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2019 | 25 | 34 |
Article title

The national and the popular in Israeli cinema

Authors
Content
Title variants
PL
The national and the popular in Israeli cinema
Languages of publication
EN
Abstracts
EN
Abstract. Avisar Ilan, The national and the popular in Israeli cinema. “Images” vol. XXV, no. 34. Poznań 2019. Adam Mickiewicz University Press. Pp. 29–44. ISSN 1731-450X. DOI 10.14746/i.2019.34.02. The article examines Israeli cinema as a critical participant in the local drama of national ideology and national identity. Israeli filmmakers have engaged in enunciating the national culture, in the context of the medium’s history, political ideologies, and the tension between high art and popular culture. The historical review of Israeli films shows dramatic changes over the years from nationalistic propaganda to radical critique and post-Zionism. Israeli cinema appears now to seek a constructive and fruitful dialogue with the viewers. In the recent wave of popular films, the national ideology is more conscious of its past mistakes and inherent deficiencies; its presentation of national identity is less narrow and more open to alternative types, thereby suggesting new vistas of national culture.
PL
Abstract. Avisar Ilan, The national and the popular in Israeli cinema. “Images” vol. XXV, no. 34. Poznań 2019. Adam Mickiewicz University Press. Pp. 29–44. ISSN 1731-450X. DOI 10.14746/i.2019.34.02. The article examines Israeli cinema as a critical participant in the local drama of national ideology and national identity. Israeli filmmakers have engaged in enunciating the national culture, in the context of the medium’s history, political ideologies, and the tension between high art and popular culture. The historical review of Israeli films shows dramatic changes over the years from nationalistic propaganda to radical critique and post-Zionism. Israeli cinema appears now to seek a constructive and fruitful dialogue with the viewers. In the recent wave of popular films, the national ideology is more conscious of its past mistakes and inherent deficiencies; its presentation of national identity is less narrow and more open to alternative types, thereby suggesting new vistas of national culture
Contributors
author
  • Szkoła Filmu i Telewizji im. Steve’a Tischa Wydziału Sztuk Uniwersytetu w Tel Avivie
References
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  • Avisar I., The Israeli Scene: Language, Cinema, and Discourse (in Hebrew), Ramot 2005
  • Avisar I., The Israeli scene – political criticism and the politics of anti-zionism, [in:] Resurgent Antisemitism, ed. H. Alvin Rosenfeld, Bloomington, 2013, pp. 362–381
  • Avisar I., The Holocaust in Israeli cinema as a conflict of survival and morality, [in:] Identities in Motion, eds M. Talmon, Y. Peleg, Austin 2011, pp. 151–168
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  • Gertz N., Makhela Aheret (Holocaust Survivors, Aliens and Others in Israeli Cinema and Literature), Tel Aviv 2004
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Document Type
Publication order reference
Identifiers
YADDA identifier
bwmeta1.element.ojs-doi-10_14746_i_2019_34_02
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