The representation of non-Irish immigrants in recent Irish films

This paper examines the representation of ethnic and racial minorities in Celtic Tiger and post-Celtic Tiger films such as Adam and Paul (2004), Pavee Lackeen (2005), Once (2006), The Front Line (2007), and New Boy (2007). Key areas of analysis include: how is immigration represented on screen? Whose character's point of view predominates? How much space do these ethnic minorities occupy in the shot? In order to answer these research questions, I draw on a plurality of theoretical paradigms currently employed in film theory, mainly narrative theory, critical race theory and feminist theory. As I show, the differences between these films are paramount and will inform the different ways in which recent Irish cinema represents racial and ethnic Otherness. In some films, immigrants appear mainly as decorative props and they largely function as cinematic elements which emphasise the marginalisation of other “inner” Irish outsiders, particularly drug addicts and Travellers. By contrast, other films make serious attempts to see “into” or “through” immigrant characters by fictionalising not only the point of view of natives but also of newcomers themselves.     

(Re)Writing With the Feet: The Flâneur as Urban Cartographer in Alicia Scherson’s Film Play (Chile, 2005)

This article approaches Chilean filmmaker Alicia Scherson’s first feature-length film, Play (2005), from the perspectives of mobility and social cartography in relation to the spatial practices of the main characters. Through the paradigmatic figure of the flâneur, the article explores the representative function of both the characters’ and the camera’s drifting itineraries across the city, as they subtly perform a peripatetic cartography of present-day Santiago. The diegetic threads that are spun by the characters progressively interlace to weave an urban text which lays bare – as they are transgressed – a series of frontiers that cut across the cityscape. The film maps out two very different human geographies of post-dictatorship Chile, a lived urban space that reveals the stark social divide propping up the nation’s neoliberal economic structure. Scherson’s roving camera engages in a politics of perception which invites the spectator to view the city differently, thus exploring the possibility of upsetting this divide.     

“The Nation's Living Room”: Negotiating solidarity on an Israeli talk show in the 1990s

The article explores the changing meaning and salience of the ethos of solidarity in Israeli discourse in the 1990s, as reflected on the popular talk show Live, Hosted by Dan Shilon (1991–2000). Examination of the show's format and genre, textual analysis of its cast and topical agendas, and a quantitative analysis of micro-discursive patterns attest to the globalization, individualization, and commercialization of Israeli society and media and to the erosion of the traditionally central ethos of solidarity. Live somewhat resisted this erosion by constructing idealized images of solidarity, demonstrating popular television's role as a site for cultural negotiation.     

Performing Palestine in Contemporary France: Mohamed Rouabhi's Transcolonial Banlieue

Franco-Maghrebi reactions to the Israeli–Palestinian conflict have received much attention in the French media in recent years, particularly since the Second Intifada began more than a decade ago. Less well known is the longer genealogy of Franco-Maghrebi involvement with Palestine, starting with the comités Palestine formed by Maghrebi immigrants and the Gauche prolétarienne in the aftermath of May '68. This article begins to excavate the genealogy of Franco-Maghrebi representations of Palestine through a close reading of Mohamed Rouabhi's unpublished play El menfi (L'Exilé), which crosses the memory of 17 October 1961 and the question of Palestine. The author argues that Rouabhi's play mobilises Palestine in order to rearticulate the vexed relationship between the French Republic and its (post)colonial citizens, displacing the memory of colonisation through transcolonial identification with Palestine.     

Revising history: Elvira Giallanella’s Umanità and the editing of gender

A mix of fantasy, history, spirituality, and political engagement, Elvira Giallanella’s film, Umanità (1920), is a sort of Carrollian ‘through the looking glass’ in which reality resembles itself but upside-down. In the immediate aftermath of WWI, Giallanella’s film – a revision of Vittorio Emanuele Bravetta’s 1916 children’s story from 1916. children’s story – both reflects and critiques gender roles that had been temporarily fissured by the war itself. A feminist position transpires in the juxtaposition of the pre-war male-authored text with the postwar female-directed film, further revised by men. An invaluable historical source, Umanità not only offers insight into a woman’s and a feminist’s perspective on the Great War and its aftermath but also sheds light on the moral, political, and philosophical atmosphere of destabilization at the time. Coming full circle, Umanità suffered from the very same revisions by the re-established postwar patriarchy, and by the end of the 1920s, cinema itself had been reclaimed as male territory, leaving the film lost amongst the debris. Umanità’s resurfacing in 2007 allows us to reflect on the process of history-making in itself: what is omitted, what is included, and more importantly whose voices will be validated enough to be heard along the way. This instance – one amongst several – can serve as an example of how history is indeed a continuous process made up of (re)visions, and never a singular, univocal one.     

