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1
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Bohater o wielu twarzach. Ewolucja syjonistycznego mitu Sabry we współczesnym izraelskim kinie wojennym

100%
PIETRZAK M.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2016
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vol. 18
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issue 27
346-353
EN
The many-faced hero. The evolution of the Zionist myth of Sabra in the contemporaryIsraeli war films The concept of the New Jew was one of the most important founding myths of Zionism. During the construction of a Jewish state in Palestine, the New Jew was hailed Sabra (with reference to the kind of prickly pear popular in this region). In the twentieth century, the figure of Sabra became an important element of the identity and culture of Israelis. The main purpose of this article is to show the evolution of the mythical narrative typical for the cinematic incarnations of Sabra, which in recent decades has taken place in Israeli war films.
2
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Odwrót bohaterów. Śmierć syjonistycznego mitu Masady w fi lmie Twierdza Beaufort Josepha Cedara

100%
Pietrzak M.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2015
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vol. 17
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issue 26
151-159
EN
Withdrawal of Heroes: Death of the Zionist Myth of Masada in Joseph Cedar’s Beaufort Masada is an ancient fortress, which during The First Jewish–Roman War (66–73 CE) served as a refuge for the last bastion of Jewish resistance. In the first half of the twentieth century, the history of the Masada’s defenders was absorbed by the Zionist movement and transformed into a vital national myth, which became an important element of the identity and culture of future Israelis. The main purpose of this article is to show the deconstruction of the Masada mythical narrative made by Israeli director Joseph Cedar in his movie Beaufort.
3
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The national and the popular in Israeli cinema

87%
Avisar I.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2019
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vol. 25
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issue 34
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
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.
4
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David Avidan’s Message from the Future. Nuclear fantasies of the galactic poet

76%
Pietrzak M.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2020
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vol. 28
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issue 37
127-139
PL
David Avidan’s Message from the Future (1981) is one of few Israeli science fiction films ever made. This ambitious project of the well-known avant-garde poet has been forgotten for many years, as a result of a financial and artistic failure of the movie. The paper shows Avidan’s doomed film as an interesting cultural text that can be read as the director’s commentary on the Israeli reality of his time. Contrary to the artist’s claims about the global ambitions of the picture, Message from the Future is immersed in the local, exploring it under the guise of narrative structures borrowed from Hollywood. The text analyzes a precise deconstruction of the plot patterns characteristic for the classic American SF films from the 1950s, which Avidan adjusted to the Israeli sociopolitical landscape at the turn of the seventies and eighties.
5
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Z powodu tej wojny. Szoa w kinie izraelskim

75%
Kwieciński B.
Narracje o Zagładzie
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2018
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issue 4
81-95
EN
The author reflects upon the presence of the Shoah-related issues in Israeli cinema, from the early Zionist films to the newest productions, and from the apology of the Jewish state to the focus on an individual protagonist. The ideological stigma of first films from 1950s and 1960s gives way to the authorial narration in which the fates of the survivors are told by the Second and Third Generation representatives. The topic of the article is also the artistic weakness of such narrations which – against common opinions – are posited not in the centre but merely on the peripheries of interests expressed by Israeli filmmakers. Transgressions of memory, entanglement in the history of Israel, the fates of the survivors and their children are marginal in Israeli cinema. The emancipatory and integrative function that the cinema has served for multicultural Israeli society tackles the narrations of the Shoah to an inconsiderable extent. Sometimes, the Holocaust becomes an attractive background for genological stories present in mainstream cinema.
PL
Autor podejmuje refleksję nad obecnością tematyki Zagłady w kinie izraelskim. Od wczesnych filmów syjonistycznych po najnowsze  produkcje. Od apologii państwa żydowskiego po skierowanie oka kamery na indywidualnego bohatera. Ideologiczny stygmat pierwszych  filmów z lat 50. i 60. zostaje przełamany przez autorską narrację, w której losy ocalonych zostają opowiedziane przez drugie i trzecie pokolenie. Tematem artykułu jest również słabość artystyczna tych narracji, które – wbrew obiegowym opiniom – nie stanowią centrum, ale jedynie  peryferia zainteresowań izraelskich filmowców. Transgresje pamięci, uwikłanie w historię Izraela, losy ocalonych i ich potomków to margines kina izraelskiego. Funkcja emancypacyjna i integracyjna, którą pełniło kino dla wielokulturowego społeczeństwa Izraela, w nieznacznym stopniu dotyczy narracji o Zagładzie. Niekiedy Holokaust staje się atrakcyjnym tłem dla genologicznych opowieści obecnych w kinie głównego nurtu.
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Obraz ocalałych z Holokaustu w izraelskich filmach pełnometrażowych powstałych po wojnie sześciodniowej

