Since 1978 Israeli Holocaust-related narrative films have associated the violence experienced during the Holocaust, including sexual violence, with the violence permeating Israeli society. In keeping with Marianne Hir...Since 1978 Israeli Holocaust-related narrative films have associated the violence experienced during the Holocaust, including sexual violence, with the violence permeating Israeli society. In keeping with Marianne Hirsch＇s notion of ＂postmemory＂, this paper argues that cinema, as a visual form of artistic mediation, has an especially strong impact on the spectator, because it triggers affective, tactile, and bodily responses. Hence, the efficacy of generating an ethics of remembrance of sexually-related violence, based on cinematic aesthetics, which the author terms here ＂cinememory＂. The paper focuses on a sub-genre of Holocaust-related films： coming-of-age films, which explore in different ways the lasting implications of growing-up in the shadow of sexualized trauma; the unconscious transmission of memories and tactile experiences, related to the ubiquity of sexual violence during the Holocaust.展开更多
This paper examines the evolution of the representation of the Arab in Israeli Cinema as a reflection of the way Arabs are perceived in Israeli cultural and political discourse. Scholars have mostly depicted this repr...This paper examines the evolution of the representation of the Arab in Israeli Cinema as a reflection of the way Arabs are perceived in Israeli cultural and political discourse. Scholars have mostly depicted this representation as static over time. Using examples drawn from a range of Jewish-Israeli film, this paper argues instead that the cinematic representation of Arabs changes over time in ways that mirror currents in Israeli political and social discourse展开更多
文摘Since 1978 Israeli Holocaust-related narrative films have associated the violence experienced during the Holocaust, including sexual violence, with the violence permeating Israeli society. In keeping with Marianne Hirsch＇s notion of ＂postmemory＂, this paper argues that cinema, as a visual form of artistic mediation, has an especially strong impact on the spectator, because it triggers affective, tactile, and bodily responses. Hence, the efficacy of generating an ethics of remembrance of sexually-related violence, based on cinematic aesthetics, which the author terms here ＂cinememory＂. The paper focuses on a sub-genre of Holocaust-related films： coming-of-age films, which explore in different ways the lasting implications of growing-up in the shadow of sexualized trauma; the unconscious transmission of memories and tactile experiences, related to the ubiquity of sexual violence during the Holocaust.
文摘This paper examines the evolution of the representation of the Arab in Israeli Cinema as a reflection of the way Arabs are perceived in Israeli cultural and political discourse. Scholars have mostly depicted this representation as static over time. Using examples drawn from a range of Jewish-Israeli film, this paper argues instead that the cinematic representation of Arabs changes over time in ways that mirror currents in Israeli political and social discourse
