Fuego cruzado cinematográfico: poder, identidad y narrativas en el conflicto israelí palestino a través del cine y la televisión
- Autores: Said Riad Masri
- Directores de la Tesis: Manuel Bermúdez Vázquez (dir. tes.)
- Lectura: En la Universidad de Córdoba (ESP) ( España ) en 2024
- Idioma: español
- Tribunal Calificador de la Tesis: Lola Bañón Castellón (presid.), Serena Masolini (secret.), Mohamed el Mouden (voc.)
- Programa de doctorado: Programa de Doctorado en Lenguas y Culturas por la Universidad de Córdoba; la Universidad de Extremadura; la Universidad de Huelva y la Universidad de Jaén
- Materias:
- Enlaces
- Tesis en acceso abierto en: Helvia
- Resumen
The present thesis will explore the complex interface between cinematic representations and the larger socio-political narratives of the Israeli-Palestinian conflict. This perennial, highly controversial conflict has been the focus of international interest for decades. It is a conflict that can be seen from the perspective of the very potent tools of cultural expression and political discourse: film and television. This study will attempt to explore the subtle ways in which Palestinian and Israeli films describe and affect cultural and political life in their communities.
The academic world acknowledges that cinema has an outstanding influence on public opinion and national identity. The movies have a dual aspect that movies are a creative expression and simultaneously, they are the conveyors of ideologies. They can influence very gradually and aid in developing a broader insight into complex matters. More so in regions where long-standing conflicts exist, cinema can play such a crucial impact either in the maintenance of deeply held perceptions or in challenging these prevailing narratives.
This dissertation will therefore seek to carry out an in-depth analysis of the treatment of the Israeli-Palestinian conflict in film, bearing in mind that there exists a very extensive cinematic history for both the Israeli and Palestinian contexts. Towards that end, the content is further elaborated in four separate sections, all of which analyse in depth a specific aspect of the representation of the Israeli-Palestinian conflict on the screen.
This debate is about Palestinian Cinema. The first category explores how Palestinian cinema has grown and its thematic preoccupations. The study looks at how Palestinian filmmakers and screenwriters utilize cinema in expressing their historical narratives and cultural identity. The way in which Palestinian cinema reflects on the themes of displacement, resistance, and the minutia of daily life under occupation is examined in this category. Rather, and this is where the significance of these films goes further, they seriously challenge mainstream Israeli representations and portrayals of the conflict.
The section is based on the works of Elia Suleiman who is associated with Palestinian cinema. He is known for work that is poetically articulate and sharp with the political satire. His art style is allegorical and pithy with the humorous tone that is able to portray insight into the oddities of everyday life under the occupation regions. Research here has emphasized on how unique way of Suleiman is not only critical of the extant sociopolitical situation but is able to broaden the scope of cinematic representation of Palestinians.
The third section will consider the role of Israeli cinema in the definition of how people see Palestinians and what this means for self-definition within the Israeli state. In this sense, the role of Israeli cinema has always been and has always tried to reflect the changing political context of that country, affirming national narratives most of the time but sometimes also looking with a critical eye over the values enshrined in the state and the military campaigns. This section focuses on the historical progress of Israeli film, emphasizing that movies are a reflection of changes in society perspectives of the conflict.
The final article gives a critical semiosis of the Israeli television series "Fauda", which has attracted international applause and, at the same time, caused controversy, largely in its portrayals of Palestinians. The show follows the activities of an undercover Israeli team in the West Bank and gives life to the characters of numerous other Palestinians. It has been acclaimed both in terms of the gripping story and the complexity of character development. However, it has also been criticized for the ability to humanize the side of the occupier and demonize the occupied. This essay will examine these narrative strategies that the series employs and the wider implications they have for how viewers would come to grips with the conflict.
This research thesis will help fortify the debate on media in conflict zones, based on cultural studies and political analysis, through a study of this corpus of films. The research is also based on analysis of power and role of film and television in public opinion and historical memory formation, based on narratives in their construction and dissemination. An in-depth analysis of these four features goes a long way in stating that cinema is a battlefield where ideological battles are waged, and the narratives created help in the formation of cultural and national identity. As such, therefore, the last half of the dissertation continues to look critically at media representations and national conflicts, with a specific focus on Israeli and Palestinian movies, in the recognition of the great culture business impact on sustainable development. It has not been a purely academic exercise, as the investigation looks into the important influence that film and television have on economic, cultural, and political environments, thus enabling a greater understanding of this influence on the present Israeli-Palestinian conflict.
