Disjointed Narratives in Contemporary Israeli Films
Ethnicity has always posed a challenge to secular national culture. Therefore it usually has been articulated in cultural production in relation to the question of nationality, often in terms of the degree of incorporation of ethnicity into the national culture. Through the character of Michael Corl...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buchkapitel |
| Sprache: | eng |
| Schlagworte: | |
| Online-Zugang: | Volltext |
| Tags: |
Tag hinzufügen
Keine Tags, Fügen Sie den ersten Tag hinzu!
|
| container_end_page | |
|---|---|
| container_issue | |
| container_start_page | 113 |
| container_title | |
| container_volume | |
| creator | NITZAN BEN SHAUL |
| description | Ethnicity has always posed a challenge to secular national culture. Therefore it usually has been articulated in cultural production in relation to the question of nationality, often in terms of the degree of incorporation of ethnicity into the national culture. Through the character of Michael Corleone (Al Pacino), an Italian American war hero who gradually becomes the head of the Corleone Mafia family and is married to an ethnically unidentified non–Italian American (Dian Keaton), Francis Ford Coppola’sThe Godfather: Part II(1974), for example, both opposes American Italian ethnicity to the American national ethos and allegorizes American politics through |
| format | Book Chapter |
| fullrecord | <record><control><sourceid>jstor</sourceid><recordid>TN_cdi_jstor_books_725607_12</recordid><sourceformat>XML</sourceformat><sourcesystem>PC</sourcesystem><jstor_id>10.7560/725607.12</jstor_id><sourcerecordid>10.7560/725607.12</sourcerecordid><originalsourceid>FETCH-LOGICAL-j131t-ca2521f7615aef9d46bc761029060ae5581aa09735cff3fd4eb05f9387a071443</originalsourceid><addsrcrecordid>eNotj01qwzAUhBVKIG3iG3ShCxj0L2sZ3KYNhHbTrs2zLYFcJwp6ptDbV6SdzfDNYphZkcrZhgknrNSGmTvycANRQG1IhTixIi2kbsQ9kU8RpxQvix_pG-QMS_z2SOOFtqmE52vKkH_oETP4OdJDnM-4I-sAM_rq37fk8_D80b7Wp_eXY7s_1ROXfKkHEFrwYA3X4IMblemHAmUNMwy81g0HYK7MHEKQYVS-Zzo42Vhglislt-Txr3fCJeWuT-kLu9sR23EhfwGCukAb</addsrcrecordid><sourcetype>Publisher</sourcetype><iscdi>true</iscdi><recordtype>book_chapter</recordtype></control><display><type>book_chapter</type><title>Disjointed Narratives in Contemporary Israeli Films</title><source>eBook Academic Collection - Worldwide</source><creator>NITZAN BEN SHAUL</creator><contributor>Miri Talmon ; Yaron Peleg</contributor><creatorcontrib>NITZAN BEN SHAUL ; Miri Talmon ; Yaron Peleg</creatorcontrib><description>Ethnicity has always posed a challenge to secular national culture. Therefore it usually has been articulated in cultural production in relation to the question of nationality, often in terms of the degree of incorporation of ethnicity into the national culture. Through the character of Michael Corleone (Al Pacino), an Italian American war hero who gradually becomes the head of the Corleone Mafia family and is married to an ethnically unidentified non–Italian American (Dian Keaton), Francis Ford Coppola’sThe Godfather: Part II(1974), for example, both opposes American Italian ethnicity to the American national ethos and allegorizes American politics through</description><identifier>ISBN: 0292725604</identifier><identifier>ISBN: 9780292725607</identifier><identifier>EISBN: 9780292735606</identifier><identifier>EISBN: 029273560X</identifier><language>eng</language><publisher>University of Texas Press</publisher><subject>Anthropology ; Applied anthropology ; Applied sciences ; Armed conflict ; Asian studies ; Behavioral sciences ; Ceremonies ; Communications ; Cultural anthropology ; Cultural customs ; Cultural studies ; Development studies ; Engineering ; Ethnicity ; Ethnography ; Ethnology ; Film studies ; Globalization ; Hand weapons ; Human societies ; International development ; Kaleidoscopes ; Marriage ; Marriage ceremonies ; Military science ; Movies ; Narratives ; Optical engineering ; Optical equipment ; Political science ; Rituals ; Social institutions ; Social sciences ; Sociology ; South Asian studies ; Southeast Asian culture ; Southeast Asian studies ; Swords ; Technology ; War ; Weapons ; Weddings</subject><ispartof>Israeli Cinema, 2011, p.113</ispartof><rights>2011 University of Texas Press</rights><woscitedreferencessubscribed>false</woscitedreferencessubscribed></display><links><openurl>$$Topenurl_article</openurl><openurlfulltext>$$Topenurlfull_article</openurlfulltext><thumbnail>$$Tsyndetics_thumb_exl</thumbnail><link.rule.ids>779,780,784,793</link.rule.ids></links><search><contributor>Miri Talmon</contributor><contributor>Yaron Peleg</contributor><creatorcontrib>NITZAN BEN SHAUL</creatorcontrib><title>Disjointed Narratives in Contemporary Israeli Films</title><title>Israeli Cinema</title><description>Ethnicity has always posed a challenge to secular national culture. Therefore it usually has been articulated in cultural production in relation to the question of nationality, often in terms of the degree of incorporation of ethnicity into the national culture. Through the character of Michael Corleone (Al Pacino), an Italian American war hero who gradually becomes the head of the Corleone Mafia family and is married to an ethnically unidentified non–Italian American (Dian Keaton), Francis Ford Coppola’sThe Godfather: Part II(1974), for example, both opposes American Italian ethnicity to the American national ethos and allegorizes American politics through</description><subject>Anthropology</subject><subject>Applied anthropology</subject><subject>Applied sciences</subject><subject>Armed conflict</subject><subject>Asian studies</subject><subject>Behavioral sciences</subject><subject>Ceremonies</subject><subject>Communications</subject><subject>Cultural anthropology</subject><subject>Cultural customs</subject><subject>Cultural studies</subject><subject>Development studies</subject><subject>Engineering</subject><subject>Ethnicity</subject><subject>Ethnography</subject><subject>Ethnology</subject><subject>Film studies</subject><subject>Globalization</subject><subject>Hand weapons</subject><subject>Human societies</subject><subject>International development</subject><subject>Kaleidoscopes</subject><subject>Marriage</subject><subject>Marriage ceremonies</subject><subject>Military science</subject><subject>Movies</subject><subject>Narratives</subject><subject>Optical engineering</subject><subject>Optical equipment</subject><subject>Political science</subject><subject>Rituals</subject><subject>Social institutions</subject><subject>Social sciences</subject><subject>Sociology</subject><subject>South Asian studies</subject><subject>Southeast Asian culture</subject><subject>Southeast Asian studies</subject><subject>Swords</subject><subject>Technology</subject><subject>War</subject><subject>Weapons</subject><subject>Weddings</subject><isbn>0292725604</isbn><isbn>9780292725607</isbn><isbn>9780292735606</isbn><isbn>029273560X</isbn><fulltext>true</fulltext><rsrctype>book_chapter</rsrctype><creationdate>2011</creationdate><recordtype>book_chapter</recordtype><sourceid/><recordid>eNotj01qwzAUhBVKIG3iG3ShCxj0L2sZ3KYNhHbTrs2zLYFcJwp6ptDbV6SdzfDNYphZkcrZhgknrNSGmTvycANRQG1IhTixIi2kbsQ9kU8RpxQvix_pG-QMS_z2SOOFtqmE52vKkH_oETP4OdJDnM-4I-sAM_rq37fk8_D80b7Wp_eXY7s_1ROXfKkHEFrwYA3X4IMblemHAmUNMwy81g0HYK7MHEKQYVS-Zzo42Vhglislt-Txr3fCJeWuT-kLu9sR23EhfwGCukAb</recordid><startdate>20110711</startdate><enddate>20110711</enddate><creator>NITZAN BEN SHAUL</creator><general>University of Texas Press</general><scope/></search><sort><creationdate>20110711</creationdate><title>Disjointed Narratives in Contemporary Israeli Films</title><author>NITZAN BEN SHAUL</author></sort><facets><frbrtype>5</frbrtype><frbrgroupid>cdi_FETCH-LOGICAL-j131t-ca2521f7615aef9d46bc761029060ae5581aa09735cff3fd4eb05f9387a071443</frbrgroupid><rsrctype>book_chapters</rsrctype><prefilter>book_chapters</prefilter><language>eng</language><creationdate>2011</creationdate><topic>Anthropology</topic><topic>Applied anthropology</topic><topic>Applied sciences</topic><topic>Armed conflict</topic><topic>Asian studies</topic><topic>Behavioral