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May 01, 1998 - Image 125

Resource type:
Text
Publication:
The Detroit Jewish News, 1998-05-01

Disclaimer: Computer generated plain text may have errors. Read more about this.

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In "Blind Man's Bluff"
0993), directed by
AO' Preminger, a
young Israeli pianist
attempts to escape the
suffocating em race of
h er survivor parents
nd ex-boyfriend and
her awn place as a
°man and as an
rtist.

/-)

hit us that not only were we vulnera-
ble, but the Arabs in our midst, espe-
cially within our own borders, were a
group that we had to come to terms
with.
"You began to see films in which
the Arabs are multidimensional and
played by Arab actors. In these films,
Arabs are either the main characters or
there's some plea for understanding
the Arab character," said Kronish.
By the 1980s, reports Kronish,
there were more psychological por-
trayals in Israeli films, but the
woman was still the war widow or
the suffering mother. The Arabs con-
tinued to take on increasingly impor-
tant roles.
Also in the '80s, for the first time
on screen, Israeli audiences saw a sym-
pathetic depiction of the Holocaust
survivor and the second-generation
survivor. Still, that was still about 15
years behind Hollywood.
Kronish said that's because Israeli
films were busy dealing with the
image of the new Jew, the Jew who
was plowing the land, protecting his
family — perhaps holding a rifle in
one hand and a plow in the other.
And the Holocaust survivor, sym-
bolizing the image of the persecuted
Jew, was being completely negated by
this new Jew. It took a long time for
Israelis to come to terms with the vic-
tims of the Holocaust, especially on
film.
"Now, in the '90s, you're beginning
to see films about the `now' genera-
tion, films. about 'me,' the individual,"
asserts Kronish. "We're making films
about very vulnerable men who are no
longer heroic. And films about women
becoming independent and growing
into their own maturity."

Again, that's two decades behind
Hollywood.
Only with the peace process in the
early '90s were Israelis able to shake
off the terrible obsession they had
with the larger issues of the state, said
Kronish.
"Now we have films being pro-
duced which are more like love stories.
They're not big films, just films about
people trying to get on with it, going
on to the next stage, becoming normal
like in other countries, a more inti-
mate cinema," Kronish said.
The '90s also is witnessing the
beginning of a new Palestinian film
genre. Many Palestinians worked on
Israeli or Jewish films prior to becom-
ing filmmakers in their own right.

As for film schools in Israel, Kro-
nish cites the Jerusalem Film and Tele-
vision School, which was founded six
or seven years ago. "Students there are
gobbled up very quickly right into the
industry," said Kronish. A lot of them
are working in television and in docu-
mentary film production. Many of
their school film projects are screened
in film festivals worldwide.
And why hasn't Hollywood, with
its preponderance of Jewish talent
both in front of and behind the cam-

era, jumped in to help the Israeli film

industry?
There have been a lot of American

productions shot on location in Israel,
said Kronish, although no concerted
effort by Hollywood to invest in
Israel's film industry or help position
it. Nor have American film companies
been quick to open divisions in Israel.
"If anything," she said, "it has gone
the other way. Israelis have gone to
Hollywood." ❑

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DETROIT
JEWISH NEWS

N

5/1
1998

125

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