Framing The Sex Scene A New Take On Israeli Film History

This book retells the history of Israeli film in the 1960s and 1970s in sex scenes. Through close readings of the first sex scenes in mainstream Israeli movies from this period, it explores the cultural and social contexts in which these movies were made. More specifically, it discusses how notions of collective identity, individual agency, and the public and private spheres are inscribed into and negotiated in sex scenes, especially in light of the historical events that marked these decades. This study thus pushes away from the traditional academic perception of Israeli film and opens up new ways of understanding how it has developed in recent decades. It draws on a growing international body of academic literature on the cinematic representation of sex in order to illuminate the particularities of the Israeli context in the 1960s and 1970s. Apart from film scholars and scholars of Israeli film, this study also addresses readers interested in Israeli cultural history more broadly.

This book retells the history of Israeli film in the 1960s and 1970s in sex scenes. Through close readings of the first sex scenes in mainstream Israeli movies from this period, it explores the cultural and social contexts in which these movies were made. More specifically, it discusses how notions of collective identity, individual agency, and the public and private spheres are inscribed into and negotiated in sex scenes, especially in light of the historical events that marked these decades. This study thus pushes away from the traditional academic perception of Israeli film and opens up new ways of understanding how it has developed in recent decades. It draws on a growing international body of academic literature on the cinematic representation of sex in order to illuminate the particularities of the Israeli context in the 1960s and 1970s. Apart from film scholars and scholars of Israeli film, this study also addresses readers interested in Israeli cultural history more broadly.

Some women attack and harm men who abuse them. Social norms, law, and films all participate in framing these occurrences, guiding us in understanding and judging them. How do social, legal, and cinematic conventions and mechanisms combine to lead us to condemn these women or exonerate them? What is it, exactly, that they teach us to find such women guilty or innocent of, and how do they do so? Through innovative readings of a dozen movies made between 1928 and 2001 in Europe, Japan, and the United States, Orit Kamir shows that in representing “gender crimes,” feature films have constructed a cinematic jurisprudence, training audiences worldwide in patterns of judgment of women (and men) in such situations. Offering a novel formulation of the emerging field of law and film, Kamir combines basic legal concepts—murder, rape, provocation, insanity, and self-defense—with narratology, social science methodologies, and film studies. Framed not only offers a unique study of law and film but also points toward new directions in feminist thought. Shedding light on central feminist themes such as victimization and agency, multiculturalism, and postmodernism, Kamir outlines a feminist cinematic legal critique, a perspective from which to evaluate the “cinematic legalism” that indoctrinates and disciplines audiences around the world. Bringing an original perspective to feminist analysis, she demonstrates that the distinction between honor and dignity has crucial implications for how societies construct women, their social status, and their legal rights. In Framed, she outlines a dignity-oriented, honor-sensitive feminist approach to law and film.

A novel of great humanity, compassion and astonishing immediacy, this unique debut portrays the emotional reality of contemporary life in the West Bank and the irreconcilable Israeli-Palestinian conflict. A collage of narrative voices and different points of view are woven around the murder of two young people, one Israeli and one Palestinian. Brave and bold, this gorgeously written work of fiction introduces a large cast of characters in a setting where violence is routine, even normal, and where survival is defined by boundaries, walls and checkpoints that force people to live and love within and across them. Hamid has come into Israeli territory illegally to work. He runs into Vera, a German journalist on her way to Jerusalem to cover the story of Salem, a Palestinian boy who is in a coma after being beaten by Israeli teenagers. On her way to the hospital, Vera runs in front of a car driven by Ido, a new father, who is distracted by thoughts of a young Jewish girl murdered by a terrorist. Ori, an eighteen-year-old soldier from a nearby settlement, is guarding the checkpoint through which Hamid’s professor, Samar, must pass. This powerful novel delivers an eminently human, complex and compassionate view of an irreconcilable conflict. Sacks writes unflinchingly about the hate and violence that continues to fuel tensions in the West Bank. It’s an extraordinary debut work of fiction that mines the range of shared human emotions with riveting engagement and understanding.