Identity Politics on the Israeli Screen

Index

Index 215 Italic page numbers indicate illustrations Accattone (Pasolini), 82 Adorno, Theodor, 67, 169 Afar ve Avak (Poliker and Gilead), xvi, 33, 186n3 Africa, 102 African Americans, 63, 158, 159 Alcalay, Ammiel, 78 Alfon, Dov, 76–77, 82 Alkabatz, Ronit, 72 Allen, Woody, 1 Aloni, Shulamit, 68 Alter, Robert, 98 Amichai, Yehuda, 107 Anderson, Benedict, 4, 176n18 Antonioni, Michelangelo, 88 Arabic language, 67, 86, 118, 144 Arabs: in Exodus, 8–9, 12, 14; and Hamsin, 116–118, 123, 139; in Hide and Seek, 114 – 115, 155–156; and Holocaust memory, 41, 44; and I Am Ahmed, 159–160; and Israeli identity, 78–79; in The Lover, 137, 139; in My Michael, 91, 92, 93, 95, 98, 103, 106–107, 109, 110, 155; in Nadia, 139–141; as other, 97, 102, 110, 115, 117; Yeshurun on, 170; and Zionism, 95, 97 Arafat, Yasser, 17–18, 20 Arbeit Macht Frei vom Toitland Europa (Work Frees from the Death Land of Europe ) (Maayan): and Don’t Touch My Holocaust, 28, 30, 36, 40; and Holocaust Remembrance Day, 45; and Holocaust survivors, 17; and Palestinian-Israeli conflict, 41– 42; and second generation of Holocaust survivors, 46; and victimhood , 41, 43, 62–63 Armenian Genocide, 19 Ashes and Dust (Poliker and Gilead), xvi, 33, 186n3 Ashkenazim: and Beyond the Walls, 162; and bourekas films, 81–82; and Don’t Touch My Holocaust, 39, 41; and Holocaust, 66–67; and Israeli identity, 34, 78, 88; and Mizrahim, 49, 67–68; and My Michael, 109; and new Jews, 2; and On a Narrow Bridge, 130–131, 133, 136; and Shchur, 72– 73, 76, 77, 85, 193n1 Avidan, David, 107 Bar, Shlomo, 80 Barabash, Benny, 112, 146 Barabash, Uri, 17, 131, 146, 160–163 Barak, Ehud, xiv, 67 Bartels, Emily C., 102 Bartov, Omer, 70 Bat Adam, Michal, 112, 137–139, 154, 155, 157, 165 Baudelaire, Charles-Pierre, 104 Because of That War (Ben Dor): compassion of, 53; distance/proximity in, 64; and Holocaust representation, xvi, 28, 32, 33–36; and Holocaust survivors, 17, 34 – 35, 63 Begin, Menachem, 188n12 Bemo Yadav (Shamir), 1 Ben-Ari, Eyal, 80 Ben Dor, Orna, xvi, 17, 28, 32, 33–36, 53, 63, 64, 80 Ben-Gurion, David, 4, 16, 20 Ben Harosh, Moshe, 169, 170 Ben-Hur, 8 Benjamin, Walter, 160 Berger, Tamar, 170 Bertolucci, Bernardo, 82, 97, 99, 100–102, 106, 207–208nn49,50 Beyond the Walls (Barabash), 17, 131, 146, 160–161, 162, 163 Beyond the Walls 2, 162–163 Bezalel Academy, 96 Bhabha, Homi, 101, 102–103, 171 Bhaji on the Beach (Chadha), 85, 86 Biale, David, 119 Bilu, Yoram, 80, 83–84 Birenbaum, Hellina, 34 –35 “Boat film” genre, 5–6 Boats, as national symbols, 4 –6, 175–176n10 Das Boot, 5 Borges, Jorge, 207n49 Botticelli, Sandro, 1 Bourekas films, 74, 76, 81–83, 84, 91, 211– 212n18 Bowles, Paul, 94 –95, 99, 101, 105, 106 Brenner, Rachel Feldhay, 65–66 Brenner, Yosef Haim, 97 Briatte, Robert, 106 Brug, Moli, 19, 20, 22 Burton, Richard, 95 Buzaglo, Haim, 154, 157, 210n2 Camus, Albert, 126 Canaanites, 3, 14, 177n33 Casablan, 76 Casablanca, 13, 31 Cast a Giant Shadow, 14 Chadha, Gurinder, 85, 86 Chateaubriand, François-Auguste-René de, 106 Choice and Destiny (Reibenbach): body language in, 53–55; and daily life, 47, 48– 49, 50, 51, 61, 62; and food, 56–59, 60, 61; and Holocaust representation, xvi, 28, 32, 47–62; scenes from, 48, 57; and second generation of Holocaust survivors, 63–64; and silence, 48, 51, 54, 55–56, 58, 64; time in, 50–51; and Yiddish language , 47, 51–53, 67 Class: and Crossfire, 146; and diasporic/exilic transnational films, 86; and Hamsin, 123; and Holocaust survivors, 34 –35; and identity, xiii; and My Michael, 99, 109 Clinton, William Jefferson, 71, 174 –175n4 Cohen, Eli, 28, 148, 164, 208n56 Colonialism: and ambiguity, 102–103; and Exodus, xvi, 3, 8, 13, 14; and feminism, 90; and Hamsin, 118; and miscegenation, 113; and My Michael, 90, 94, 98, 99; and On a Narrow Bridge, 136; and Orient, xvii, 94 –95, 103; and other, 105–106; and Said, 101, 200nn43,44; and The Sheltering Sky, 99, 100, 101, 102, 105; and Zionism, 119 The Conformist (Bertolucci), 207nn49,50 Conrad, Joseph, 94, 100, 105, 142 Cooper, Howard, 65 Costa-Gavras, Constantin, 135 Crossfire (Ganani): and forbidden love, 144 – 147, 149; and Greek mythology, 154, 210n1; scene from,148; time in, 167; and victimhood , 155, 156; women in, 146, 147, 164 Cultural identity, 52 Cultural pluralism...