Temporal and Topological: Two Ways of Living Israel/Palestine
Elia Suleiman and Amos Gitai are two Israeli filmmakers, Palestinian and Jewish respectively. Gitai’s first film, House (1980), was censored by Israeli Television - the producers of the film - due to its sympathetic portrayal of Palestinians. Elia Suleiman’s debut film, Chronicle of a Disappearance...
Main Author: | |
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Format: | Electronic Article |
Language: | English |
Check availability: | HBZ Gateway |
Journals Online & Print: | |
Fernleihe: | Fernleihe für die Fachinformationsdienste |
Published: |
[publisher not identified]
2019
|
In: |
The journal of religion and film
Year: 2019, Volume: 23, Issue: 2, Pages: 1-24 |
Standardized Subjects / Keyword chains: | B
Bayit
/ Chronicle of a disappearance
/ Israel
/ Middle East conflict
/ Space
/ Time
|
IxTheo Classification: | AD Sociology of religion; religious policy AG Religious life; material religion KBL Near East and North Africa ZC Politics in general |
Further subjects: | B
Diaspora (social sciences)
B Conflict B Memory B Judaism B Palestinian cinema B Israeli cinema B Identity |
Online Access: |
Volltext (kostenfrei) |
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520 | |a Elia Suleiman and Amos Gitai are two Israeli filmmakers, Palestinian and Jewish respectively. Gitai’s first film, House (1980), was censored by Israeli Television - the producers of the film - due to its sympathetic portrayal of Palestinians. Elia Suleiman’s debut film, Chronicle of a Disappearance (1996), was criticized at the Carthage Film Festival in Tunisia for a sequence showing an Israeli flag and Suleiman himself was accused of being a Zionist collaborator. By comparing the ways in which these two films deal with the political and social implications of the Israel-Palestine conflict, this article highlights two distinct methods of relating to facts on the ground: the topological and the temporal. While Gitai, the architect-turned-film maker, focuses on the former, building his film around a house inhabited by the Arab workers who are renovating it, Suleiman develops his film along a temporal axis marked by the chapters of his chronicle. This article considers the history of Israeli Jews and Palestinians through the lenses of time and space and claims that the contemporary obsession of the former with space and the latter with time threatens the permanence of both peoples on the land. | ||
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STB | 0 | 0 | |a Conflit israélo-arabe,Conflit israélo-arabe,Conflit au Proche Orient,Conflit au Proche Orient,Diaspora (sciences sociales),Diaspora,Diaspora,Espace,Espace,Espace,Espace,Israël,Israël,Temps,Temps,Temps (philosophie) |
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STE | 0 | 0 | |a 中东冲突,阿拉伯-以色列冲突,阿以冲突,以色列,时间,时间,流散,流散,大移居,大流散,大移居,大流散,空间,空间 |
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STH | 0 | 0 | |a Ближневосточный конфликт (мотив),Ближневосточный конфликт,Время (мотив),Время,Диаспора (мотив),Диаспора,Израиль (мотив),Израиль (богословие),Пространство (математика),Пространство,Пространство (мотив) |
STI | 0 | 0 | |a Διασπορά (μοτίβο),Διασπορά,Ισραήλ (μοτίβο),Ισραήλ (θεολογία),Συγκρούσεις στη Μέση Ανατολή <μοτίβο>,Συγκρούσεις στη Μέση Ανατολή,Αραβο-Ισραηλινές συγκρούσεις,Αραβο-Ισραηλινές συγκρούσεις (μοτίβο),Χρόνος (μοτίβο),Χρόνος,Χώρος (μαθηματικά),Χώρος,Χώρος (μοτίβο) |
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