Parallel Lives: Palestinian, Druze, and Jewish Women in Recent Israeli Cinema on the Conflict:Free Zone, Syrian Bride, andLemon Tree

Free Zone(Amos Gitai, 2005);The Lemon Tree(Eran Riklis, 2008) andSyrian Bride(Eran Riklis, 2004), explore the Arab-Israeli conflict through women's experience of the political and military stalemate. In presenting Palestinian, Druze, and Israeli women, these filmmakers attempt to contrast and c...

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Bibliographic Details
Published in:Shofar (West Lafayette, Ind.) Ind.), 2013-10, Vol.32 (1), p.79-102
Main Author: Harris, Rachel S.
Format: Article
Language:English
Subjects:
Armed conflict
Feminist film theory
Gender roles
Masculinity
Men
Motion picture industry
Movies
Narratives
War
War conflict
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Summary:Free Zone(Amos Gitai, 2005);The Lemon Tree(Eran Riklis, 2008) andSyrian Bride(Eran Riklis, 2004), explore the Arab-Israeli conflict through women's experience of the political and military stalemate. In presenting Palestinian, Druze, and Israeli women, these filmmakers attempt to contrast and compare women's shared encounters, including their experience of patriarchy. While the characters may come from diametrically opposed sides, their experiences as women occlude their political differences. In these films, women are foregrounded within the plot, and have agency over their actions if not their situations. Rejecting the masculine frame that has governed representations of the conflict, these filmmakers demonstrate a new kind of approach in Israeli film that considers feminist aesthetics in the construction of character and plot, as well as the treatment of women's physicality, gaze, territoriality, and agency.
ISSN:0882-8539
1534-5165