If anyone is still reading I thought I'd share something interesting.
When we discussed Jobnik! in class, another one of Libicki's works was mentioned, Towards a Hot Jew: The Israeli Soldier as Fetish Object.
I did a search for the essay, fully expecting to have to purchase it. Much to my surprise I found that Libicki posted the essay online and in a PDF file as well.
It's interesting to say the least. It's short (12 pages maybe), but deals with a very rich subject.
Thursday, December 2, 2010
Saturday, November 20, 2010
Pop *Culture*
For my final blog entry I figured I'd take a moment to look back at a lot of the work I've engaged with over the semester. I'm happy with the opportunity I've had to read so many graphic novels/watch films and have the time to think about each piece in an in depth way.
To echo my initial post, graphic novels and other expression of culture (including pop culture) can be used as excellent tools to explore our own or others cultures if treated differently than as a passive bit of entertainment. The stories behind the stories, as it were, and reactions to such forms of art and storytelling, are fantastic sources of information that add dimension and richness to my experience as a member of the audience.
Maus I and II was probably the best example of reader reaction if for no reason other than the fact that Speiglemen deals with it straight out in the second volume. Never mind how frequently I've read since that Maus changed the way people looked at graphic novels.
Waltz with Bashir is the best example of "stories behind the stories" for me simply because of the topic of my research paper. For example, the song "I Bombed Beirut" used in the film is actually a cover of a Cake song, "I bombed Korea". Observe!
I'm bringing this up because I found out later that there is a famous incident during the first Lebanese War when IDF soldiers appeared on Israeli television singing children's folks songs but with altered lyrics expressing disillusionment with the military campaign. I'm going to assume that this is Folman's conscious or unconscious nod to that.
Original Song (English Translation)
Come down to us, airplane,
And take us to the sky.
We'll soar up
To top of the trees
And will be
Like birds.
Altered Song (English Translation)
Come down to us, airplane,
And take us to Lebanon.
We'll fight
For Sharon
And we'll come back
In a coffin.
[Yael Zerubavel, "Recovered Roots: Collective Memory and the Making of Israeli National Tradition", (1995), page 175]
It's a small detail I completely didn't catch before but it makes a repeated viewing that much richer and demonstrates something about history and culture beyond a song in a film.
To echo my initial post, graphic novels and other expression of culture (including pop culture) can be used as excellent tools to explore our own or others cultures if treated differently than as a passive bit of entertainment. The stories behind the stories, as it were, and reactions to such forms of art and storytelling, are fantastic sources of information that add dimension and richness to my experience as a member of the audience.
Maus I and II was probably the best example of reader reaction if for no reason other than the fact that Speiglemen deals with it straight out in the second volume. Never mind how frequently I've read since that Maus changed the way people looked at graphic novels.
Waltz with Bashir is the best example of "stories behind the stories" for me simply because of the topic of my research paper. For example, the song "I Bombed Beirut" used in the film is actually a cover of a Cake song, "I bombed Korea". Observe!
I'm bringing this up because I found out later that there is a famous incident during the first Lebanese War when IDF soldiers appeared on Israeli television singing children's folks songs but with altered lyrics expressing disillusionment with the military campaign. I'm going to assume that this is Folman's conscious or unconscious nod to that.
Original Song (English Translation)
Come down to us, airplane,
And take us to the sky.
We'll soar up
To top of the trees
And will be
Like birds.
Altered Song (English Translation)
Come down to us, airplane,
And take us to Lebanon.
We'll fight
For Sharon
And we'll come back
In a coffin.
[Yael Zerubavel, "Recovered Roots: Collective Memory and the Making of Israeli National Tradition", (1995), page 175]
It's a small detail I completely didn't catch before but it makes a repeated viewing that much richer and demonstrates something about history and culture beyond a song in a film.
Wednesday, November 17, 2010
Story Time!
I liked the last bit of Megillat Esther, mostly because this time around I feel like I got the side jokes.
What stood out the most for me was the 'tale-being-told' interlude on pages 128-131, 138, 143, 149-151. It was a good reminder at the end that there is a long history of not only studying these texts but of their use as popular story. The children, almost comically, questioning the inconsistencies in the story were amusing [143]. I had the same bit of confusion and I appreciated the way the artist choose to depict that fact that this confusion wasn't just for me alone. [The bit with Ezekiel might take some unpacking though. I have a very vague idea concerning it.]
