front cover of Identity Politics on the Israeli Screen
Identity Politics on the Israeli Screen
By Yosefa Loshitzky
University of Texas Press, 2002

2002 — A Choice Outstanding Academic Book

The struggle to forge a collective national identity at the expense of competing plural identities has preoccupied Israeli society since the founding of the state of Israel. In this book, Yosefa Loshitzky explores how major Israeli films of the 1980s and 1990s have contributed significantly to the process of identity formation by reflecting, projecting, and constructing debates around Israeli national identity.

Loshitzky focuses on three major foundational sites of the struggle over Israeli identity: the Holocaust, the question of the Orient, and the so-called (in an ironic historical twist of the "Jewish question") Palestinian question. The films she discusses raise fundamental questions about the identity of Jewish Holocaust survivors and their children (the "second generation"), Jewish immigrants from Muslim countries or Mizrahim (particularly the second generation of Israeli Mizrahim), and Palestinians. Recognizing that victimhood marks all the identities represented in the films under discussion, Loshitzky does not treat each identity group as a separate and coherent entity, but rather attempts to see the conflation, interplay, and conflict among them.

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front cover of Projecting the Nation
Projecting the Nation
History and Ideology on the Israeli Screen
Eran Kaplan
Rutgers University Press, 2020
Projecting the Nation: History and Ideology on the Israeli Screen is a wide-ranging history of over seven decades of Israeli cinema.  The only book in English to offer this type of historical scope was Ella Shohat’s Israeli Cinema: East West and the Politics of Representation from 1989.  Since 1989, however, Israeli cinema and Israeli society have undergone some crucial transformations and, moreover, Shohat’s book offered a single framework through which to judge Israeli cinema: a critique of orientalism. Projecting the Nation contends that Israeli cinema offers much richer historical and ideological perspectives that expose the complexity of the Israeli project.  By analyzing Israeli films which address such issues as the Arab-Israeli conflict, the Ashkenazi-Mizrahi divide, the kibbutz and urban life, the rise of religion in Israeli public life and more, the book explores the way cinema has represented and also shaped our understanding of the history of modern Israel as it evolved from a collectivist society to a society where individualism and adherence to local identities is the dominant ideology. 
 
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