An eclectic palette, which world cinema is, then enchants and enchants, forms international perception and policy with the portrayal of national rivalries and cultural sagas. This dissertation outlines the deep impact of film and television in the Israeli-Palestinian conflict, mirroring more general patterns in the ways that global cultural business matters affect sustainability. Just as national cinema can help establish a country's image in the world, so media productions from Israelis and Palestinians create narratives that influence the world's perceptions and reactions to their ongoing conflict.
The cultural works have an economic impact, much more significant and similar to what has been witnessed in other countries, including the Turkish theatrical industry, which has lifted the image of Turkey and built its tourism sector. In this respect, this paper examines the Israeli and Palestinian film industries, the cultural narrative of the two countries, and the economic ripple effect on the economies in which such narratives are created. It also involves the analysis of how such industries influence social and economic growth within the region, which is necessary to understand the broader implications of media on the stability of both the nation and the region.
This paper will also discuss the use of media as a tool for cultural diplomacy and propaganda. Like Turkey, Israeli and Palestinian filmmakers use cinema to establish a second "truth" in the hope of shaping public opinion and foreign policy to better their geopolitical standing. The fact that cinema can be used in an economic development aspect as well as in a diplomatic sense demonstrates how the amalgamation between culture, politics, and progress is very nuanced. This paper looks at the Israeli-Palestinian cinematic narrative in the light of its interactions with the contribution of the culture industry to global sustainable development. It aims to bring forward the diversified potential of film and television to reflect, define, and sometimes even change historical and stubborn facts regarding one of the most widely covered conflicts in contemporary history.
This holistic view should not only advance our understanding of the particular problem under discussion but also contribute to the general debate on how the movie industries in various parts of the world can shape cultural beliefs and actual economic and social outcomes. This paper focuses on carrying out extensive research concerning the various relations between media representation, cultural identity, and sustainable development in the scope of the Israeli-Palestinian conflict.
Conclusion: this thesis has thoroughly examined the intricate relationship between cinematic representations and the socio-political narratives surrounding the Israeli-Palestinian conflict. By analyzing both Palestinian and Israeli cinema, including the works of prominent filmmakers like Elia Suleiman , this study has demonstrated how film serves as a powerful tool for cultural expression, political discourse, and ideological contestation.
The findings highlight that cinema transcends its traditional role as a form of entertainment to become a battleground for ideological warfare. It plays a crucial role in constructing and deconstructing national identities and shaping public perception. Through the lens of cinema, the daily struggles and resistance of Palestinians under occupation are vividly portrayed, offering a counter-narrative to mainstream Israeli depictions. This not only fosters a deeper understanding of the Palestinian plight but also challenges the prevailing narratives that have long dominated international discourse. the research underscores the significance of cinema in promoting sustainable development. Palestinian cinema, in particular, has been instrumental in preserving and promoting cultural heritage, raising awareness on socio-political issues, and fostering economic growth through film production and employment opportunities. The innovative use of narrative techniques and visual storytelling has allowed Palestinian filmmakers to present their cultural and historical narratives compellingly and authentically, thereby enhancing cultural pride and identity. Israeli cinema, on the other hand, reflects the evolving political context within Israel, oscillating between affirming national narratives and critiquing state and military policies. This duality underscores the complex and often contentious nature of Israeli cinematic representations of the conflict, which can serve both to humanize and demonize the parties involved.
The study also delves into the role of cinema in cultural diplomacy and propaganda. Like Turkey's cinematic endeavors, Israeli and Palestinian filmmakers use their films to project a 'second truth,' aiming to shape public opinion and influence foreign policy in favor of their geopolitical interests. This dual use of cinema both as a tool for economic development and as a diplomatic instrument highlights the nuanced interplay between culture, politics, and progress.
This thesis not only advances our understanding of the specific issue of the Israeli-Palestinian conflict but also contributes to the broader debate on how global cinema industries shape cultural beliefs and socio-economic outcomes. By conducting extensive research on the relationship between media representation, cultural identity, and sustainable development, this study provides valuable insights into the power of film and television in conflict zones.
the role of cinema in the Israeli-Palestinian conflict is multifaceted and profound. It serves as a mirror reflecting the complexities of cultural and national identities, a battlefield for ideological struggles, and a catalyst for social change and sustainable development. The findings of this thesis underscore the importance of supporting and nurturing the cinematic arts as a means to promote understanding, empathy, and peace in regions afflicted by long-standing conflicts. Future research should continue to explore these themes, examining the evolving dynamics of cinematic representation in conflict zones and its impact on public perception and policy. By doing so, scholars and practitioners alike can better harness the potential of cinema to contribute to cultural dialogue, reconciliation, and sustainable development in the Israeli-Palestinian context and bey