sciences</topic><topic>Ceremonies</topic><topic>Communications</topic><topic>Cultural anthropology</topic><topic>Cultural customs</topic><topic>Cultural studies</topic><topic>Development studies</topic><topic>Engineering</topic><topic>Ethnicity</topic><topic>Ethnography</topic><topic>Ethnology</topic><topic>Film studies</topic><topic>Globalization</topic><topic>Hand weapons</topic><topic>Human societies</topic><topic>International development</topic><topic>Kaleidoscopes</topic><topic>Marriage</topic><topic>Marriage ceremonies</topic><topic>Military science</topic><topic>Movies</topic><topic>Narratives</topic><topic>Optical engineering</topic><topic>Optical equipment</topic><topic>Political science</topic><topic>Rituals</topic><topic>Social institutions</topic><topic>Social sciences</topic><topic>Sociology</topic><topic>South Asian studies</topic><topic>Southeast Asian culture</topic><topic>Southeast Asian studies</topic><topic>Swords</topic><topic>Technology</topic><topic>War</topic><topic>Weapons</topic><topic>Weddings</topic><toplevel>online_resources</toplevel><creatorcontrib>NITZAN BEN SHAUL</creatorcontrib></facets><delivery><delcategory>Remote Search Resource</delcategory><fulltext>fulltext</fulltext></delivery><addata><au>NITZAN BEN SHAUL</au><au>Miri Talmon</au><au>Yaron Peleg</au><format>book</format><genre>bookitem</genre><ristype>CHAP</ristype><atitle>Disjointed Narratives in Contemporary Israeli Films</atitle><btitle>Israeli Cinema</btitle><date>2011-07-11</date><risdate>2011</risdate><spage>113</spage><pages>113-</pages><isbn>0292725604</isbn><isbn>9780292725607</isbn><eisbn>9780292735606</eisbn><eisbn>029273560X</eisbn><abstract>Ethnicity has always posed a challenge to secular national culture. Therefore it usually has been articulated in cultural production in relation to the question of nationality, often in terms of the degree of incorporation of ethnicity into the national culture. Through the character of Michael Corleone (Al Pacino), an Italian American war hero who gradually becomes the head of the Corleone Mafia family and is married to an ethnically unidentified non–Italian American (Dian Keaton), Francis Ford Coppola’sThe Godfather: Part II(1974), for example, both opposes American Italian ethnicity to the American national ethos and allegorizes American politics through</abstract><pub>University of Texas Press</pub></addata></record> |
| fulltext | fulltext |
| identifier | ISBN: 0292725604 |
| ispartof | Israeli Cinema, 2011, p.113 |
| issn | |
| language | eng |
| recordid | cdi_jstor_books_725607_12 |
| source | eBook Academic Collection - Worldwide |
| subjects | Anthropology Applied anthropology Applied sciences Armed conflict Asian studies Behavioral sciences Ceremonies Communications Cultural anthropology Cultural customs Cultural studies Development studies Engineering Ethnicity Ethnography Ethnology Film studies Globalization Hand weapons Human societies International development Kaleidoscopes Marriage Marriage ceremonies Military science Movies Narratives Optical engineering Optical equipment Political science Rituals Social institutions Social sciences Sociology South Asian studies Southeast Asian culture Southeast Asian studies Swords Technology War Weapons Weddings |
| title | Disjointed Narratives in Contemporary Israeli Films |
| url | https://sfx.bib-bvb.de/sfx_tum?ctx_ver=Z39.88-2004&ctx_enc=info:ofi/enc:UTF-8&ctx_tim=2025-01-01T14%3A10%3A58IST&url_ver=Z39.88-2004&url_ctx_fmt=infofi/fmt:kev:mtx:ctx&rfr_id=info:sid/primo.exlibrisgroup.com:primo3-Article-jstor&rft_val_fmt=info:ofi/fmt:kev:mtx:book&rft.genre=bookitem&rft.atitle=Disjointed%20Narratives%20in%20Contemporary%20Israeli%20Films&rft.btitle=Israeli%20Cinema&rft.au=NITZAN%20BEN%20SHAUL&rft.date=2011-07-11&rft.spage=113&rft.pages=113-&rft.isbn=0292725604&rft.isbn_list=9780292725607&rft_id=info:doi/&rft_dat=%3Cjstor%3E10.7560/725607.12%3C/jstor%3E%3Curl%3E%3C/url%3E&rft.eisbn=9780292735606&rft.eisbn_list=029273560X&disable_directlink=true&sfx.directlink=off&sfx.report_link=0&rft_id=info:oai/&rft_id=info:pmid/&rft_jstor_id=10.7560/725607.12&rfr_iscdi=true |