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A History of Israeli Cinema: Directed by Raphaël Nadjari. With Naftali Alter, Mohammad Bakri, Haim Bouzaglo, Joseph Cedar. The first 1933 - 1978 starts with the Zionist movement and ends with the first re-visitation of that history.
- (44)
- Documentary
- Raphaël Nadjari
- 2009
Israel as a nation is far younger than motion pictures; in fact, its modern identity has been formed in parallel with the medium of film. Israeli films, when seen unfolding over time as they do in this engrossing retrospective documentary, reveal a cinematic national identity that encapsulates the emotional reality of a country often torn by ethnic, religious and political conflicts.
The second stage, 1978-2005, was defined by a greater diversity of topics as filmmakers tackled everything from the Israeli-Palestinian conflict to the contradictions of modern life. A History of Israeli Cinema tells the story of the building of a gaze on a society torn by ethnics, religious, and political conflicts.
A History of Israeli Cinema is the result of years of researches, studies, documentation, screening, interviews, some recorded, some to learn, to understand, to unfold. Actors, thinkers, producers, filmmakers, professors, critics negotiated to build a narrative that remains fragile and incomplete. It is the process rather than the result that is shared here.
May 28, 2009 · Ambitious two-part docu “A History of Israeli Cinema,” from France-born, Israel-based helmer Raphael Nadjari, offers a chronological consideration of the creation of a national cinematographic ...
Sep 11, 2009 · A History of Israeli Cinema is the result of years of researches, studies, documentation, screening, interviews, some recorded, some to learn, to understand, to unfold. Actors, thinkers, producers, filmmakers, professors, critics negotiated to build a narrative that remains fragile and incomplete.
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A History of Israeli Cinema is divided into two parts; the first half covers the years 1932 to 1978, beginning with Zionist films shot in Palestine by Jewish directors from Europe, and the second part is devoted to 1978-2005, when filmmakers embraced what locals critics called "The New Sensibility" and features with brave and defiant Sephardic heroes gave way to more nuanced fare dealing with the spiritual, political and ethical grey areas of a nation of immigrants.