Being an Israeli: Immigrants from the Former Soviet Union in Israel,fifteen years later

This article presents the results of a study conducted in 2006 among a representative sample of immigrants from the former Soviet Union, aged 18 and over, who arrived in Israel between 1990 and 2005. It examines the changes over time in their collective identity, focusing on the relative weight and meaning of the local, Israeli component of their identity, as compared to the Jewish and Russian components. Unlike studies conducted in other concentrations of Russian Jewish emigrés (in the United States, Canada, and Germany), which found that an increase in the intensity of the local component of their identity was held in check by the enduring strength of the Russian component, this study revealed that in Israel the local identity component grew much stronger while, correspondingly, the Russian component declined. In addition, significant similarities between the immigrants and the veteran population were found with regard to how they conceive of the Israeli narrative. These changes over time in the immigrants' identity, which were not observed in the first years of their integration into Israeli culture and society, require a reexamination of the generalizations that dominate the research literature and the professional relationship with this group, concerning its supposed social and cultural self-segregation and low potential for cultural change.     

“Operation Exodus”: Israeli government involvement in the production of Otto Preminger's Film Exodus (1960)

This article explores the Israeli government's enthusiastic and substantial role in the production of Otto Preminger's Exodus (1960), the influential pro-Zionist film on the creation of Israel which was loosely based on the highly successful novel by Leon Uris. This involvement followed a decade of mostly unsuccessful Israeli government endeavors to encourage its many supporters in Hollywood to produce films in and about Israel: both for their potential economic rewards and for international propaganda. Utilizing archival sources in the United States, Britain, and especially Israel, this article charts Israeli efforts to encourage Hollywood productions in the 1950s and the extent to which Israeli officials provided encouragement and assistance to Exodus: first to the novel and then critically to the film. The article shows that the film producers took into account British and Arab observations too. However, the degree to which Exodus served Israeli propaganda themes is finally demonstrated by the eager efforts made by Zionist bodies and Israeli government officials to promote its international distribution.     

Decolonial encounters in Ciro Guerra’s El abrazo de la serpiente: indigeneity,coevalness and intercultural dialogue

This article analyses the politics and aesthetics of the depiction of the encounter between the West and the non-West in Ciro Guerra’s film El abrazo de la serpiente, examining how the film deconstructs colonialist imagery and discourses, and engages with the notion and cinematic representation of indigeneity. Through an interdisciplinary approach, the article identifies and discusses the strategies employed in the film to decolonise the category of the ‘Indian’: challenging the colonial linguistic of domination and undermining the tropes of imperialist representations; staging and re-enacting colonial encounters; and subverting the power relations embedded in colonialist ethnography. The article argues that El abrazo de la serpiente acts as an instrument of political and cultural inquiry into the past and the present, and that it both proposes and enacts interculturalidad and intercultural dialogue as a cinematic approach to native culture. While the notion of indigeneity at play is not unproblematic, the film succeeds in foregrounding Indigenous points of view and ‘points of hearing’, challenging a Eurocentric politics of recognition and evolutionary epistemology in favour of a ‘coevalness’ of the native.     

Attempts at an Arab‐Jewish agreement in Palestine during the thirties

The article argues that a central aspect of Israeli-Polish relations before 1967 was their tripartite nature, involving the two states and Polish Jewry. The main goal of Israeli diplomacy in Poland, to which it subordinated a variety of interests, even those that were central to Israel's foreign policy, was the immigration to Israel of Polish Jewry. The three elements of the triangular relations (Israel, Poland, and Polish Jewry) influenced one another through their policy and behavior, monitored each other, interpreted each other's actions, and reacted accordingly. The aliyah from Poland engendered a new dynamic in the relations. Israel was able to implement its nation-building policy through the immigration of a desired element, and the Polish authorities, by allowing emigration of an unassimilable ethnonational minority, homogenized the nationalizing Polish state. After the massive emigration of the Jews, another element connecting and reshaping the three sides of the triangle emerged: the competition to represent the memory of Polish Jewry, conceived, too, as an instrument in the nation-building process of both states.     

