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  • 1
    Article
    Article
    2012
    ISSN: 1529-1510  ISSN: 02705346 
    Language: English
    In: Camera Obscura: Feminism, Culture, and Media Studies, 2012, Vol.27(2 80), p.93
    Description: This essay offers perpetrator trauma as a new current in Israeli cinema. It examines the theme of the Israeli as perpetrator of atrocities in 3 major Israeli documentaries: "To See If I'm Smiling" (dir. Tamar Yarom, 2007); "Waltz With Bashir" (dir. Ari Folman, 2008); and "Z32" (dir. Avi Mograbi, 2008), which are seen to have changed the cultural agenda, raising vehement controversy while receiving numerous prizes. It is suggested that the changing face of 21st century war justifies a new perspective and a new epistemology for a post-victim/post-witness era.
    Subject(s): Cinema ; Israel ; Documentaries ; Psychological Trauma ; War;
    ISSN: 1529-1510
    ISSN: 02705346
    E-ISSN: 1529-1510
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  • 2
    Article
    Article
    2012
    ISSN: 02705346 
    Language: English
    In: Camera Obscura, 2012, Issue 80, p.93
    Description: The major catastrophes of the 20th century, most notably the Holocaust, have set victims trauma and witnessing at the heart of post-Second World War world consciousness. As a result, offering perpetrator trauma as a new paradigm and legitimate field of concern might at first seem problematic at this stage in history and may immediately and inevitably bring to the fore confusion, opposition, disapproval, and even repulsion. But the paradigm is not meant to undermine the victim's status in today's culture, let alone to sake the foundation of trauma ethics. The changing face of 21st-century war justifies a new perspective and a new epistemology for a post-victim/post-witness era. Here, Morag addresses the questions of how the trauma of the perpetrator manifests itself in the recent Israeli films, how the epistemological--and somatic--conditions of guilt should be understood, and whether this cinematic trend paves the way for Israelis to assume moral responsibility for their deeds.
    Subject(s): Israel ; Holocaust ; Victims of Crime ; Film Studies ; World War II ; Jews ; Motion Picture Criticism
    ISSN: 02705346
    E-ISSN: 15291510
    Source: © ProQuest LLC All rights reserved〈img src="https://exlibris-pub.s3.amazonaws.com/PQ_Logo.jpg" style="vertical-align:middle;margin-left:7px"〉
    Source: GenderWatch (Alumni edition)
    Source: GenderWatch
    Source: ARTbibliographies Modern (ABM)
    Source: International Index to Performing Arts Full Text
    Source: Research Library China
    Source: ProQuest Research Library
    Source: ProQuest Central
    Source: Research Library (Alumni edition)
    Source: ProQuest Art, Design and Architecture Collection
    Source: Arts Premium Collection
    Source: Music & Performing Arts Collection
    Source: ProQuest Central (new)
    Source: ProQuest Central K-12
    Source: ProQuest Central Korea
    Source: Research Library Prep
    Source: ProQuest Central Essentials
    Source: ProQuest Central China
    Source: ProQuest One Academic
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  • 3
    Language: English
    In: Journal of Perpetrator Research, 01 December 2018, Vol.2(1), pp.13-19
    Description: Post-World War II Holocaust studies, followed by genocide, trauma, and postcolonial studies, set the triangulation of perpetrator, victim, and bystander at the heart of their discussion of both the ethical legacy of the Holocaust and the aftermath of other twentieth-century catastrophes. Aiming at the constitution of an appropriate instrument to deal with transitional justice issues, during the 1990s the South African Truth and Reconciliation Commission (TRC) interwove these subject positions, thereby attesting to a major transformation in post-genocide reconciliation processes, though not altering their basic foundation. Other theorizations, especially of the perpetrator, for example, expanded the scale of sociological characterization of the triangulation or confronted its call for interpellation and identification (most prominently in the fields of criminology and literature, respectively), but further reflected the same triadic foundation. The exploratory opposition between...
    E-ISSN: 2514-7897
    Source: Directory of Open Access Journals (DOAJ)
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  • 4
    Article
    Article
    2010
    ISSN: 1064-2684 
    Language: English
    In: GLQ: A Journal of Lesbian and Gay Studies, 2010, 2007, Vol.16(4), p.654
    Subject(s): Motion Pictures ; Israel ; Yosef, Raz ; Sociology & Social History ; Women'S Studies;
    ISSN: 1064-2684
    E-ISSN: 1527-9375
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  • 5
    Article
    Article
    2006
    ISSN: 0270-5346 
    In: Camera Obscura: Feminism, Culture, and Media Studies, 2006, Vol.21(1 61), p.147
    Subject(s): Kaysen, Susanna ; Mangold, James ; Brückner, Jutta ; Arts and Entertainment Industry ; German Television ; Feature Films ; Made-for-TV-Movies ; Adaptations ; Artistic Representation (Imitation) ; Eating Disorders ; Feminist Theater ; Human Body ; Bulimia ; Hungerjahre, Jutta Brückner (1980, Film) ; Girl, Interrupted, James Mangold (1999, Film);
    ISSN: 0270-5346
    E-ISSN: 1529-1510
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  • 6
    Language: English
    In: Journal of Film and Video, 1, 1 October December 2008 2008, Vol.60(3/4), pp.3-24
    Description: According to the mimetic paradigm approach within trauma studies, the trauma is still at the repression stage and has not reached that of post-trauma, which involves recognition that trauma has occurred.4 In contrast to fictional narrative cinema, Israeli documentary cinema deals with the Intifadah (both the occupation and the terror attacks) in an almost obsessive fashion.5 Dozens of documentary films have been screened, particularly on the local Discovery channel, in cinematheques, and in Israeli film festivals over the past four years, and more and more such films are still being made.
