By Ariel L. Feldestein, Merav Pagis
This booklet examines the connections among the cinema of the Yishuv (Ottoman and necessary Palestine) and the Zionist notion. The booklet follows the plans to create the determine of the recent Jew in Eretz Yisrael, as a part of a private, nationwide, and common revolution, and it explores the determine and features of the pioneer. It additionally examines how cinema has offered the Zionist inspiration. Cinema and Zionism analyzes the plots, the modes of expression, the subjects, and the ideological parts that typify those movies, and it positions them in the constitution of the Zionist inspiration. It additionally engages with connections among the Zionist notion and the cinema via a dialogue at the cinematic endeavors and the relationships among the filmmakers and nationwide associations. The correlation among the 2 histories is printed with all its complexity and intensity. The ebook sheds mild on a particular point of view within the narrative of Eretz Yisrael - that of the production and intake of a brand new tradition. The stories of engaged on the flicks - how they have been ready and shot, and their final reception - are interwoven with outlines of the movies themselves. jointly, they bring a portrait of an ideological society that distilled occasions and incidents into myths aimed toward forging the Zionist outlook and teaching Zionist settlers towards pleasant its targets. "...explicit, enlightening, and, now and then, even provocative. It bargains with the complicated and nonetheless proper factor of Zionist leaders' relationships among the American-Jewish associations and the latter's method of what was once to develop into the kingdom of Israel, together with their makes an attempt to form the future of the nation-in-waiting in the course of the first Jewish motion pictures produced in Palestine". Yael Munk, H-Judaic, H-Net reports, November 2012
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Extra resources for Cinema and Zionism: The Development of a Nation through Film
Ben-Dov’s camera portrays a prototype of a Hebrew cowboy on his horse protecting the safety of the Jewish settlers. The camera also accompanies the pioneers during harvest time. Now the film-maker’s intervention becomes apparent – it is no longer merely ‘objective’ documentation. The harvesters’ movements are utilized for the construction of the frame; they walk, carrying their scythes on their shoulders, entering their designated spot in the composition (see Plate 4). Throughout the journey in Eretz Israel the American tourist is impressed by the Jewish National Fund’s projects and the transformations occurring in the country thanks to the strenuous work of the pioneers.
When I watched the film in Berlin’, he said, ‘it seemed to me much better than the previous films produced by the UIA or JNF.
The editing is childish … Considering all of that, we decided to shoot our own films in Palestine with the help of an American company … In 1890, when cinema was taking its baby steps, this film might have been considered a masterpiece. 71 This letter stirred something of an outrage. Chief among those protesting against the harsh criticism was Hans Kohn, who had been negotiating with Ben-Dov all along. ‘The film’s negative was sent to Berlin where it was processed and edited by the best professionals in the movie business.