A Land and a People of Extremes – Ireland and the Irish in German Cinema

Irish film history has often been seen as a pragmatic “creative bricolage” that draws almost exclusively on images of Ireland and Irishness that have emanated from the cinema industries of the USA and the United Kingdom. Yet, Ireland has also featured in the film industries of other non-Anglophone countries and the images produced in these contexts also represent an element within the vast and extensive archive of Irish filmic images. This article writes the first chapter in the expansion of Irish film history by examining the depiction of Ireland and Irishness in German film. Ireland and the Irish, not unlike the Anglo-American gaze, are depicted as a people and a land of extremes marked by an intensity of emotion, nationalism, Catholicism and alcohol, while extremes of poverty and wild untameable landscapes also feature prominently.     

From Paper to Celluloid and Back Again: Finance and Form in Jorge Délano’s Films

This essay argues that our current understanding of the cinematic work by the pioneering Chilean film director Jorge Délano obscures a sophisticated interaction between politics, art and economics, one that reveals unexamined aspects of how the film industry developed in Chile. Most notably, it argues that Délano’s illustrated political satire magazine Topaze was central to the development of early sound cinema in the country. Following Rielle Navitski, the essay utilizes and examines tensions between models drawn from periodical studies and the concepts of remediation and intermediality in film studies. Examining illustrations from the first three years of Topaze’s production (1931–1933) in the context of the country’s economic situation, the essay argues that Délano remediated cinema in Topaze as a strategy of capital accumulation. This analysis also makes it possible to see how one of his sound films, Escándalo (1940), similarly remediated the illustrated paper periodical as he pursued financing for the production of cinematic commodities for export. The essay ends by examining the relationship between these issues and the political situation in early Cold War Chile.     

Miyazaki Hayao and the Aesthetics of Imagination: Nostalgia and Memory in Spirited Away

Miyazaki Hayao has achieved international renown for a succession of feature-long animations that have been noted for their visual flair and highly imaginative world-constructs. Many of the narratives in these films have been situated in fantasy worlds with often only a tenuous representation of the world as experienced in some conventional contemporary (or historical) sense. Yet beyond the surface of these figures and fantastical plot devices there is a clearly discernible stream of engagement with the past. Focusing primarily on Sen to Chihiro no Kamikakushi (Spirited Away) of 2001, this paper critically engages with the leading commentaries on nostalgia and memory in Miyazaki’s work, contrasting the “culturalist” approach of Susan Napier with the “machinic” approach of Thomas Lamarre. In turn, the aesthetic theory of R.G. Collingwood, in particular his concept of “magic”, is employed to demonstrate how certain aesthetic devices within the film facilitate an imaginative engagement with the past, one that is subtle but nonetheless highly evocative of distinctive nostalgic emotions.     

Olei Hagardom: Between official and popular memory

This article examines the interaction between official memory and popular memory through the case study of Olei Hagardom – Jewish underground fighters executed by the British in Mandatory Palestine. Studies of collective memory usually maintain that the ruling elite, with its control of state resources, dominates collective memory formation. However, the case of Olei Hargardom demonstrates the potentially limited power of institutional commemoration and exclusion in a democratic society. David Ben-Gurion and his government's attempt to exclude these right-wing heroes from the national pantheon had limited impact. Menachem Begin's persistent, partisan political efforts to include them were only partially successful. Ultimately, Olei Hargardom became entrenched in Israeli collective memory as a result of apolitical literary works, popular culture, and the establishment of a site of memory by spontaneous, grassroots efforts.     

Maciste goes to war: Maciste alpino (1916)

During the war years, both fiction and non-fiction films relating to the war populated Italian screens. This article examines Maciste alpino (1916), one of the best known and best received of the popular Maciste series of Italian silent cinema, in light of several factors: the growing nationalist movement that saw intervention in World War I as the means of creating political consensus; the sophistication and development of narrative, character, and attractions in the Maciste series; and its relation to popular film genres such as comic serials and the emerging strongman genre. Maciste functioned as a modern weapon par excellence, a Futurist mechanized man whose muscled body constituted its own fighting machine. At the same time, through his humor, goodwill, and muscled physique he became a national symbol of Italian wartime might.     