I think the interlude also highlights the way that people interact with the text. It's not just through services and study, but through Purim costumes, associated foods, and really discussing the story.
What stood out the most for me was the 'tale-being-told' interlude on pages 128-131, 138, 143, 149-151. It was a good reminder at the end that there is a long history of not only studying these texts but of their use as popular story. The children, almost comically, questioning the inconsistencies in the story were amusing [143]. I had the same bit of confusion and I appreciated the way the artist choose to depict that fact that this confusion wasn't just for me alone. [The bit with Ezekiel might take some unpacking though. I have a very vague idea concerning it.]
I think the interlude also highlights the way that people interact with the text. It's not just through services and study, but through Purim costumes, associated foods, and really discussing the story.
Saturday, November 13, 2010
Obedient Women
One thing that caught me off guard while reading the graphic novel as well as the traditional book of Esther was how the wise men reacted to Vashti's refusal in the first place:
16Then Memukan replied in the presence of the king and the nobles, “Queen Vashti has done wrong, not only against the king but also against all the nobles and the peoples of all the provinces of King Xerxes. 17 For the queen’s conduct will become known to all the women, and so they will despise their husbands and say, ‘King Xerxes commanded Queen Vashti to be brought before him, but she would not come.’ 18 This very day the Persian and Median women of the nobility who have heard about the queen’s conduct will respond to all the king’s nobles in the same way. There will be no end of disrespect and discord.
19 “Therefore, if it pleases the king, let him issue a royal decree and let it be written in the laws of Persia and Media, which cannot be repealed, that Vashti is never again to enter the presence of King Xerxes. Also let the king give her royal position to someone else who is better than she. 20 Then when the king’s edict is proclaimed throughout all his vast realm, all the women will respect their husbands, from the least to the greatest.”
21 The king and his nobles were pleased with this advice, so the king did as Memukan proposed. 22 He sent dispatches to all parts of the kingdom, to each province in its own script and to each people in their own language, proclaiming that every man should be ruler over his own household, using his native tongue.
[Copied from BibleGateway.com - NIV]
Since the Book of Esther is of such cultural significance (Purim) I wonder how prevalent these versus are in conversation when family power dynamics are discussed within religious communities (Jewish/Christian/Islamic). I image it might be played up to lend legitimacy to a more traditional family structure that underlines a wife's/daughter's obedience to the male head of household/husband/father.
That, or in some traditions and cultures, this part of the story might be white-washed as it might be considered unpalatable. For example, while cruising YouTube I ran into a 1970s American Protestant (Lutheran specifically) cartoon version of the story that completely skips over Vashti.
16Then Memukan replied in the presence of the king and the nobles, “Queen Vashti has done wrong, not only against the king but also against all the nobles and the peoples of all the provinces of King Xerxes. 17 For the queen’s conduct will become known to all the women, and so they will despise their husbands and say, ‘King Xerxes commanded Queen Vashti to be brought before him, but she would not come.’ 18 This very day the Persian and Median women of the nobility who have heard about the queen’s conduct will respond to all the king’s nobles in the same way. There will be no end of disrespect and discord.
19 “Therefore, if it pleases the king, let him issue a royal decree and let it be written in the laws of Persia and Media, which cannot be repealed, that Vashti is never again to enter the presence of King Xerxes. Also let the king give her royal position to someone else who is better than she. 20 Then when the king’s edict is proclaimed throughout all his vast realm, all the women will respect their husbands, from the least to the greatest.”
21 The king and his nobles were pleased with this advice, so the king did as Memukan proposed. 22 He sent dispatches to all parts of the kingdom, to each province in its own script and to each people in their own language, proclaiming that every man should be ruler over his own household, using his native tongue.
[Copied from BibleGateway.com - NIV]
Since the Book of Esther is of such cultural significance (Purim) I wonder how prevalent these versus are in conversation when family power dynamics are discussed within religious communities (Jewish/Christian/Islamic). I image it might be played up to lend legitimacy to a more traditional family structure that underlines a wife's/daughter's obedience to the male head of household/husband/father.
That, or in some traditions and cultures, this part of the story might be white-washed as it might be considered unpalatable. For example, while cruising YouTube I ran into a 1970s American Protestant (Lutheran specifically) cartoon version of the story that completely skips over Vashti.
Wednesday, November 10, 2010
Stranger to a Text
Maybe this isn't the wisest thing to admit as a religious studies major but I am not overwhelmingly in touch with many sacred texts - sort-of kind-of familiar but not at any point where the foreign names and places roll off my tongue and I can easily keep track. (Not that I'm against improving my skills and exploring this topic.)
