

 

Table of Contents

 

Acknowledgments  ix

Introduction. Visual Politics at a Conflict Zone  1

Part I. Concealment  

1. Visible Invisibility: On Ruins, Erasure, and Haunting  37

2. From Invisible Spectators to the Spectacle of Terror: Chronicles of a Contested Citizenship  57

Part II. Surveillance  

3. The (Soldier’s) Gaze and the (Palestinian) Body: Power, Fantasy, and Desire in the Militarized Contact Zone  79

4. Visual Rights and the Prospect of Exchange: The Photographic Event Placed under Duress  97

Part III. Witnessing

5. “Nothing to Look At”; or, “For Whom Are You Shooting?”: The Imperative to Witness and the Menace of the Global Gaze  115

6. Shooting War: On Witnessing One’s Failure to See (on Time)  139

 

Closing Words  163

Notes  167

Bibliography  187

Index  207

Lecture: Almog, The Absence of Law from Israeli War Films (London, SOAS, Jan 27, 2015)

Please join us for this unique event, a lecture by Prof. Shulamit Almog from the University of Haifa, titled “From Paratroopers to Waltz with Bashir: The Absence of Law from Israeli War Films”.

The event will take place on Tuesday, January 27, at 2pm in 22 Russell Square, room T102.

See the attached invitation for further details.

The event is free and there is no need to book.