Livre - Isràli cinema
791.43 SHO
Description
Livre
I.B. Tauris
Shohat Ella
Presentation materielle : 1 vol. (VIII-377 p.)
Dimensions : 24 cm
When the Hebrew edition of this groundbreaking book came out, it provoked a stormy public debate. The author has now up-dated “Israeli Cinema”, adding a substantial new postscript that reflects on the book’s initial reception and points to exciting new trends in the cinematic representation of Israel and Palestine. Ella Shohat explores the cinema as a productive site of national culture, dating back to the early Zionist films about turn-of-the-century Palestine. She offers a deconstructionist reading of Zionism, viewing the cinema as itself participating in the ‘invention’ of the nation. Unthinking the Eurocentric imaginary of ‘East versus West’, Shohat highlights the paradoxes of an anomalous national/colonial project through a number of salient issues, including the Sabra figure as a negation of the ‘Diaspora Jew’, the iconography of the land of Israel as a denial of Palestine, and the narrative role of ‘the good Arab’. The new postscript examines the emergence of a richly multiperspectival cinematic space that transcends earlier dichotomies through a palimpsestic and cross-border approach to Israel/Palestine. Ella Shohat is Professor of Cultural Studies at New York University. Her books include ‘Taboo Memories, Diasporic Voices’, ‘Talking Visions: Multicultural Feminism in a Transnational Age’, and with Robert Stam ‘Unthinking Eurocentrism: Multiculturalism and the Media’ and ‘Flagging Patriotism: Crises of Narcissism and Anti-Americanism’.
ACKNOWLEDGMENTS, p. vii INTRODUCTION, p. 1 CHAPTER 1. BEGINNINGS IN THE YISHUV: PROMISED LAND AND CIVILIZING MISSION, p. 13 “Making the Desert Bloom:” The Production of Emptiness, p. 25 Imaging Palestine: Pioneer Sabras and Exotic Arabs, p. 34 The War of Languages, p. 48 CHAPTER 2. POST-1948: THE HEROIC-NATIONALIST GENRE, p. 53 State of Siege and Didactic Allegories, p. 54 The Orient and the Promethean Narrative, p. 70 Spectacle of War in the Wake of 1967, p. 94 CHAPTER 3. THE REPRESENTATION OF SEPHARDIM/MIZRAHIM, p. 105 Orientalism and its Discontents, p. 109 The Bourekas and the Carnivalesque, p. 113 Narrating Nation and Modernization, p. 126 Rescue Fantasies and the Libidinal South, p. 140 Arab-Jews, Dislocation and Nostalgia, p. 150 The Imaginary of Inside/Outside, p. 157 CHAPTER 4. PERSONAL CINEMA AND THE POLITICS OF ALLEGORY, p. 163 The Context of Production, p. 164 Reflexivity, Parody and the Zionist Epic, p. 168 Personal Cinema and the Diverse New Waves, p. 179 The Seeds of Disillusionment, p. 184 The Foregrounding of Marginality, p. 189 The Hidden Face of Militarism, p. 196 The Signification of Style, p. 201 Marginality Revisited, p. 205 CHAPTER 5. THE RETURN OF THE REPRESSED: THE PALESTINIAN WAVE IN RECENT ISRAELI CINEMA, p. 215 The Focalization of Politics, p. 217 The Politics of Focalization, p. 229 POSTSCRIPT, p. 249 Writing Between "the National" and "the Colonial", p. 250 The Politics of Representation Revisited, p. 256 Addressing the Intertext, p. 264 Palestinians-in-Israel: Cinematic Citizenship in the Liminal Zone, p. 270 Independence, Nakba and the Visual Archive, p. 278 Iconographies of Spatial Anxiety, p. 287 The Arab-Jew and the Inscription of Memory, p. 296 The Mizrahi Cinema of Displacement, p. 303 Revisionist Cultural Practice, p. 312 Translation, Reception, and Traveling Postcolonialism, p. 319 NOTES, p. 327 SELECTED BIBLIOGRAPHY, p. 349 NAME INDEX, p. 355 GENERAL INDEX, p. 369
Bibliogr. p. [349]-354. Index. Originally published: Austin : University of Texas Press,1989
