Post-Zionist critique on Israel and the Palestinians part III: Popular culture

Journal of Palestine Studies

Volumn 26, Issue 4, 1997, Pages 60-69

  Pappé, Ilan ^a,b  

^a UNIVERSITY OF HAIFA   (Israel)

^b Inst for Peace Res Givat Haviva

Author keywords

[No Author keywords available]

Indexed keywords

EID: 4644359264     PISSN: 0377919X     EISSN: None     Source Type: Journal    
DOI: 10.2307/2537907     Document Type: Article

References (21)

1. Dalia Rabikovitch's poem, "To Leave Beirut," described the war from the Lebanese point of view.
2. Yerach Gover, Zionism: The Limits of Moral Discourse in Israeli Hebrew Fiction (Minneapolis: University of Minnesota Press, 1994). In Ballas's A Locked Room (Jerusalem: Zemora Bitan, 1982), the protagonist is a Palestinian Israeli who is a member of the Communist party. In The Other One (Jerusalem: Zemora Bitan, 1991), Ballas presents Zionism as it is perceived from an Arab nationalist perspective.
3. Yerach Gover, Zionism: The Limits of Moral Discourse in Israeli Hebrew Fiction (Minneapolis: University of Minnesota Press, 1994). In Ballas's A Locked Room (Jerusalem: Zemora Bitan, 1982), the protagonist is a Palestinian Israeli who is a member of the Communist party. In The Other One (Jerusalem: Zemora Bitan, 1991), Ballas presents Zionism as it is perceived from an Arab nationalist perspective.
4. Albert Swisa, Aqud (Bound) (Tel Aviv: HaKibbutz HaMeuhad, 1985).
5. Yitzhak Laor, The People, Food Fit for a King (Tel Aviv: Hakibbutz HaMeuhad, 1994).
6. David Grossman, Nochaim Nifkadim (Present absentees; titled "Sleeping on a Wire" in an English edition) (Tel Aviv: HaKibbutz HaMeuhad, 1992) and HaZeman Ha-Zahov (The yellow time) (Tel Aviv: HaKibbutz HaMeuhad, 1987).
7. David Grossman, Nochaim Nifkadim (Present absentees; titled "Sleeping on a Wire" in an English edition) (Tel Aviv: HaKibbutz HaMeuhad, 1992) and HaZeman Ha-Zahov (The yellow time) (Tel Aviv: HaKibbutz HaMeuhad, 1987).
8. Dan Orian, The Arab in Israeli Theater (Jerusalem: Or-Am, 1995) (Hebrew).
9. The Hebrew title of this Hanoch Levin play is MalKat Hambatia.
10. Typical plays that present the "Peace Now dilemma" are Benny Barabash, Ehad Meshelanu (One of us), 1988, and Yehoshua Sobol, HaFalestinait (The Palestinian woman), 1985.
11. For an analysis of this adaptation and other plays based on Kanafani's work, see my "A Text in the Eyes of the Beholder: Four Theatrical Interpretations of Kanafani's Men in the Sun," in Contemporary Theater Review 3-2 (1995), pp. 157-74.
12. Fuad Awad and Eran Baniel codirected Romeo and Juliet for Han (an Israeli Jerusalemite theater) and al-Qasaba (a Palestinian Jerusalemite theater).
13. At the beginning of November 1996, Daniel Bartal, of the School of Education at Tel Aviv University, issued a survey showing that in most Israeli textbooks throughout the educational system, Arabs are depicted as "murders," "villains," "blood suckers," and so on.
14. The most successful commercial film which used this exchange of roles is Uri Barabash's 1984 Meahorei Ha-Soragim (Behind the bars), in which a Palestinian political prisoner leads a prison revolt. Starting from the 1980s, a number of films have featured Arabs as heroes.
15. Hamsin, about a love affair between a Palestinian day laborer and the daughter of his employer, was the most famous of this genre.
16. Esh Zolvet was directed by Gideon Ganani, with screenplay by Benny Barabash.
17. See further Jad Ne'eman, "The Empty Tomb in the Postmodern Pyramid: Israeli Cinema in the 1980s and 1990s," in Documenting Israel, ed. C. Berlin (Cambridge: Harvard University Press, 1993), pp. 1-20.
18. One such film was Gesher Zar Meod (A very narrow bridge), directed by Nissim Dayan and released in 1985.
19. Ne'eman's film, released in 1977, is Masa Alunkot (a term used to describe one of the most challenging military exercises new Israeli soldiers undergo at the beginning of their army training).
20. The idea of appropriation is brought in Laor's book, Anachnu (We are writing in your service, homeland) (Tel Aviv: Kibbutz Meuhad, 1995).
21. It is interesting to note that in 1988, mainstream historians assisted in producing a propaganda version of the 1948 war called Ohalei Ha-palmach (The tents of the Palmach), directed by Gil Sadan. A year later a more critical director, Nissim Dayan, used more revisionist consultants and produced a more balanced film with the same title.