Previous Issues

Issue 11, Summer 2016

Please note: all articles are available only in Hebrew.


Lihi Negler

Gretel, Emanuel and Adolf: representation of Jews in cinema and television in Germany since the fall of the Berlin

Elad Pichman

Satirical criticism in the movie Al Hodoud (Laham, 1984): yellow car, straight lines and a fake Arab unity

Michal Peek Hemo

Cultural Trauma outbursts and clues for change in the greater common narrative in Uri Zohar's early movies

See also: Slil Issues

Issue 10, Winter 2016

Please note: all articles are available only in Hebrew.


Omri Yavin

From a Jewish State to an Airport: Foreigners and Immigrants in Contemporary Israeli Cinema

Yael Munk and Dana Massad

“On the political Spheres in Oded Davidoff’s Timrot Ashan

Amit Levy

Valentino’s Sheikh: Cinematic Contradictions and the Shape of American Orientalism

Siegfried Kracauer

From Caligari to Hitler: Introduction

* Hilla Lavie and Ofer Ashkenazi

See also: Slil Issues

Issue 9, Spring 2015

Please note: full articles are available only in Hebrew.


Kobi Kabalek, Moral Failure and Critical Memory in Sterne (1959) and Am grünen Strand der Spree (1960)

Naama Shefi, Brutal Reality in Soft Focus: the Israeli Reception of the Cinematic Adaptation of Jakob der LügnerDie Blechtrommel, and Mephisto

Dor Yaakobi, American Gladiator: the Heritage of Ancient Rome in American Popular Culture

See also: Slil Issues

Issue 8, Summer 2014

Please note: full articles are available only in Hebrew.


Stephen Brockmann, The Rise of Nazism in Early East German Cinema

Hilla Lavie, The 'Nazis' of the Israeli Fiction Film: a Dialog between Cinema and Holocaust Historiography in Israel

Yael Ben Moshe, Artificial Suspense in Valkyrie

David Shperber, Montage Interdit: Yael Bartana's Polish Trilogy

See also: Slil Issues

Issue 7, Fall 2013

Please note: full articles are available only in Hebrew.


Tobias Ebbrecht Hartmann, "History and Justice in Erwin Leiser's Eichmann und das Dritte Reich (1961)"

Todd Herzog, "'What shall the history books read?': The Debate over Inglourious Basterds and the Limits of Representation"

Yochai Ataria, "Men in Crisis: American Cinema in the Post-Vietnam Era"

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Issue 6, Winter 2012

Please note: full articles are available only in Hebrew.


Gerd Gemünden, From Chicago on the Spree to Weimar on the Pacific

Rick McCormick, Romantic Comedy and the Hitler-Stalin Pact: Billy Wilder and Ninotchka (USA 1939)

Ulrike Weckel, Weal and Woe of "Erotic Fraterization" in Postwar Germany: A Foreign Affair as Billy Wilder’s Alterna­tive to Reproachful Reeducation

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Issue 5, Winter 2011

Please note: full articles are available only in Hebrew.


Jakob F. Dittmar, Comics and History: Myth-making versus Historisation

Nicholas Baer, The Dialectic of the Aufklärungsfilm: Essentialism and Nominalism in Richard Oswald’s Anders als die Andern (1919)

Michal Goren, This is the Land (1935): The Poetics of Zionism

Yaara Levin-Freiman and Dafna Levin- De Bushi, Sexuality and Gender in Avatar (2009)


See also: Slil Issues

Issue 4, Summer 2010

Please note: full articles are available only in Hebrew.


Moshe Zimmermann, Remembering the Recent Past: Tropes of National-Socialism in post-War German Cinema

Udi Greenberg, Holocaust and Repression: The Collective Unconscious in Lars von Trier's Zentropa

Azrikam Amram, Holocaust and Laughter: Hollywood's Comedies about Nazism

See also: Slil Issues

Issue 3, Summer 2009

Please note: full articles are available only in Hebrew.


Hadi Shchib Kassem, The United States' Role in World War II and the Representation of Nazi Germany in Hollywood

Yemima Ayala Cohen, 'In den Ruinen von Berlin': Hollywood and the Changing of American Policy towards Germany, 1943-1949

Review Articles

Matan Aharoni, Cultural Transfer, Identity Loss, and Identity Acquisition in Haim Bouzaglo's Fictitious Marriage

See also: Slil Issues

Issue 2, Winter 2009

Please note: full articles are available only in Hebrew.


Jonathan Tomkins, Donald Duck in Uniforms: American Animation in WWII

Hagar Levi, The 'Algerian Syndrome' in French Cinema

Hemi Sheinblat, Paths of Glory and the Cultural Heritage of World War I

Talma Harpaz-Gilboa, Fathers and Sons in post-1990 Chinese Cinema

See also: Slil Issues

Issue 1, Spring 2008

Please note: full articles are available only in Hebrew.


Nathaniel Anur, History in Film: Mivtza Yonathan as a Test Case

Ido Ramati, The Myth of the ‘Second Aliya’ in Israeli Public Television

Ben Lev-Kadesh, Anti-Russian Newsreels in WWII Germany

Dafna Dolinko, Trauma and Representation in Yiddish Films in Poland

Review Articles

Yiftach Ashkenazi, Borat and Jewish Essentialism

See also: Slil Issues

Editorial Members


Prof. Ofer Ashkenazi


Dr. Hilla Lavie

Deputy Editor:

Asaf Tal

Advisory Board:

Prof. Moshe Zimmermann
Prof. Naama Shefi
Dr. Tobias Ebbrecht-Hartmann
Dr. Kobi Kabalek




Slil is an academic, peer-reviewed journal in Hebrew, which aims to enables graduate students and young scholars to publish their studies and to enhance them through the comments of the readers. The journal site is sponsored by the Koebner-Minerva Center for German History and by the Faculty of Humanities at the Hebrew University, Jerusalem, and operates in cooperation with the Jerusalem Cinematheque. In addition to research articles, it offers various tools for the study and the teaching of films in history classes, such as links to film archives and online databases; relevant syllabi of courses taught by Israeli university lecturers; and reviews of new films and pertinent books.

The editors of this journal believe that a worthwhile discussion cannot be limited to academic professionals, detached from the general public. We therefore seek to reach out to a wider readership with the hope to contribute to a rich and knowledgeable public discourse. Within this framework, we have organized a series of open lectures, given by university teachers of history and media, as well as special screenings and open discussions. Alongside of these activities, we also publish review articles of a less rigid nature, which discuss issues in film criticism and teaching.

We are thankful for our contributors and our sponsors. We are especially indebted to Prof. Moshe Zimmermann of the History Department at the Hebrew University, for his advice and ongoing support of our endeavor.