FAVz061 Israeli Cinema. A collective image as a search for identity - historical introduction

Faculty of Arts
Autumn 2016
Extent and Intensity
4/0/0. 5 credit(s). Type of Completion: zk (examination).
Teacher(s)
Aner Preminger (lecturer), PhDr. Jaromír Blažejovský, Ph.D. (deputy)
Mgr. BcA. Miroslav Vlček, Ph.D. (assistant)
Guaranteed by
prof. PhDr. Jiří Voráč, Ph.D.
Department of Film Studies and Audiovisual Culture – Faculty of Arts
Contact Person: Patrycja Astrid Twardowska
Supplier department: Department of Film Studies and Audiovisual Culture – Faculty of Arts
Timetable
Wed 21. 9. 17:30–20:45 U34, Thu 22. 9. 12:30–15:45 U34, Thu 29. 9. 12:30–15:45 U34, Wed 5. 10. 17:30–20:45 U34, Thu 6. 10. 12:30–15:45 U34, Wed 12. 10. 17:30–20:45 U34, Thu 13. 10. 12:30–15:45 U34, Wed 19. 10. 17:30–20:45 U34, Thu 20. 10. 12:30–15:45 U34, Wed 26. 10. 17:30–20:45 U34, Thu 27. 10. 12:30–15:45 U34
Course Enrolment Limitations
The course is also offered to the students of the fields other than those the course is directly associated with.
The capacity limit for the course is 69 student(s).
Current registration and enrolment status: enrolled: 0/69, only registered: 0/69, only registered with preference (fields directly associated with the programme): 0/69
fields of study / plans the course is directly associated with
there are 10 fields of study the course is directly associated with, display
Course objectives
Course description

The course will examine the evolution of Israeli cinema in the context of international cinema history and the Israeli culture. In the international context, Israeli cinema will be examined as part of the development of film language in the history of the medium: the nature of the interaction between the utterance of Israeli cinema and the cinematic utterance developed worldwide during hundred and twenty years of cinema history. The effect of the tension between American and European cinema on the development of Israeli cinema will be discussed as well as the Israeli cinema as a response to the developments in international cinema.
In the national culture and local context, Israeli cinema will be examined as a mirror to the society development as well as its influence on Israeli society and culture. The course will suggest an analysis of the relationship between Israeli cinema and Israeli television and between both media and other cultural expressions such as visual arts and Hebrew literature. A special attention will be drawn to the relationship between images, sounds and voices of the Israeli films and the environment where they were created: the landscape, weather, light, the Israeli temperament, themes and modes of representation of characters. All these will be related to historical, social, cultural and political processes.
The issues described above will be reviewed and explored while watching film clips from features and short films, documentaries and fiction. Except for films screened in class, students will be required to watch more films as part of their homework.