I like the way the artist of Megillat Esther uses the text; it certainly has an "epic" feel to some plot points and there is a great deal top absorb in most panels. I suppose my lingering unease with the story is that I get the impression that there is so much going on in the text and in the images that I'm just not catching.
I understand the pages 30 through 35 is suppose to be humorous - biblical characters on a modern day game show of sorts. It just completely flew over my head because I'm unfamiliar with the underlying joke.
Graphic novels may be a way to catch a new audience and express inside jokes but this one was a turn off for me. I'm simply ill prepared for all the inside jokes so it became overwhelming. Visually beautiful and all but still a bit confusing.
That said, I'm very glad this book with take up two weeks of discussion. I think I'll need that to really "get" this piece of work.
I like the way the artist of Megillat Esther uses the text; it certainly has an "epic" feel to some plot points and there is a great deal top absorb in most panels. I suppose my lingering unease with the story is that I get the impression that there is so much going on in the text and in the images that I'm just not catching.
I understand the pages 30 through 35 is suppose to be humorous - biblical characters on a modern day game show of sorts. It just completely flew over my head because I'm unfamiliar with the underlying joke.
Graphic novels may be a way to catch a new audience and express inside jokes but this one was a turn off for me. I'm simply ill prepared for all the inside jokes so it became overwhelming. Visually beautiful and all but still a bit confusing.
That said, I'm very glad this book with take up two weeks of discussion. I think I'll need that to really "get" this piece of work.
Saturday, November 6, 2010
Lebanese Divisions
The film choose to point out the rather massive expanse of Bashir iconography. I believe the observation in the film was something like "Bashir was to them what David Bowie was to me". With the importance of Bashir as a symbol in mind I suppose the Sabra and Shatila massacre might make less sense without a good grasp on some of the dynamics of the Lebanese civil war.
The best case I can make is that the Lebanese are not split along religious lines the way it might look at first glance. Sure it's a conflict along Sunni/Shia/Druze/Maronite Christian lines but religion isn't the thing that's being fought over really. Religious affiliation is a short hand way of identifying allegiance to political parties, ideas on international allegiances (enter the problem of Syria and the PLO), and perceived cultural divisions (identify as an Arab or Phoenician). Religious affiliation is also a way of signifying where your family probably lived for hundreds of years and probabilistically what family name you might have. It's a fight over who has the right to direct the new nation-state and therefore a fight over who really represents the true Lebanon. Should it go by population? (This raises the issue of running a government based on population when the last official census was taken in 1932.) Age of the community's presence in the region and tradition?
Civic nationalism really doesn't exist in Lebanon.
1982, the year of the massacre, was well into the civil war. For the Maronite Christians - predominately supporters of the Christian Phalange - Bashir (son of prominent politician Pierre) Gemayel looked to be the leader to bring an end to everything (albeit probably violently). As Dr. Eichler-Levine said, he was kind-of the Lebanese Kennedy. The loss of a young leader, with strong ties to a family that had become symbolic as well, who had become such a symbol in his own right, was that triggering for some member of the Christian Phalange. A previous attempt on Pierre's life, years prior, prompted revenge killings as well.
With this in mind the massacre might make a little more sense in the grand scheme - terrifying and inexcusable, but not preformed against a blank historical and political background.
The best case I can make is that the Lebanese are not split along religious lines the way it might look at first glance. Sure it's a conflict along Sunni/Shia/Druze/Maronite Christian lines but religion isn't the thing that's being fought over really. Religious affiliation is a short hand way of identifying allegiance to political parties, ideas on international allegiances (enter the problem of Syria and the PLO), and perceived cultural divisions (identify as an Arab or Phoenician). Religious affiliation is also a way of signifying where your family probably lived for hundreds of years and probabilistically what family name you might have. It's a fight over who has the right to direct the new nation-state and therefore a fight over who really represents the true Lebanon. Should it go by population? (This raises the issue of running a government based on population when the last official census was taken in 1932.) Age of the community's presence in the region and tradition?
Civic nationalism really doesn't exist in Lebanon.
1982, the year of the massacre, was well into the civil war. For the Maronite Christians - predominately supporters of the Christian Phalange - Bashir (son of prominent politician Pierre) Gemayel looked to be the leader to bring an end to everything (albeit probably violently). As Dr. Eichler-Levine said, he was kind-of the Lebanese Kennedy. The loss of a young leader, with strong ties to a family that had become symbolic as well, who had become such a symbol in his own right, was that triggering for some member of the Christian Phalange. A previous attempt on Pierre's life, years prior, prompted revenge killings as well.
