1. Trends and History of Israeli Cinema Steven Stromberg Neal Ballard

2. The Yishuv Period (Pre-Statehood) Late 19 th Century – 1948 Edison and the Lumiere brothers (as well as other outside filmmakers) came to Palestine to shoot “exotic” footage. Films were imported from Europe and America The beginnings of the Israeli film industry: travelogues, documentaries and eventually narrative films. Most productions were influenced and supported by Zionist movement. Archetypal character of the Sabra (native-born Israeli) is introduced. Films contributed to renewal of Hebrew as a secular language.

3. Important Filmmakers and Films of the Yishuv period. Nathan Axelrod (1905 – 1987) Oded the Wanderer (1933) Oded the Wanderer (1933) Over the Ruins (1938) Over the Ruins (1938) Baruch Agadati (1895 – 1976) This Is the Land (1935) This Is the Land (1935) AGA Film Co. Oded the Wanderer AGA Film Co. Oded the Wanderer Important Films Oded the Wanderer (1933) Oded the Wanderer (1933) Sabra (d. Aleksander Ford) (1933) Sabra (d. Aleksander Ford) (1933) Sabra Sabra

4. Post 1948: Heroic-Nationalist Genre Practically no narrative films were made between 1933 and the creation of the State of Israel Films reflected issues in Israeli society: Large numbers of new immigrants Large numbers of new immigrants Zionism Zionism Heroes of the War of Independence Heroes of the War of Independence Memories of the Holocaust Memories of the Holocaust Six Day War Six Day War Serious limitations on production Films produced primarily for audiences abroad Focused primarily on the Arab / Israeli conflict Arab roles were either very stereotypically anonymous or negatively portrayed Arab roles were either very stereotypically anonymous or negatively portrayed Post 1967 War: Americanization of Israeli culture and films Americanization of Israeli culture and films More epic films / larger budgets reflecting post war economic prosperity More epic films / larger budgets reflecting post war economic prosperity

5. Important Filmmakers and Films of Heroic – Nationalist genre Many producers and directors were recent immigrants to Israel. Larry Frisch Tel Aviv Taxi (1954) Tel Aviv Taxi (1954) Pillar of Fire (1959) Pillar of Fire (1959) Thorold Dickinson The Red Background (1953) The Red Background (1953) Hill 24 Doesn’t Answer (1955) Pillar of Fire Hill 24 Doesn’t Answer (1955) Pillar of Fire Nuri Habib Without a Homeland (1952) Without a Homeland (1952) (First color film in Israel) Rachel (1958) Rachel (1958) Important Films Rebels Against the Light (1964) Rebels Against the Light (1964) Hill 24 Doesn’t Answer (1955) Hill 24 Doesn’t Answer Hill 24 Doesn’t Answer (1955) Hill 24 Doesn’t Answer

6. “Bourekas” / Escapism Mostly 70s and 80s Deals with ethnic stereotypes (interplay between Ashkenazi and Sephardi Jews) Filmmakers wanted to address the needs of the Sephardi Jews because they were becoming the majority Low budget ethnic comedies, heavily emotional melodramas, ethnic nostalgia, teen sex comedies, and light entertainment Retreat from old Zionist values Severe criticism because of little cinematic or artistic sophistication

7. Important filmmakers and films of “Bourekas” / Escapist Cinema George Ovadiah Harbour of Love (1967) Harbour of Love (1967) Arianna (1971) Arianna (1971) Ze’ev Revach Only Today (1976) Only Today (1976) Batito (1987) Sallah Batito (1987) Sallah Important Films Sallah (1964) Sallah (1964) (d. Ephraim Kishom) (d. Ephraim Kishom) Light Out of Nowhere (1973) Light Out of Nowhere (1973) (d. Nissim Dayan) (d. Nissim Dayan) House on Chelouche Street (1973) House on Chelouche Street (1973) (d. Mose Mizrachi) Light Out of Nowhere (d. Mose Mizrachi) Light Out of Nowhere

8. Personal & Allegorical Cinema Counter-response to “Boureka/Escapist” and National-Heroic Genres of film Younger generation of Israeli filmmakers (1960s – 1970s) “Kayitz” movement “Kayitz” movement Influenced by French New Wave; many studied in Paris Influenced by French New Wave; many studied in Paris Individual Issues: Disillusionment / “ideology-of-having-no-ideology” Disillusionment / “ideology-of-having-no-ideology” Marginality of the protagonist. Marginality of the protagonist. Criticism of Society Criticism of Society Issues in Israeli Society: Individual vs. National Identity; the personal/political and the private/historical are linked together. Individual vs. National Identity; the personal/political and the private/historical are linked together. What defines the state of Israel (shifting borders)? / Who is a Jew (many diasporas)? Post-Holocaust Jewish survival Post-Holocaust Jewish survival Individual characters can be representative of the state. Individual characters can be representative of the state.

9. Important Filmmakers and Films in Personal & Allegorical Cinema Uri Zohar Hole in the Moon (1965) Hole in the Moon (1965) Three Days and a Child (1967) Three Days and a Child (1967) Dan Wolman (1941- ) Hole in the Moon The Dreamer (1970) The Dreamer (1970) My Michael (1975) My Michael (1975) My Michael My Michael

10. Return of the Repressed: The Palestinian Wave Student films began focusing on Israeli/Arab conflict in new ways. Films began to include Palestinian characters (mostly in minor roles). Films operate w/in a general framework and assumption of Zionism and Arab/Israeli conflict as a given. Wider social and cultural perspectives; dependant on equality between “Oriental” Jews, European Jews and Palestinian Arabs

11. Important Films and Filmmakers in the Palestinian Wave of Cinema Uri Barabash Beyond the Walls (1985) Beyond the Walls (1985) Nissim Dayan A Very Narrow Bridge (1985) Beyond the Walls A Very Narrow Bridge (1985) Beyond the Walls Shimon Dotan The Smile of the Lamb (1986) The Smile of the Lamb (1986) Avanti-Popolo (1986) Avanti-Popolo (1986) A Very Narrow Bridge A Very Narrow Bridge

12. Observations Israeli Film History and Genres somewhat parallel American/Hollywood Films National-Heroic = John Wayne, John Ford National-Heroic = John Wayne, John Ford Bourekas/Escapist = Howard Hawkes, Billy Wilder Bourekas/Escapist = Howard Hawkes, Billy Wilder Personal/Allegorical = Martin Scorsese, Francis Ford Copolla, etc. Personal/Allegorical = Martin Scorsese, Francis Ford Copolla, etc.