63%
Steir-Livny L.
Narracje o Zagładzie
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2018
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issue 4
96-112
PL
W wyniku drugiej wojny światowej około 450 tysięcy osób ocalałych z Holokaustu wyemigrowało do nowopowstającego Izraela. W izraelskich filmach fabularnych skomplikowane relacje nowoprzybyłych z Żydami, którzy już zamieszkiwali te tereny, zostały przedstawione w sposób niezwykle powierzchowny. Ocaleni często byli ukazywani jako ludzie podupadli na ciele i duchu, których rany mogły się zagoić wyłącznie w Izraelu. Po procesie Eichmanna w 1961 roku pojawiły się pierwsze próby kinematograficzne dążące do ukazania bardziej zawiłych obrazów ocalonych. Takie filmy jak In Hamartet czy Eshet Hagibor starały się zbudować taki obraz, przedstawiając ocalałych jako osoby odbudowujące swe życie w cieniu traumy, co przeciwstawiało się reprezentacjom wyniszczonych ludzi, którzy dzięki wsparciu Żydów weteranów mogą stać się „nowymi Żydami”, powielanym w kinie lat 40. i 50. XX wieku. Mit „nowego Żyda” osiągnął punktkulminacyjny po wojnie sześciodniowej. W niniejszym artykule autorka pokazuje, że euforia wywołana wojną z 1967 roku była niezwykle problematyczna dla wizerunku ocalałych z Holokaustu, przywracając ich powierzchowne, a nawet negatywne, reprezentacje znane z lat 40. i 50. Teza ta opatrzona jest analizami dwóch niezwykle wpływowych filmów powstałych w pierwszej dekadzie po wydarzeniach z 1967 roku, mianowicie: Hu halachbasadot (Yosef Millo, 1967) orazMivtsa Yonatan (Menahem Golan, 1977). Artykuł pokazuje, w jaki sposób oba te filmy lokowały ocalałych na marginesie opowieści, umacniając ich antytetyczną pozycję względem heroicznego i wojowniczego „nowego Żyda”.
EN
In the aftermath of World War II, approximately 450,000 Holocaust survivors immigrated to the nascent State of Israel. The complex encounters of the newcomers with the Jews who already lived in the land were reduced to a series of superficial representations in Israeli feature films. Holocaust survivors were often portrayed as people broken in body and in spirit, who could be healed only in the land of Israel. After the 1961 Eichmann trial, first attempts were made at producing feature films which portrayed more complex images of survivors. As opposed to the shallow images of Holocaust survivors portrayed in cinemaof the 1940s and 1950s, in which broken people turn into "new Jews" thanks to the help of veteran Jews, films such as The Cellar and The Hero's Wife tried to shape a more complex image of survivors attempting to build new lives in the shade of the trauma. The myth of the "new Jew" that peaked after the Six-Day War. The article claims that the euphoria that followed the 1967 war had a problematic effect on the image of Holocaust survivors, and brought back the shallow, even negative representations of the 1940s and 1950s. The article discusses this revision through the analysis of two prominent films that were produced in the decade following the 1967 war: He Walked Through the Fields [Hu halachbasadot(Yosef Millo, 1967)] and Operation Thunderbolt [Mivtsa Yonatan, (Menahem Golan, 1977)]. The article shows how these films placed Holocaust survivors on the margins of the narrative, strengthening their role as antithesis to the heroic warrior "new Jew."
7
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Terror films: The socio-cultural reconstruction of trauma in contemporary Israeli cinema