    Subject(s): Chicago Illinois ; New York ; Israel ; Documentary Films ; Terrorism ; Public Spaces ; Suicide Bombings ; Motion Picture Festivals ; Occupations ; Films;
    ISSN: 07424671
    E-ISSN: 19346018
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  • 7
    Article
    Article
    2008
    ISSN: 03067661 
    Language: English
    In: Framework: The Journal of Cinema and Media, 1 April 2008, Vol.49(1), pp.121-133
    Description: Since the outbreak of the first Intifada in 1987, and especially during the height of the second Intifada (2002-04), Israeli society experienced chronic trauma. [...]the passengers look into the camera in a way that is almost premonitory, since the camera is placed where a potential terrorist could be standing. Unlike Security Groove, Ringtones offers no auditory pleasure. Since a cell phone is always connected to the body-the ear or mouth-the ringtones, as disembodied voices, confirm the absence of the body in the total sense. [...]this is an unavoidable result of an act of terror.
    Subject(s): Baltimore Maryland ; New York ; Israel ; Terrorism ; Holocaust ; Sound ; Films ; Columbia University Press ; Johns Hopkins University Press;
    ISSN: 03067661
    E-ISSN: 15597989
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  • 8
    Language: English
    In: Deeper than Oblivion (2013) 167-198
    Description: Deeper than Oblivion; Trauma and Memory in Israeli Cinema. Edited by Raz Yosef and Boaz Hagin. New York: Bloomsbury Academic, 2013
    Subject(s): Sex in motion pictures; Intifada, 1987-1993; Al-Aqsa Intifada, 2000-; Arab-Israeli conflict -- Motion pictures and the conflict; Gender identity -- Israel
    ISBN: 9781441162199
    Source: The National Library of Israel〈img src="http://exlibris-pub.s3.amazonaws.com/National_Library_IL.gif" style="vertical-align:middle;margin-left:7px"〉
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  • 9
    Language: English
    In: Camera Obscura, May 1, 2020, Vol.35(1), pp.77-107
    Description: The remarkable gendered renaissance of post–Khmer Rouge (KR) New Cambodian Cinema is evidenced in recent years through first- and second- generation post-traumatic films. This article analyzes one prominent example—Lida Chan and Guillaume P. Suon’s Noces Rouges (Red Wedding, Cambodia/France, 2012)—showing how the Cambodian genocide is for the first time dealt with as a gendered genocide, breaking the taboo issues of forced marriage (a unique form of genocide in the world) and rape. A detailed analysis of Red Wedding describes how the meaning of forced marriage and rape is framed by both the cinema and the relevant national and international discourses embodied by the KR tribunal (also known as the ECCC) and the controversies its proceedings caused. The article compares the cinematic testimony per se and that testimony transferred into legal testimony in court to reflect on the role of cinema in promoting women’s history. Furthermore, it raises highly controversial subjects, such as how...
    Subject(s): Weddings ; Testimony ; Marriage ; Genocide ; New Cambodian Cinema ; Forced Marriage and Rape ; Necrophagic Epistemology ; Female Perpetrators ; Red Wedding
    ISSN: 02705346
    E-ISSN: 15291510
    Source: © ProQuest LLC All rights reserved〈img src="https://exlibris-pub.s3.amazonaws.com/PQ_Logo.jpg" style="vertical-align:middle;margin-left:7px"〉
    Source: GenderWatch (Alumni edition)
    Source: GenderWatch
    Source: ARTbibliographies Modern (ABM)
    Source: International Index to Performing Arts Full Text
    Source: Research Library China
    Source: ProQuest Research Library
    Source: ProQuest Central
    Source: Research Library (Alumni edition)
    Source: ProQuest Art, Design and Architecture Collection
    Source: Arts Premium Collection
    Source: Music & Performing Arts Collection
    Source: ProQuest Central (new)
    Source: ProQuest Central K-12
    Source: ProQuest Central Korea
    Source: Research Library Prep
    Source: ProQuest Central Essentials
    Source: ProQuest Central China
    Source: ProQuest One Academic
    Library Location Call Number Volume/Issue/Year Availability
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  • 10
    Article
    Article
    2019
    ISSN: 1911-0359 
    Language: English
    In: Genocide studies and prevention, 01 December 2019, Vol.13(3), pp.176-177
    Subject(s): Social Welfare & Social Work
    ISSN: 1911-0359
    E-ISSN: 1911-9933
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