Learning outcomes of the course
At the end of the course students should be able to read any film in the context of the international cinematic utterance and history as well as in its own cultural, social and political context. More specifically, in the Israeli context, the students will be able to read Israeli films as a rich complex text in a dialectical relationship and dialogue with the controversial Israeli political discourse and as part of its growing and developing culture.
Syllabus
  • WEEK 1
  • Wednesday 21 September 17.30–20.45
  • Thursday 22 September 12.30–15.45
  • Class 1 – 21.9.16 17.30–20.45
  • Introduction to Israeli cinema - from the beginning of the twentieth century until the mid-sixties of the twentieth century: Soviet influence - socialist realism; Montage. Influences of German Expressionism. Influences of Hollywood: The turning point during the 60th, 3 factors: 1967; The world spirit of the 60th and the army troupes; two men: Uri Zohar and David Perlov.
  • Screening 1 – Every Bastard a King-1968 – Zohar's 3rd feature
  • Class 2 – 22.9.16 12.30–15.45
  • Hole in the Moon/Uri Zohar - 1965; Hallelujah The Hills/Adolphas Mekas (1963)
  • David Perlov; Uri Zohar. Screening of excerpts from early sixties' films: Sallah (Sallach Shabbati)/Ephraim Kishon - 1964; Screening 2 – Time of the Cherries (The Cherry Season)/Chaim Buzaglo 1991
  • WEEK 2
  • Thursday 29 September 12.30–15.45
  • Class 3 – 29.9.16 12.30–15.45
  • Talking on the previous week films: Godard's definition of the relationship between fiction & reportage; Zohar’s opening scene – “The Israeli paradox”
  • Israeli Wars; American Wars; Metaphor. Realism-Surrealism; Fantastic Realism.
  • Screening 3 - Big Eye: 1974 – context;
  • WEEK 3
  • Wednesday 5 October 17.30–20.45
  • Thursday 6 October 12.30–15.45
  • Class 4 – 5.10.16 17.30–20.45
  • Talking about Big Eye: Peeping Tom; Uri Zohar, Arik Einstein; The French New Wave and Italian Neo-realism; Greece tragedy and the chorus.
  • Screening 4 - Paratroopers: 1977 (84 minutes) – Introduction
  • Class 5 – 6.10.16 12.30–15.45
  • Talking about Paratroopers: 1977 (84 minutes) – Introduction: 1977, new wave, new sensitivity, neo-realism, Holywood. Two films, two protagonists. Death question. Yair and Weisman parallel plots.
  • Screening 5 – Fellow Travelers (Magash Hakesef)/Judd Ne'eman – 1983
  • Introduction: 1983- Lebanon war. Palestinian-Israelies; West bank Palestinians.
  • WEEK 4
  • Wednesday 12 October 17.30–20.45
  • Thursday 13 October 12.30–15.45
  • Class 6 – 12.10.16 17.30–20.45
  • Wietzman paraphrase, Alterman's poem (1947). Summing up Fellow Travelers.
  • The evolution from Paratroopers to Fellow Travelers.
  • Screening 6 - Beyond the walls (MeAchorei Hasorragim)/Uri Barabash – 1984
  • Class 7 – 13.10.16 12.30–15.45
  • Talking about Beyond the Walls; the ending; Rashid Mashrawi. The Arab Other in Israeli Cinema and Discourse – the evolution of the Israeli-Palestinian conflict's representation.
  • Film excerpts from: They were Ten (Hem Hayu Asara)/Baruch Dienar – 1960, Hole in the Moon (Hor Balevana)/Uri Zohar – 1965, My Michael (Michael Shely)/Dan Wolman – 1975.
  • Screening 7 - The smile of the Lamb (Chiuch Ha’ Gdi)/Shimon Dotan – 1986
  • WEEK 5
  • Wednesday 19 October 17.30–20.45
  • Thursday 20 October 12.30–15.45
  • Class 8 – 19.10.16 17.30–20.45
  • Talking about Smile of the Lamb; The film versus the book; Film excerpts from: Khirbet Hiza'a/Ram Loevy – 1978 – The opening; The deportation.
  • Screening 8 – Avanti Popolo/Raffi Bukaee – 1986
  • Class 9 – 20.10.16 12.30–15.45
  • Talking about Avanti Popolo
  • Screening 9 - Fictitious marriage (Marriage of convenience)/Chaim Buzaglo – 1988
  • WEEK 6
  • Wednesday 26 October 17.30–20.45
  • Thursday 27 October 12.30–15.45
  • Class 10 – 26.10.16 17.30–20.45
  • Talking about Fictitious marriage: Shlomo Bar-Aba, Eli Yazpan; The title's term in Israeli discourse; a political comedy.
  • Film excerpts from: Hamsin (Eastern Wind)/Dan Wachsmann – 1982
  • Screening 10 – The Band's Visit/Eran Kolirin – 2007
  • Class 11 – 27.10.16 12.30–15.45
  • Talking about The Band's Visit.
  • Conclusion
  • Screening 11 - The Ballad of the Weeping Spring (Balada le'aviv ha'bohe)/Benny Toraty - 2012
Literature
    recommended literature
  • Preminger Aner, 2005, 100 years of Zionism-100 years of Cinema in Israel, catalogue of "Die Neuen Hebräer, 100 Jahre Kunst in Israel", p. 524-531, Martin Gropius Bau, Berlin.
  • Schweitzer Ariel, Le Cinéma Israélien de la modernité, Èditions L’Harmattan, 1997
  • Yosef Raz, Homoland: Interracial sex and the Israeli-Palestinian conflict in Israeli cinema, GLQ, 8, 553-579, 2002
  • Zanger Anar, Place, Memory and Myth in Contemporary Israeli Cinema, Valentine Mitchell, London, 2012
  • Kracauer Siegfried, From Caligari to Hitler, Princeton University Press, Princeton, N.J., 1947
  • Kronish Amy, World Cinema-6: Israel, Associated University Presses, Cranbury, New Jersy, and Flick Books, Wiltshire, England, 1996.
  • Loshitzky, Yossefa, Identity politics on the Israeli screen, Austin: University of Texas press, 2002.
  • Kronish Amy & Safirman Costel, Israel Film – A Reference Guide, Praeger Publishers, Westport, CT, USA, 2003.
  • Preminger Aner, 2016, My Australia - Mutual Reflections of Personal and National Identities in Ami Drozd's Auto-biographical Film, (in press).
  • Abramson Macabit, the ‘New Psyche’ - A Model of Different Femininity in Movies: Vivian Amsalem, Heroine of the Trilogy by Ronit & Shlomi Alkabetz, Jewish Film and New Media: An International Journal, Wayne State University Press, N.Y. 2016 (Spring).
  • Ben-Shaul Nitzan, Expressions of 'Siege Syndrom' in Israeli Film, New York: New York University (Phd dissertation),
  • Shohat Ella, Israeli Cinema: East/west and the Politics of Representations, University of Texas Press, Austin, 1989.
  • Preminger Aner, 2012, The Arab Other in Israeli Cinema and Discourse, Journalism and Mass Communication, Volume 2, Number 2, February 2012 (Serial Number 5) pp. 412-420, David Publishing Company, CA, USA.
  • Ben-Shaul Nitzan, Mythical Expressions of Siege in Israeli Films, Edwin Mellen Press, N.Y., 1997
Teaching methods
Method
Each session will start with a theoretical introduction around a central theme. Theoretical lecture will be accompanied by a screening of excerpts from films related to the subject of the lesson. Every session there will include a screening of one full length film. If possible, sometimes students will be asked to see an additional film which will be an important part of the course.
Assessment methods
Course requirements - Grade and attendance policy

Attendance to all classes and screenings is obligatory.

Written assignment or exam:
A final paper of 9-12 pages on a pre-approved topic, or a final written exam will be given in accordance of the department requirement and with the department cooperation and assistance. It is recommended that the exact form of this final project/exam will be discussed together in person as I arrive.
One page reaction paper to each screening is due to every Wednesday class.

Grade policy:
Attendance and class participation – 10-15%
Final paper or project – 60%
Reaction papers – 25-30%
Language of instruction
English
Further comments (probably available only in Czech)
Study Materials
The course can also be completed outside the examination period.
The course is taught only once.
General note: Obligatory 100% attendance (with the exception of distance students who are allowed to miss 2 out of 6 sessions).
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