With this in mind the massacre might make a little more sense in the grand scheme - terrifying and inexcusable, but not preformed against a blank historical and political background.
Wednesday, November 3, 2010
Ari Folman Interview - Animation and Acid
Since I'm doing my paper on Waltz with Bashir this journal is pulling double-duty this week because I get to talk about some of the things I've read about the film. I like documentaries; I like animation; putting the two together makes for a really interesting experience. Even so the first time I saw the film I didn't think too much about that fact this it was animated beyond being amused by it and analyzing the techniques they used.
In fighting to keep my paper very connected to the film (instead of writing a history paper on the Lebanese Wars) I stumbled across a fantastic interview with Ari Folman (the director). What he has to say about why he choose animation made a great deal of sense to me and adds another layer of meaning to the viewing experience.
Ari Folman Find Freedom in Animation - Steve Erickson
_______________________________________________
Erickson: What led you to decide to make an animated documentary about your memories?
Folman: I thought that animation is the only way to tell this story, with memories, lost memories, dreams and the subconscious. If you want to feel any freedom as a filmmaker to go from one dimension to another, I thought the best way to do it was animation.
Erickson: Several of your interview subjects say they got through war by acting like they were watching a movie. Did that influence your approach?
Folman: Definitely. War is like a very bad acid trip, if you’ve ever experienced it. I wanted the audience to go through this experience in a dimension that you don’t know. It’s completely different from your everyday life. The design of the animation is intended to produce this effect. From the very opening, when you see dogs running through the streets of Tel Aviv, you’re in this very unpleasant hallucination. Then it goes deeper and deeper until it reaches the documentary footage of the massacre.
Erickson: Was it always your intent to end the film with that video footage?
Folman: Yes. I didn’t want anyone to leave the theater thinking “This is a very cool animated movie with great drawings and music.” I wanted people to understand this really happened. Thousands of people died that weekend. Most of them were kids, unprotected women and old people. It puts the whole film into proportion and perspective. I felt I had to do it. It seems longer than it is. It’s only 50 seconds."
_______________________________________________
I recommend reading the whole interview linked above as these are only three questions I picked out. Thinking back on the first time I watched it, yes, there was a definite bad acid-trip feel to the opening. The film simply would have been hard pressed to get that message across to me as a viewer if it was done in live-action. The last scene composed on actual footage is all the more disturbing by contrast.
In fighting to keep my paper very connected to the film (instead of writing a history paper on the Lebanese Wars) I stumbled across a fantastic interview with Ari Folman (the director). What he has to say about why he choose animation made a great deal of sense to me and adds another layer of meaning to the viewing experience.
Ari Folman Find Freedom in Animation - Steve Erickson
_______________________________________________
Erickson: What led you to decide to make an animated documentary about your memories?
Folman: I thought that animation is the only way to tell this story, with memories, lost memories, dreams and the subconscious. If you want to feel any freedom as a filmmaker to go from one dimension to another, I thought the best way to do it was animation.
Erickson: Several of your interview subjects say they got through war by acting like they were watching a movie. Did that influence your approach?
Folman: Definitely. War is like a very bad acid trip, if you’ve ever experienced it. I wanted the audience to go through this experience in a dimension that you don’t know. It’s completely different from your everyday life. The design of the animation is intended to produce this effect. From the very opening, when you see dogs running through the streets of Tel Aviv, you’re in this very unpleasant hallucination. Then it goes deeper and deeper until it reaches the documentary footage of the massacre.
Erickson: Was it always your intent to end the film with that video footage?
Folman: Yes. I didn’t want anyone to leave the theater thinking “This is a very cool animated movie with great drawings and music.” I wanted people to understand this really happened. Thousands of people died that weekend. Most of them were kids, unprotected women and old people. It puts the whole film into proportion and perspective. I felt I had to do it. It seems longer than it is. It’s only 50 seconds."
_______________________________________________
I recommend reading the whole interview linked above as these are only three questions I picked out. Thinking back on the first time I watched it, yes, there was a definite bad acid-trip feel to the opening. The film simply would have been hard pressed to get that message across to me as a viewer if it was done in live-action. The last scene composed on actual footage is all the more disturbing by contrast.
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