發(fā)布時(shí)間：2018-01-09 01:04

  本文關(guān)鍵詞：顯影不可見之物:紀(jì)錄片作為中東內(nèi)外巴勒斯坦人日常生活的編年史　出處：《北京電影學(xué)院學(xué)報(bào)》2017年02期 　論文類型：期刊論文

  更多相關(guān)文章： 巴勒斯坦 以色列 紀(jì)錄片 行動(dòng)主義

【摘要】：本文開篇介紹了為回應(yīng)以色列在2014年7月在加沙地帶發(fā)動(dòng)的襲擊而創(chuàng)立的網(wǎng)站palestinedocs.net,并提及了許多反映巴勒斯坦困境的紀(jì)錄片。本文追溯了早在1896年巴勒斯坦就被展示在影片中的歷史,并強(qiáng)調(diào)了使巴勒斯坦人發(fā)聲并現(xiàn)身的重要性,尤其是考慮到以色列總理果爾達(dá)·梅厄(Golda Me?r)曾在1969年宣稱"他們不存在"。本文提出將這些影片分為四類(多少有些重疊):國(guó)際電影(International Films)、巴勒斯坦人拍攝的電影(Films Made by Palestinians)、流亡電影(Exilic Films)和自由主義的以色列電影(Liberal Israeli Films)。如果這些國(guó)際電影總是能夠展現(xiàn)外來者的觀點(diǎn),這些外國(guó)電影人就能夠很強(qiáng)烈地表述他們?cè)诳匆娬碱I(lǐng)下的巴勒斯坦那荒謬怪誕的生活時(shí)感受到的震驚,并且令觀眾大開眼界。另一方面,巴勒斯坦人拍攝的電影則提供了一種對(duì)于占領(lǐng)之下的生活的觀察,這些影片常常把這種經(jīng)歷講述成時(shí)間和空間的單一匯集。然而,基于大部分巴勒斯坦人都處于流亡狀態(tài),第三組影片主要由居住于中東地區(qū)之外的巴勒斯坦人制作,這些影片通常以鄉(xiāng)愁、個(gè)人身份和歸屬感為中心。最后,由以色列人制作的影片表現(xiàn)了以色列國(guó)內(nèi)對(duì)于當(dāng)局對(duì)巴勒斯坦政策的反對(duì),一些影片表明他們確信繼續(xù)進(jìn)攻不符合以色列的最大利益。
[Abstract]:This paper begins with the introduction of Israel was founded to respond in the July 2014 attacks in Gaza Strip's website palestinedocs.net, and mentioned that many reflect the plight of the Palestinians of the documentary. This paper traces back in 1896 by Palestinian display in the film history, and emphasizes the importance of sound and the Palestinians appeared, especially considering the Israeli Prime Minister Golda Meir (Golda Me? R) has declared that they do not exist in 1969. In this paper, these films are divided into four categories (somewhat overlapping): International Film (International Films), Palestinian film (Films Made by Palestinians) (Exilic Films), exile film and liberal Israeli film (Liberal Israeli Films). If the international film can always show outsiders point of view, these foreign filmmakers can very strong surface They saw the feeling in occupied Palestine life that ridiculous when shocked, and the audience eye-opening. On the other hand, Palestinian film provides for observation of a life under occupation, these films often put the story into a single collection of time and space. However, the majority of Palestinians in exile are based on third groups of films mainly by living in the middle east outside of the Palestinian production, these films usually with nostalgia, personal identity and sense of belonging to the center. Finally, the Israelites made the film shows to the authorities on the Palestinian Israeli domestic policy against some movies that they believe to attack does not meet the best interests Israel.

【作者單位】： 丹麥哥本哈根大學(xué)電影與媒體研究系;北京電影學(xué)院電影學(xué)系;
【分類號(hào)】：J952
【正文快照】： 在政治上和道德上被正視的罪行�！撂m·帕佩(Ilan Pappé)[2]當(dāng)暴力被看作是經(jīng)濟(jì)、政治和社會(huì)關(guān)系的產(chǎn)物時(shí),對(duì)它的批評(píng)應(yīng)該主要著眼于展現(xiàn)那些不平等、剝削及不公正,而不僅僅是單純地宣揚(yáng)對(duì)苦難的同情和對(duì)他人的忍耐和尊敬�！嫦Ｄ帷そB德胡里(Shohini Chaudhuri)[3]20，

本文編號(hào)：1399360