62%
Ben-Moshe Y., Ebbrecht-Hartmann T.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2019
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vol. 25
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issue 34
PL
Ben-Moshe Yael, Ebbrecht-Hartmann Tobias, Terror films: The socio-cultural reconstruction of trauma in contemporary Israeli cinema. “Images” vol. XXV, no. 34. Poznań 2019. Adam Mickiewicz University Press. Pp. 69–86. ISSN 1731-450X. DOI 10.14746/i.2019.34.05. The public discourse in Israel regarding events such as the Holocaust, war, or terror attacks mostly failed to embrace the trauma caused by such events, and to integrate their effects in the collective memory. According to trauma theoreticians, the location of trauma in the discourse is related to the character of trauma as a non-narratable memory, since personal trauma exist in the void, thus marking a missing memory. This paper explores the notion of trauma in contemporary Israeli cinema as it was reconstructed during and after the Second Intifada (2000–2008). The paper focuses on feature films reflecting on experiences of terrorist violence, among them Avanim (2004), Distortion (2004), Frozen Days (2006), The Bubble (2006), 7 Minutes in Heaven (2009). These films embrace parallel elements structuring a worldview, in the private as well as the collective sphere, thus shaping the surroundings as a mirror of the self and the subjective traumatic experience as a reflection of a complex social reality.A particular focus of our analysis will also be on aesthetic strategies that cinematically express rupture and distortion of terrorist violence and trauma, especially moments of suddenness and disruption in contrast to duration and circular repetition, elements of a specific temporality of trauma that also shaped the narration and style of recent Israeli war films, such as Waltz with Bashir (2008) or Beaufort (2007).
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Avi Mograbi. Gonzo-dokumenty

51%
Kosińska-Krippner B.
Kwartalnik Filmowy
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2021
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issue 115 Film formy, film treści
102-126
PL
Urodzony w 1956 r. Avi Mograbi uchodzi za jednego z najważniejszych, ale też najbardziej kontrowersyjnych izraelskich filmowców swojego pokolenia. Realizuje filmy polityczne, w których konsekwentnie krytycznie ocenia kondycję społeczeństwa Izraela i politykę tego kraju, zwłaszcza wobec Palestyny. Realizując filmy na pograniczu fikcji i faktu, twórca ten wypracował wyrazistą poetykę autorską; jego filmy funkcjonują głównie jako dokumenty i do tej normy stylistycznej on sam się odnosi, ale robi to na własnych zasadach. Mograbi eksperymentuje z językiem filmowym w kontekście rozwiązań narracyjnych i warsztatowo-stylistycznych. Ze względu na specyfikę wykorzystywania dokumentalności w dziełach Mograbiego autorka skojarzyła metodę twórczą reżysera z gonzo-dziennikarstwem i na przykładzie wybranych filmów przeanalizowała konkretne jej realizacje. Szczególna strategia reżysera rzuca światło na naturę „rzeczywistości” w filmach dokumentalnych i ujawnia sposób, w jaki rzeczywistość determinuje zarówno tworzenie filmów, jak i samego filmowca.
EN
Born in 1956, Avi Mograbi is considered to be one of the most important, but also most controversial Israeli filmmakers of his generation. He makes specific political films, consistently criticizing the condition of the Israeli society and the state’s policy, especially towards Palestine. Making films at the intersection of fiction and facts, he developed his own, distinct poetics; his films function mainly as documents, and he himself refers to this stylistic norm, but he does it on his own terms. Mograbi experiments with both narrative and stylistic solutions. Due to the specificity of his use of the documentary, the author of the article associated the director’s creative method with gonzo-journalism. The specific implementations of his strategy are analyzed on the example of selected films, sheding light on the nature of “reality” in documentaries and the way in which reality determines the creation of films and the filmmaker himself.
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