Customer Service | Help | FAQ | PEP-Easy | Report a Data Error | About
:
Login
Tip: To see translations of Freud SE or GW…

PEP-Web Tip of the Day

When you hover your mouse over a paragraph of the Standard Edition (SE) long enough, the corresponding text from Gesammelte Werke slides from the bottom of the PEP-Web window, and vice versa.

If the slide up window bothers you, you can turn it off by checking the box “Turn off Translations” in the slide-up.  But if you’ve turned it off, how do you turn it back on?  The option to turn off the translations only is effective for the current session (it uses a stored cookie in your browser).  So the easiest way to turn it back on again is to close your browser (all open windows), and reopen it.

For the complete list of tips, see PEP-Web Tips on the PEP-Web support page.

Brown, H. (2002). The Ghost Landscape of Israeli Movies. J. Appl. Psychoanal. Stud., 4(3):365-369.
    

(2002). Journal of Applied Psychoanalytic Studies, 4(3):365-369

The Ghost Landscape of Israeli Movies

Hannah Brown

What is astounding about Israeli movies in recent years is their nearly total irrelevance. While most of the Israeli movie-going public consists of teenagers who would rather see a big-budget Hollywood action movie than anything else (which is probably true of the movie-going public nearly anywhere in the world), there are usually a few serious directors working who try to use their films to make some kind of commentary on the time and place in which they live. And the more thoughtful films by these directors usually find a small audience among film buffs and intellectuals. This is simply not the case here in Israel. Most movies made in the last few years so resolutely ignore the realities of life here, particularly the Palestinian-Israeli conflict, or deal with it in the most roundabout way, that seeing them, you would have the impression that the problem simply did not exist. But when you remove all hint of the conflict from all of the movies, you're left with … not much, as it turns out. Israeli movies (and when I use this term, I mean movies by Jewish Israeli filmmakers) exist in a strange ghost landscape, and do not even succeed as entertainment for the people by and about whom they are made, for the most part, fashion-conscious young Tel Aviv residents.

Only those with some kind of professional interest in the movie industry tend to see most Israeli movies. It's gotten so bad that at the last Israeli Oscar ceremony, held in November 2001, many of the winners took the opportunity, since the ceremony was broadcast on national television, to plead with the public to actually come out and see Israel films. Why is it that Israel produces such uninspired movies? After all, its novelists, such as A.B. Yehoshua, Amos Oz and David Grossman, are among the finest in the world. Societies in turmoil tend to create great movies and inspire great moviemakers.

[This is a summary or excerpt from the full text of the book or article. The full text of the document is available to subscribers.]

Copyright © 2019, Psychoanalytic Electronic Publishing, ISSN 2472-6982 Customer Service | Help | FAQ | Download PEP Bibliography | Report a Data Error | About

WARNING! This text is printed for personal use. It is copyright to the journal in which it originally appeared. It is illegal to redistribute it in any form.