Memory Mapping: Affect,Place, and Testimony in El Lugar Más Pequeño (2011)

This article examines the Salvadoran documentary El Lugar Más Pequeño (The Tiniest Place, 2011) and argues that the film gives new insight into the complicated spaces and practices of memory post-transition and post-conflict through a process I call ‘memory mapping,’ which I define as the aesthetic process of representing the affective, polyvocal, layered relationship between past, present, and place as experienced by individuals and the communities in which they live. Engaging primarily with affect and memory theory, I contend that the film maps post-conflict memory in two specific ways: first, through testimony, and second, through an exploration of the relationship between memory and place. Ultimately, I argue that memory mapping sheds new light on how the aftermath of conflict – the physical, but also the emotional ruination caused by violence – is negotiated in the everyday of human life.     

Lucrecia Martel’s Nueva Argirópolis: Rivers,Rumours and Resistance

This article analyses Lucrecia Martel’s 2010 short film Nueva Argirópolis, which was commissioned by the Argentine Ministry of Culture as part of the Bicentennial celebrations. It explains how the film both inhabits yet contests the discourses of the modern nation state underpinning those celebrations, in particular through its representation of conflict between the state and indigenous groups. Its representation draws on images proposed by an earlier work, Sarmiento’s utopian tract of 1850, Argirópolis, images including the river and the island which in Martel’s film undergo a resignification, which overturns Sarmiento’s understanding of relationships between geography, capital, nation and ethnicity. Political and cultural debates of particular relevance to indigenous communities, such as access to land, as well as the way the indigenous are represented in state discourses, surface obliquely in this short film, which both represents diegetically the circulation and relay of rumours of indigenous resistance, as well as suggesting these formally through a soundtrack suffused with murmurs and barely audible sounds. The unsubtitled words of indigenous actors, as well as the authorities’ attempts at investigation of indigenous political activity through staging encounters of (failed) interpretation, and the subversive mimicry by indigenous activists of hegemonic ideas of national foundation are themselves muted, rumoured suggestions of a resistance which always lies just outside this short film’s visual grasp.     

My poor cousin,my feared enemy: the image of Arabs in personal narratives of former Soviets in Israel

The goal of this essay is to analyse some cultural antecedents of stereotyping of Arabs by immigrants to Israel from the former Soviet Union. The material used in the essay is part of larger project devoted to personal narratives of the immigrants of the 1990s. It is based on 115 in‐depth interviews. Unlike Oriental Jews who had lived side‐by‐side with Arabs before emigrating to Israel, Soviet Jews had had no contacts with them in the “Old Country.” While Arabs have always populated the folklore of oriental Jews, Soviet Jews have formed their attitude on the basis of the mass media (both Soviet and Israeli) and on limited personal contact after immigration. Immigrants who have had no personal contacts with Arabs perceive them as hostile Others, and transfer to them the negative stereotypes formed in the USSR. A more contradictory image evolves on the basis of personal experience; some narrators make parallels between Israeli–Arab and Russian–Chechen conflicts, while others perceive the situation of the Arabs in Israel as similar to the discrimination Jews had suffered in the USSR.     

Screening Singapore: The Cinematic Landscape of Eric Khoo's Be With Me

This paper investigates the mutually constitutive relationship between the context of film production and the composition and content of images produced. Singapore film director Eric Khoo is central to our investigation, and his 2005 film Be With Me is a key example of how Singapore's ongoing urban redevelopment to become a world city reflexively shapes the style and appearance of the city‐state projected in the film. Singapore's history as a developmental state, its pervasive influence on the public and private spaces of its citizens, and recent state‐led initiatives to nurture the arts and media sectors all make it an ideal site to examine the relations between the cinema and space. Be With Me also lends itself to spatial analysis as its mise‐en‐scène is a geography of the life course: particular parts of the city are ‘cast’ as spaces of youth, middle, and old age. We elaborate how the landscapes deployed in the film are simultaneously constituted through state policies, mise‐en‐scène, and gender/age/class considerations. In so doing we show how Khoo's vision of the city‐state has altered since his emergence as a film director in the 1990s: from an oppressed site of hyper‐modernity to a more ambivalent ‘globalised’ built environment in which marginalised or liminal urban spaces for sensuous life and hope for human connection can be experienced.