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Itay Harlap
Table of Contents The Application of the Nation The Male Warriors of Betipul 3. Not TV, It's Betipul: Rethinking "Israeliness" 4. Bad TV/Good (Post)TV: Ageing and Masculinity in Nevelot (Eagles) 5. Trauma on the Small Screen: Continuity and Post-Trauma in Parashat HaShavuah and Waltzing with Bashir 6. The Black Box: Memory, Television, and Ethnicity in Zagri Imperia 7. New Norms: Gay Fatherhood on Israeli Television 8. Conclusions and Some Thoughts on Israeli Television Television Television Index References

Israeli Television Drama

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Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

Bloomsbury Academic Bloomsbury Publishing PLC 1385 Broadway, NY 10018, USA 50 Bedford Square, London, WC1B 3DP, UK PablishBack2010 The logo of the Bloomsbury, Bloomsbury Academic, and the Diana logo is 2019 © ITAY HARLAP, and 2017 ITAY Harlap In 1988, based on the Copyright Act, the Design Law, and Patent Law, the right to be identified as the author of this work is asserted. For legal purposes, P. IX's acknowledgment is the extension of this copyright page. Cover design: Louise Dug Dale cover image © Schlomit Bauman, Channel Elduwara, Ceramics, Height: 21 cm. In any part of this publication, it will be duplicated and transmitted by any means, regardless of electronic, mechanical, such as copying, recording, recording, information storage, and search system, regardless of whether it is an electronic or mechanical. Is forbidden. Bloomsbury Publishing PLC is not responsible for any management or responsibility for a thir d-party website mentioned in this book or introduced in this book. The Internet addresses described in this book are all from the time of publishing. The author and publishers apologize for any inconvenience if the address is changed or the website has disappeared, but we are not responsible for such changes. US Council Library

Table of Table of Table of Table of Table

Hal f-century of Israelic identity through television

Regain the nation: Betipul's male warrior

Not a TV, it's a BETIPUL: Bloomsbury Academic Bloomsbury Publishing PLC 1385 Broadway, New York, USA 50 Bedford Square , WC1B 3DP, Bloomsbury, Bloomsbury Academic published in UK Pablishback2010 The Diana logo claims the right to be identified as the author of this work, based on the 2019 © ITAY HARLAP, and 2017 ITAY HARLAP, based on the 1988 copyright law, design law and patent law. For legal purposes, P. IX's acknowledgment is the extension of this copyright page. Cover design: Louise Dug Dale cover image © Schlomit Bauman, Channel Elduwara, Ceramics, Height: 21 cm. In any part of this publication, it will be duplicated and transmitted by any means, regardless of electronic, mechanical, such as copying, recording, recording, information storage, and search system, regardless of whether it is an electronic or mechanical. Is forbidden. Bloomsbury Publishing PLC is not responsible for any management or responsibility for a thir d-party website mentioned in this book or introduced in this book. The Internet addresses described in this book are all from the time of publishing. The author and publishers apologize for any inconvenience if the address is changed or the website has disappeared, but we are not responsible for such changes. US Council Library

Table of Table of Table of Table of Table

Hal f-century of Israelic identity through television

Regain the nation: Betipul's male warrior

It's not a TV, it's a Bloomsbury Academic Bloomsbury Bloomsbury Publishing PLC 1385 Broadway, New York, USA 50 BEDFORD SQUARE, WC1B 3DP, Bloomsbury, Bloomsbury Academic, Diana published in UK Pablishback2010 The logo claims the right to be identified as the author of this work based on the 2019 © Itay Harlap, 2017 Itay Harlap, based on the 1988 copyright law, design law and patent law. For legal purposes, P. IX's acknowledgment is the extension of this copyright page. Cover design: Louise Dug Dale cover image © Schlomit Bauman, Channel Elduwara, Ceramics, Height: 21 cm. In any part of this publication, it will be duplicated and transmitted by any means, regardless of electronic, mechanical, such as copying, recording, recording, information storage, and search system, regardless of whether it is an electronic or mechanical. Is forbidden. Bloomsbury Publishing PLC is not responsible for any management or responsibility for a thir d-party website mentioned in this book or introduced in this book. The Internet addresses described in this book are all from the time of publishing. The author and publishers apologize for any inconvenience if the address is changed or the website has disappeared, but we are not responsible for such changes. US Council Library

