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A Body in Every Cellar
Defined by an ongoing conflict with the Palestinians, a constant tension between religion and democracy, and an ever-growing economic inequality, contemporary Israeli existence germinates “perpetual violence”—the notion that violence can never be fully eliminated or controlled. This endless loop of...
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Published in: | Jewish film & new media 2016-04, Vol.4 (1), p.4-24 |
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description | Defined by an ongoing conflict with the Palestinians, a constant tension between religion and democracy, and an ever-growing economic inequality, contemporary Israeli existence germinates “perpetual violence”—the notion
that violence can never be fully eliminated or controlled. This endless loop of anxiety and fear can be traced in a new cinematic movement consisting of more than ten Israeli features made between 2010 and 2015. Influenced by the
Israeli “New Sensitivity” movement and the postmillennial “New Extremism” in European cinema, young Israeli filmmakers translate these tensions into provocative, challenging, and open-ended narratives. Focusing on rape, incest,
or torture, their stories reject explicit interpretations and overt political messages identified with Shooting and Crying films. Instead, their “aesthetic of excess” offers a radical way to think about the interrelation between
aesthetics and politics by invoking a bodily experience and turning the occupation and the militarization of Israeli society into the subtext rather than the text. |
doi_str_mv | 10.13110/jewifilmnewmedi.4.1.0004 |
format | article |
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that violence can never be fully eliminated or controlled. This endless loop of anxiety and fear can be traced in a new cinematic movement consisting of more than ten Israeli features made between 2010 and 2015. Influenced by the
Israeli “New Sensitivity” movement and the postmillennial “New Extremism” in European cinema, young Israeli filmmakers translate these tensions into provocative, challenging, and open-ended narratives. Focusing on rape, incest,
or torture, their stories reject explicit interpretations and overt political messages identified with Shooting and Crying films. Instead, their “aesthetic of excess” offers a radical way to think about the interrelation between
aesthetics and politics by invoking a bodily experience and turning the occupation and the militarization of Israeli society into the subtext rather than the text.</description><identifier>ISSN: 2169-0324</identifier><identifier>EISSN: 2169-0332</identifier><identifier>DOI: 10.13110/jewifilmnewmedi.4.1.0004</identifier><language>eng</language><publisher>Detroit: Wayne State University Press</publisher><subject>Anxiety ; Cellars ; Extremism ; Lapid, Nadav ; Motion picture directors & producers ; Motion pictures ; Movies ; Narratives ; Occupations ; Palestinian people ; Political extremism ; Politics ; Rape ; Religion ; Scholars ; School violence ; Sexual violence ; Shooting ; Torture ; Violence ; Violent extremism ; War</subject><ispartof>Jewish film & new media, 2016-04, Vol.4 (1), p.4-24</ispartof><rights>Copyright 2016 Wayne State University Press</rights><rights>Copyright Wayne State University Press Spring 2016</rights><lds50>peer_reviewed</lds50><woscitedreferencessubscribed>false</woscitedreferencessubscribed><citedby>FETCH-LOGICAL-c1818-5f846c289d7ecd7d11e1e0dbdee7f1d244d1b6f4da8d271b9d951612aa4f6b1a3</citedby></display><links><openurl>$$Topenurl_article</openurl><openurlfulltext>$$Topenurlfull_article</openurlfulltext><thumbnail>$$Tsyndetics_thumb_exl</thumbnail><linktopdf>$$Uhttps://www.proquest.com/docview/1782245968/fulltextPDF?pq-origsite=primo$$EPDF$$P50$$Gproquest$$H</linktopdf><linktohtml>$$Uhttps://www.proquest.com/docview/1782245968?pq-origsite=primo$$EHTML$$P50$$Gproquest$$H</linktohtml><link.rule.ids>314,780,784,12860,27923,27924,34774,44199,62660,62661,62676,73967,74499</link.rule.ids></links><search><creatorcontrib>Alexander, Neta</creatorcontrib><title>A Body in Every Cellar</title><title>Jewish film & new media</title><description>Defined by an ongoing conflict with the Palestinians, a constant tension between religion and democracy, and an ever-growing economic inequality, contemporary Israeli existence germinates “perpetual violence”—the notion
that violence can never be fully eliminated or controlled. This endless loop of anxiety and fear can be traced in a new cinematic movement consisting of more than ten Israeli features made between 2010 and 2015. Influenced by the
Israeli “New Sensitivity” movement and the postmillennial “New Extremism” in European cinema, young Israeli filmmakers translate these tensions into provocative, challenging, and open-ended narratives. Focusing on rape, incest,
or torture, their stories reject explicit interpretations and overt political messages identified with Shooting and Crying films. Instead, their “aesthetic of excess” offers a radical way to think about the interrelation between
aesthetics and politics by invoking a bodily experience and turning the occupation and the militarization of Israeli society into the subtext rather than the text.</description><subject>Anxiety</subject><subject>Cellars</subject><subject>Extremism</subject><subject>Lapid, Nadav</subject><subject>Motion picture directors & producers</subject><subject>Motion pictures</subject><subject>Movies</subject><subject>Narratives</subject><subject>Occupations</subject><subject>Palestinian people</subject><subject>Political extremism</subject><subject>Politics</subject><subject>Rape</subject><subject>Religion</subject><subject>Scholars</subject><subject>School violence</subject><subject>Sexual violence</subject><subject>Shooting</subject><subject>Torture</subject><subject>Violence</subject><subject>Violent 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that violence can never be fully eliminated or controlled. This endless loop of anxiety and fear can be traced in a new cinematic movement consisting of more than ten Israeli features made between 2010 and 2015. Influenced by the
Israeli “New Sensitivity” movement and the postmillennial “New Extremism” in European cinema, young Israeli filmmakers translate these tensions into provocative, challenging, and open-ended narratives. Focusing on rape, incest,
or torture, their stories reject explicit interpretations and overt political messages identified with Shooting and Crying films. Instead, their “aesthetic of excess” offers a radical way to think about the interrelation between
aesthetics and politics by invoking a bodily experience and turning the occupation and the militarization of Israeli society into the subtext rather than the text.</abstract><cop>Detroit</cop><pub>Wayne State University Press</pub><doi>10.13110/jewifilmnewmedi.4.1.0004</doi><tpages>21</tpages></addata></record> |
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subjects | Anxiety Cellars Extremism Lapid, Nadav Motion picture directors & producers Motion pictures Movies Narratives Occupations Palestinian people Political extremism Politics Rape Religion Scholars School violence Sexual violence Shooting Torture Violence Violent extremism War |
title | A Body in Every Cellar |
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