Abstract

Free Zone (Amos Gitai, 2005); The Lemon Tree (Eran Riklis, 2008) and Syrian Bride (Eran Riklis, 2004), explore the Arab-Israeli conflict through women’s experience of the political and military stalemate. In presenting Palestinian, Druze, and Israeli women, these filmmakers attempt to contrast and compare women’s shared encounters, including their experience of patriarchy. While the characters may come from diametrically opposed sides, their experiences as women occlude their political differences. In these films, women are foregrounded within the plot, and have agency over their actions if not their situations. Rejecting the masculine frame that has governed representations of the conflict, these filmmakers demonstrate a new kind of approach in Israeli film that considers feminist aesthetics in the construction of character and plot, as well as the treatment of women’s physicality, gaze, territoriality, and agency.

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Additional Information

ISSN
1534-5165
Print ISSN
0882-8539
Pages
pp. 79-102
Launched on MUSE
2013-12-29
Open Access
No
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