Table of Table of Table of Table of Table

Hal f-century of Israelic identity through television

Regain the nation: Betipul's male warrior

It's not a TV, it's BETIPUL: Restore "Israel"

Bad TV / Good (post) TV: Old and masculinity on "Neverot" (Eagles)

Trauma on a small screen: Continuity and post trauma in "Parasatt Hashava" and "Basir and Waltz"

Black Box: Memory, TV, Ethnicity in "Zaguri Imperia"

New Nations: Raising gay children on TV in Israel

Conclusion and consideration about Israel's reality television

Note Reference TV Movie Index

159 171 188 190 193

0. 1 Mother (Kirbet Hizzee) 0. 2 Palestinians (Kirbet Hizzee) 2. 1 Yadin Yel Malmi 2. 2. 2. 2. 2. 2. 2. 2. 2. 2. 2. 2. 2. 2. 2. 2. 2. 2. 2. 2. 2. 2. 2. 2. 1 2. 3. Luven (Betipur) standing on Yadin 3. 1 Betipur opening) Three flow 3. 2 Betipur Menkem Jer u-Sharmi 3. 3. 3. 3. 1 Mosque as a Neven old man And Eflime 4. 2 Young as a young man in Nevero and Ephme 4. 3. 4. 4. 4 Ephrime lens (Nevero) 4. 5 Ephrime (Neverero) 5. 1 The main characters of Parasatt Hasavua 5. 2 The first dream of Shawl (Parasatt Hashava) 5. 3rd dream of Shawl (Parasatt Hashavuua) 5. 4th Shawl Third Dream (Parasat (Parasat) ・ Hashava) Charnin, get up! "(Parashat Hashavua) 6. 1 Zaguri IMPERIA (Zaguri IMPERIA) 6. 2 Seeing mother and sisters (sh'Chur) 6. 3 As a moderator on TV (SH'CHUR) 6. 4 at Habima Square Dancing Avisag Zaguri (Zaguri IMPERIA) 6. 5 Watch the TV on the Holocaust anniversary of Israel (Zaguri IMPERIA) 6.

Xi XII 22 23 23 31 49 64 64 67 68 72 75 86 86 90 91 100 107 113 117 117 120

6. 8 Zaguri (Zaguri Imperia) sitting on a TV sofa (Zaguri Imperia) 6. 9 Avishay Zaguri and Simlit established a new religion (Zaguri Imperia) 7. 1 Tel Aviv's Gay Parade Route: "Tel Avivt Is moving forward for equality, "Daddy and Daddy" (Saturday News) in the video of "Dana International" 4 Elezes, Talia, and Sammy 7. 5 Elezes in Ima Vebaz hire a killer (Imma Veabaz) 7. 6 Sammy tries to infiltrate the elesite, but refuses to refuse (Ima Veabbaz) 7. 7 Elezes and Sammy, two men and babies variety (IMA Veabbaz) 8. 1 Talk to Amjad, Big Brother (avodá aravìt)

123 124 124 127 128 142 144 145 147 148 152

Acknowledgements This book would not have been possible without the support of my many mentors and colleagues over the years. I am especially grateful to Professors Nuris Gertz and Jerome Bourdorn, who have helped me immensely in my academic journey, and to Dr. Boaz Hagin, who has helped me immensely in my academic journey, and Professor Raz Yosef, who especially wrote the manuscript for this book, who has greatly influenced my work (as you can see in this book) and encouraged me to publish my research. I would also like to thank Ariel Avisar, who went from being my student to being my teaching assistant, and from teaching assistant to being a colleague and friend. He not only taught me about television, but is still an important person whom I regularly consult and rely on to help me to this day. I am grateful to all the women and men, colleagues and friends who have informed, supported, and answered my questions throughout the process. I am also grateful to each and every one of my Facebook friends who have helped me realize that I am not alone throughout the endless work of refining my arguments, finding examples, and writing over the years. I would like to thank Hot, Channel 1, Keshet, Channel 10, IBA, JCS, My TV, and Anat Asuli.

A prologue that feels like being at the end of the slide. I managed myself. Everything in me shouted. He shouted, "The settlers!" "It's a lie!" Kilbeth Hearee is not ours. Supandow (German machine gun) never gave the right. "Ω! Ω!" "The voice shouted in me. S. yizhar," The Story of Khirbet Khizeh ", [1949] 2008 AMIR [KAIS NASHIF] Don't you think it's a bit messed up to arrest a child? It's like arresting while visiting Auschwitz. Is Shawl Nawi (Menner Che Nei) joking? We all our children were pregnant in Auschwitz. What is Amir? Iraqi people too. Shawl Nawi is also Iraqi. All of Auschwitz, Dachu and Birkenau are all " -" Parasatt Hashava "Season 3, HOT3, 2009

Figure 0. 1 Mother (Kirbet Hize) holding a baby.

