By Ariel L. Feldestein, Merav Pagis
This booklet examines the connections among the cinema of the Yishuv (Ottoman and needed Palestine) and the Zionist thought. The e-book follows the plans to create the determine of the hot Jew in Eretz Yisrael, as a part of a private, nationwide, and common revolution, and it explores the determine and qualities of the pioneer. It additionally examines how cinema has offered the Zionist proposal. 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 notion. It additionally engages with connections among the Zionist suggestion 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 published with all its complexity and intensity. The ebook sheds gentle 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 about a portrait of an ideological society that distilled occasions and incidents into myths geared toward forging the Zionist outlook and educating Zionist settlers towards gratifying its objectives. "...explicit, enlightening, and, from time to time, even provocative. It offers with the complicated and nonetheless correct factor of Zionist leaders' relationships among the American-Jewish associations and the latter's method of what used to be to turn into the kingdom of Israel, together with their makes an attempt to form the future of the nation-in-waiting throughout 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
70 Henry Monter, director of public relations for the Magbit Foundation (soliciting financial aid for Eretz Israel), attended one of the showings in the United States and soon expressed his negative impressions: ‘Let me bring to your attention’, he wrote to the UIA, that the film Springtime in Palestine is the worst film that has been made in Eretz Israel in the past decade. The quality of the photography is disgraceful. The plot is ridiculous. 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.
51 Besides expressing his anger about Berger, Ben-Dov’s words also conveyed his attitude concerning his cinematic work, which he perceived to be part of the Zionist movement’s industrial effort in the country. He believed that his contribution to the Zionist endeavour was no less important than that of workers in other productive branches. Ben-Dov believed that each person should contribute in the area of his expertise, and therefore he, Ben-Dov, gave whatever he could in the field of propaganda and cultural production.
Following our suggestion, he also visited Ben-Shemen and Chulda during harvest time and shot various interesting images of the work-life there … He has some twenty three interesting scenes describing life in Jerusalem: workshops, schools etc. … and soon he will leave for the settlements to shoot a variety of additional scenes there. 14 In view of this formal request, Tahon discussed with Ben-Dov the production of a film for the Jewish National Fund and suggested that he do this as a JNF employee.