By F. Laviosa
This provocative assortment elaborates a trans-cultural definition of being a girl in fight. the movies of ladies administrators in international locations within the Mediterranean rim, this ebook spurs a modern dialogue of ladies s human, civil, and social rights whereas situating feminist arguments on girls s identification, roles, psychology and sexuality. even though their methodologies are assorted, those artists are united of their use of cinema as a way of intervention, taking up the position as outspoken and prime advocates for girls s difficulties. participants study the ways that cinematic paintings reproduces and buildings the discourses of realism and represents Mediterranean ladies s collective event of fight.
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Example text
18. The most prominent and controversial argument that Golani presents seems to be that peace has not always headed Israel’s list of priorities and war has not always headed its neighbors’ list of priorities. 19. For a further discussion of this operation, see Pappe (2006). 20. ” (Let’s go inside). ” which, like many other words, has been assimilated into Hebrew slang. 21. An example of a much more radical and critical treatment of the enduring myth of Masada (and also of Samson) by Israeli Zionist ideology is Avi Mograbi’s essayist documentary, Avenge but One of My Two Eyes (Israel/France, 2005).
Thus “biology” and “instincts” configure her narrative and structure the route of her journey. Her morality seems to be grounded in social Darwinism and the desire to preserve her Jewish offspring, rather than in a concern about Unveiling the Israeli Mediterranean 9 the suffering caused to the Palestinians and the injustice inflicted on them. Although Cohen-Gerstel acknowledges the Palestinian tragedy (she even attends Nakba ceremonies for the first time in her life) and the atrocities committed by Israel against the Palestinian people— described by some Israeli critics as her courageous exposure of the “cruelty of Zionism”12 —this cruelty is presented more as the cruelty of Zionism toward its own chosen members, the Israeli Jews.
Moreover, I agree that the critical voices of Israeli cinema are best articulated by documentaries, many of them made by women directors, who until the 1990s played only a very marginal role in the Israeli film production scene. However, Cohen-Gerstel’s work, as I have demonstrated in my brief discussion, cannot be counted among the documentaries that have succeeded in crossing boundaries and making real demands, as they are still situated under the shadow of the Apartheid Wall. Notes 1. For an interesting discussion of this issue, see Alcalay (1993).