Figure 0. 2 Palestinians (Hillbeth Hize) examine the cracks on the side of the truck.

S. Ttsuharu's expulsion of Palestinian villagers by S. Israeli soldiers depicting Palestinian villagers by Israeli soldiers ("Nakba" in Arabic, literally "catastrophe"). Publishing of the short novel "The Story of Kilbeth Hiz" (1949), the TV movie "Kilbeth Hizzee" (Director Ram Lovy, broadcast in Israel's public television station Israel TV in 1978) There is a 3 0-year gap. Thirty years later, apart from the program, his "PARASHAT HASHAVUA" (Weekly Toller Potion, 2006: 2006-2009: RANI BLAIR and anat Assouline, Hot3) was broadcast on Israel's cable channel HOT3. The times and the media are different, but the three texts have at least one common point. All of them are similar to the protagonist between the Holocaust forced repatriation and killing, and the Palestinian forced repatriation and slaughter in 1948. This similarity is also maintained in Kilbeth Hearee's television films, and for Israeli viewers, it certainly uses a video reminiscent of the Holocaust image to depict the deportation of Palestinians. Finally, paracat

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

In contrast, KHIRBET KHIZEH was aired in the late 1970s (the only Israeli TV channel at the time), Israel was a powerful military and economic power, but more than 10 years have passed since the occupation. It was generally recognized as David Kizze. In contrast, KHIRBET KHIZEH was aired in the late 1970s (the only TV channel in Israel at the time), Israel was a strong military and economic power, but more than 10 years have passed since the occupation. The public was recognized as a David Kize in general. In contrast, KHIRBET KHIZEH was aired in the late 1970s (the only Israeli TV channel at the time), Israel was a powerful military and economic power, but more than 10 years have passed since the occupation. It was generally recognized as David Kizze.

Regain the nation: Betipul's male warrior

This study focuses on the genre of TV dramas. This genre is recognized as the most intense genre in the public's general discourse, especially the mainstream television criticism, and is the most courageous genre of Israeli society. The drama series here, all of which are known in Israel, focuses on the genre of TV dramas. This genre is recognized as the most intense genre in the public's general discourse, especially the mainstream television criticism, and is the most courageous genre of Israeli society. The drama series here, all of which are known in Israel, focus on the genre of TV dramas. This genre is recognized as the most intense genre in the public's general discourse, especially the mainstream television criticism, and is the most courageous genre of Israeli society. The drama series here is all known in Israel.

