The first 1933 - 1978 starts with the Zionist movement and ends with the first re-visitation of that history. The second 1978 - 2005 starts at the beginning of the political wave until the ... See full summary »
Keep track of everything you watch; tell your friends.
If your account is linked with Facebook and you have turned on sharing, this will show up in your activity feed. If not, you can turn on sharing
here
.
The first 1933 - 1978 starts with the Zionist movement and ends with the first re-visitation of that history. The second 1978 - 2005 starts at the beginning of the political wave until the more recent personal cinema. However chronological, both episodes cover most of the genres, themes and periods of Israeli cinema - from the beginning of the Zionist Mouvement to the most personal stories - from commercial to politically engaged directors, from the local to the universal. A HISTORY OF ISRAELI CINEMA tells the story of the building of a gaze on a society torn by ethnics, religious, and political conflicts. It attempts to understand, to denounce or to explore this complex subjects, always searching for the right ethic, the right form: to explore or transform its own definition and its place in the world. Written by
Zadig Production
Raphael Nadjari's 3-hour documentary was a big surprise to me. It revealed a hidden part of Israeli cinema, with a lot of 'moving' images predating the creation of the country in 1948, and many movies having nothing to do with the country's wars and conflicts. I came out of it with a craving for more, David Perlov's Diary for instance. Nadjari artfully managed to negotiate its way between common obstacles when it comes to Israel, I mean the self-flagellation or soothing discourses. Also I very much appreciated the comments on movie excerpts made by experienced Israeli academics: Israeli cinema has a prehistory and a history in its own right.
3 of 3 people found this review helpful.
Was this review helpful to you?
Raphael Nadjari's 3-hour documentary was a big surprise to me. It revealed a hidden part of Israeli cinema, with a lot of 'moving' images predating the creation of the country in 1948, and many movies having nothing to do with the country's wars and conflicts. I came out of it with a craving for more, David Perlov's Diary for instance. Nadjari artfully managed to negotiate its way between common obstacles when it comes to Israel, I mean the self-flagellation or soothing discourses. Also I very much appreciated the comments on movie excerpts made by experienced Israeli academics: Israeli cinema has a prehistory and a history in its own right.