The Collective Memory of the Motherland in Palestinian and Israeli Cinema

The author examines the differences in the interpretation of historical events in the cinematography of the two opposing sides — Palestine and Israel, and the ways of forming a particular point of view by means of dramaturgy. This subject is relevant in the light of the growing information confrontation between different states, as well as political and social movements. The article analyzes the event context of the creation of Israel as a state in the view of Israeli and Palestinian filmmakers. The author considers samples of Israeli and Palestinian film production — feature films and documentaries, television series that reflect the transfer of Palestinian territory to the Israelis in 1948. The day of the Arabs’ exodus from Palestine in 1948 is considered tragic for the Palestinians and is known among them as “Nakba” (catastrophe, cataclysm), but at the same time it is the Independence Day for the Jews of Israel.

The article demonstrates what plot devices and narrative techniques are used by directors to emphasize aspects of historical events that are beneficial to them, using cinematography as an instrument of ideological confrontation between the two peoples who have claims to the same land. Trying to have an impartial take, without siding with either of the conflicting parties, the author focuses exclusively on studying the means used by the creators of the films considered. This article can be useful for art historians, culturologists and sociologists dealing with issues of the Middle East, as well as for humanitarians whose research interests include theoretical understanding of ideology and propaganda without reference to specific epochs and regions (territories).

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