Judaic Studies

Directed by God explores how the country's popular media, principally film and television, reflect this transformation. In doing so, it examines the changing nature of Zionism and the place of Judaism within it.

Evolving Images is the first volume devoted to Jewish Latin American cinema, with fifteen critical essays by leading scholars from Latin America, the United States, Europe, and Israel.

A genre of comic melodramas produced in the 1960s and '70s, Bourekas films are among the most popular films ever made in Israel. In Israeli Bourekas Films, author and filmmaker Rami Kimchi sets out a history of Bourekas films and discusses their origin. Kimchi considers the representation of Sephardi or Mizrahi Jews in the films, noting that the material culture reflected in the the films presented a culture that was closer to the European Yiddish culture than to the Middle Eastern world of the Mizrahim.

When the Hebrew edition of this groundbreaking book came out, it provoked a stormy public debate. This is a new edition of Israeli Cinema with a substantial new postscript that reflects on the book's initial reception and points to exciting new trends in the cinematic representation of Israel and Palestine.

The first anthology of its kind in English, Israeli Cinema: Identities in Motion presents a collection of specially commissioned articles in which leading Israeli film scholars examine Israeli cinema as a prism that refracts collective Israeli identities through the medium and art of motion pictures.

Provides a survey of all major films made in Israel, as well as biographies of major Israeli filmmakers and an overview essay summarizing major trends in Israeli film--and, in doing so, offers a commentary on social trends, historical challenges, and societal issues.

Examines several Israeli fictional and non-fictional films, and how their portrayal of landscape and territory provides a unique perspective on Jewish and Israeli identity.

This book examines for the first time the new ideological and aesthetic trends in contemporary Israeli cinema. More specifically, it critically explores the complex and crucial role of Israeli cinema in remembering and restaging traumas and losses that were denied entry into the shared national past.

A feminist study of Israel's film industry and the changes that have occurred since the 1990s. Working in feminist film theory, the book adopts a cultural studies approach, considering the creation of a female-centered and thematically feminist film culture in light of structural and ideological shifts in Israeli society.

In this book, Jonah Corne and Monika Vrečar offer a conceptually innovative reexamination of Yiddish cinema, a crucial yet little-known diasporic phenomenon that enjoyed its "golden age" in the mid- to late 1930s.

חברי ספר זה מנסים ללכת בעקבות הזיכרון הישראלי, לגלות אותו בקולנוע הישראלי העכשווי ולחשוף עד כמה הוא מושפע מן הטראומות שחווינו כעם וכחברה. המחברים מבקשים להבין את ההיסטוריה מתוך הטראומה ולאתר את הפצעים הזועקים מתוך הזיכרון של החברה הישראלית ושל הקולנוע שלה.

Provides an outlet for research into any aspect of Jewish film, television, and new media and is unique in its interdisciplinary nature, exploring the rich and diverse cultural heritage across the globe. The journal is distinctive in bringing together a range of cinemas, televisions, films, programs, and other digital material in one volume and in its positioning of the discussions within a range of contexts—the cultural, historical, textual, and many others.

The essays in this anthology study Israeli television, its different forms of representation, audiences and production processes, past and present, examining Israeli television in both its local, cultural dynamics and global interfaces.

Bringing together a truly international spread of contributors from across the UK, US, South America, Mexico and Australia, this Handbook engages perennial questions that have been posed by and of television studies: Who runs TV? Who makes TV? What is on TV? And who is the audience to TV?