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

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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

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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

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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

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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)

 

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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

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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

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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

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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

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Issue 12, Autumn 2017

Please note: full articles are available only in Hebrew. 

“I am Vicente”, “I am Vera” –About Sex and Sexuality, Body and Gender, History and Politics in Pedro Almodóvar's Film The Skin I Live in (2011) / Yair Koren-Maimon

This paper seeks to investigate the significance of the link between Sex and Sexuality, body and gender, History and Politics, in the film The Skin I live in (Pedro Almodovar, Spain, 2011). I argue that with the character of Vincente/Vera, Almodovar creates a hybrid identity that simultaneously is - and - is not - signified by the body and thus uncovers its ambiguous, unstable and performative structure. Almodovar expresses his criticism on what is conceives as the “normal” sex and gender based on bodily physical and behavioral representations. He illustrates his approach in the film through narrative that sheds an "ironic light" on the false and invalid common gender and sexual perceptions, but also emphasizes their different implications on individuals.

Through this discussion, I also offer that the film represents not only a sexual and gender utopia, based on the wish to create an egalitarian society by undermining the heteronormative conceptions associated with the signifiers of "body". It also symbolizes the wish that is connected to the socio-political context in which Almodovar created this film, among other films of his: It is the post-Frankist national and political utopia he holds, that strives to confront Spain with its dark fascist past in order to lead it to the safe haven of enlightened and liberal democracy.


Blood in the Water: Sports and Nationalism in Children of Glory (Hungary, 2006) / Yuval Rubovitch

The article examines the Hungarian film Children of Glory (Krisztina Goda, 2006), which portrays two historical events that took place in 1956: The first was the Hungarian popular revolt against the pro-Soviet Regime following the Soviet military oppression and the restitution of the communist rule. The second event, that in the film happens parallel to the political turmoil in Hungary, was a sport match between the Hungarian and Soviet national Water-Polo teams in the pool of the Olympic Summer Games in Melbourne, which escalated and turned into a political battle. The article focuses on the use of specific narration and images by the Hungarian filmmakers in order to create an identification of the audience with the Hungarian protagonists, and to see them as Hungarian national role models.
 

"In those days and in our times": The veiled representation of the immigration experience in The Life of Emil Zola (1937) / Yuval Rivlin

Despite being an industry based on a large number of immigrants, Hollywood in the 1930s gave only a little filmic attention to the actual individual stories of immigration to the U.S. However, some films dealt thoroughly with the experience of those already immigrated, with their assimilation into society or their fears of social alienation. One prominent Hollywood film that confronted this theme was The Life of Emil Zola (1937).

The article explores this historical drama as a film allegedly rewriting the biography of the famous French writer, but in fact suggests an inquiry into the different dilemmas occurs when those who immigrated before meet those who just arrive.

With an emphasis on the different cinematic decision, among them: plot; casting decisions and symbolic iconography, and a careful attention to the European background of the writers, actors, producers and director the 19th century story of the "Dreyfus affair" is regarded in the article as powerful allegory about the moral responsibility of the filmmakers to their new comers colleagues. With the context of the rise of the Nazis to power in Germany, the homeland of the film's producers, The Life of Emil Zola becomes a contemporary critical text calling for social solidarity and against populistic nationalism.

 

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