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Soldiers, Rebels, and Drifters - Gay Representation in Israeli Cinema (Paperback, New)
Loot Price: R946
Discovery Miles 9 460
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Soldiers, Rebels, and Drifters - Gay Representation in Israeli Cinema (Paperback, New)
Series: Contemporary Approaches to Film and Media Series
Expected to ship within 10 - 15 working days
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Despite the canonical status of the written word in forging the
Zionist-Israeli national narrative and its subversive derivatives,
the emergence of gay consciousness in the mid-1970s relied more on
cinematic representations than those found in literature,
journalism, or popular music. Film's global distribution reached
wide overseas audiences and emphasized gay men and lesbians' roles
in representing "liberal" Israel to the world. In Soldiers, Rebels,
and Drifters: Gay Representation in Israeli Cinema author Nir Cohen
studies the role of cinema in portraying gay identities,
environments, and lifestyles in Israel over the past three decades,
particularly in the wake of a series of legal battles for gay
rights in the 1980s and 1990s. In five chapters, Cohen examines the
past, present, and future of gay filmmaking in Israel. In chapter
1, he traces the roots of an imagined Israeli gay community in film
by examining the parallels between constructing gay identity on
screen and representing the city of Tel Aviv as a cosmopolitan
metropolis, with a focus on the early films of Amos Guttman and
Eytan Fox. In chapter 2, he explores Guttman's films in detail to
trace their contribution to the evolution of a gay identity in
1980s Israel. Chapter 3 shifts to the work of Eytan Fox, probably
the most prolific gay Israeli director since Guttman. In chapter 4,
Cohen tackles nonfiction gay filmmaking in Israel in the form of
documentaries and self-authored films. Chapter 5 concludes the
volume with a look at the current state of gay filmmaking in
Israel, including the new directions that recent films have taken
and the increasing interest in the experience of gay men and
lesbians from religious communities. Beyond simple textual
analysis, Cohen addresses the institutional apparatuses of the
movie industry, including the politics behind funding, censorship,
and television broadcasting, and relates the films studied to the
cultural and political history of Israel since the late 1970s. Film
and television scholars, as well as those interested in queer
studies and the cultural history of Israel will be grateful for
this thorough study of gay Israeli cinema.
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