There is a complicated term in television research, such as high-quality TV programs (THOMPSON 1997) and "Serious Drama" (Caushie 2000: 2). However, the modifier of "quality" and "serious" should not come out of text naturally, but rather depends on the discourse. In fact, the important aspects of this study are to challenge some of the main premise of television criticism in connection with the quality and seriousness of various Tevision texts. From a wide range of television works produced in Israel in recent years, this book focuses on the five TV drama series, entitled "Israel after TV." Betiple (during treatment, 2004-2007, Hagai Levi, HOT3). Parasatto Hasavuua? Nevelot (Bastards, 2010, DROR SABO, Dafna Levin, Hot3), "MOM and DADS, 2012, AVNER BERNHEIMER and TMIRA YARDENI, HOT3)," Zaguri IMPERIA " (ZAGURI EMPIRE, 2014-, Maor Zaguri, Hot3). By focusing on five dramas, not only can you provide deeply into each drama, but you can also show various ways to analyze TV and text, and are extremely short on Israeli television text research. I believe that it can contribute to the field. Furthermore, all five series were culturally central (it can be confirmed from the praise of the award, praise of critics, and the widely attention). There is a complicated term in television research in television research, high-quality TV program "(Thompson 1997) and" Serious Drama "(Caushie 2000: 2). However, the modifier of "quality" and "serious" should not come out of text naturally, but rather depends on the discourse. In fact, the important aspects of this study are to challenge some of the main premise of television criticism in connection with the quality and seriousness of various Tevision texts. From a wide range of television works produced in Israel in recent years, this book focuses on the five TV drama series, entitled "Israel after TV." Betiple (during treatment, 2004-2007, Hagai Levi, HOT3). Parasatto Hasavuua? Nevelot (Bastards, 2010, DROR SABO, Dafna Levin, Hot3), "MOM and DADS, 2012, AVNER BERNHEIMER and TMIRA YARDENI, HOT3)," Zaguri IMPERIA " (ZAGURI EMPIRE, 2014-, Maor Zaguri, Hot3). By focusing on five dramas, not only can you provide deeply into each drama, but you can also show various ways to analyze TV and text, and are extremely short on Israeli television text research. I believe that it can contribute to the field. Furthermore, all five series were culturally central (it can be confirmed from the praise of the award, praise of critics, and the widely attention). There is a complicated term in television research, such as high-quality TV programs (THOMPSON 1997) and "Serious Drama" (Caushie 2000: 2). However, the modifier of "quality" and "serious" should not come out of text naturally, but rather depends on the discourse. In fact, the important aspects of this study are to challenge some of the main premise of television criticism in connection with the quality and seriousness of various Tevision texts. From a wide range of television works produced in Israel in recent years, this book focuses on the five TV drama series, entitled "Israel after TV." Betiple (during treatment, 2004-2007, Hagai Levi, HOT3). Parasatto Hasavuua? Nevelot (Bastards, 2010, DROR SABO, Dafna Levin, Hot3), "MOM and DADS, 2012, AVNER BERNHEIMER and TMIRA YARDENI, HOT3)," Zaguri IMPERIA " (ZAGURI EMPIRE, 2014-, Maor Zaguri, Hot3). By focusing on five dramas, not only can you provide deeply into each drama, but you can also show various ways to analyze TV and text, and are extremely short on Israeli television text research. I believe that it can contribute to the field. Furthermore, all five series were culturally central (it can be confirmed from the praise of the award, praise of critics, and the widely attention).

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

On the other hand, how is this development parallel to a global shift? This chapter reveals the regulatory, technical, and cultural reasons for the transformed Israeli drama. Verify changes in viewing patterns. And above all, he describes the textbook of Israel's TV drama in each era. The BETIPUL series gave international praise for its format first sold to HBO and later on 17 networks around the world. However, in Chapter 2 and Chapter 3, it emphasizes its regional and national meaning, and examines how Betipur has touched Israel i-specific themes and conflicts. Chapter 2 focuses on the characters of the Israeli Defense Force, Yadin Jerchalmi, to examine how modern Israeli society builds and dismantles the characters of Masen's Male soldier. Through Yadin's personal analysis, he also examines how the Israeli society is dealing with his complex position, a victim and perpetrator. Chapter 3 verifies the acceptance of Betipy, with Israel's hegemony discourse, and why Vetipur is often defined as a "hig h-quality television" in Israel. This chapter argues that in order to study the status of this series as a "hig h-quality television", it is necessary to study the following context beyond the characteristics of the text. On the other hand, how is this development parallel to a global shift? This chapter reveals the regulatory, technical, and cultural reasons for the transformed Israeli drama. Verify changes in viewing patterns. And above all, he describes the textbook of Israel's TV drama in each era. The BETIPUL series gave international praise for its format first sold to HBO and later on 17 networks around the world. However, in Chapter 2 and Chapter 3, it emphasizes its regional and national meaning, and examines how Betipur has touched Israel i-specific themes and conflicts. Chapter 2 focuses on the characters of the Israeli Defense Force, Yadin Jerchalmi, to examine how modern Israeli society builds and dismantles the characters of Masen's Male soldier. Through Yadin's personal analysis, he also examines how the Israeli society is dealing with his complex position, a victim and perpetrator. Chapter 3 verifies the acceptance of Betipy, with Israel's hegemony discourse, and why Vetipur is often defined as a "hig h-quality television" in Israel. This chapter argues that in order to study the status of this series as a "hig h-quality television", it is necessary to study the following context beyond the characteristics of the text. On the other hand, how is this development parallel to a global shift? This chapter reveals the regulatory, technical, and cultural reasons for the transformed Israeli drama. Verify changes in viewing patterns. And above all, he describes the textbook of Israel's TV drama in each era. The BETIPUL series gave international praise for its format first sold to HBO and later on 17 networks around the world. However, in Chapter 2 and Chapter 3, it emphasizes its regional and national meaning, and examines how Betipur has touched Israel i-specific themes and conflicts. Chapter 2 focuses on the characters of the Israeli Defense Force, Yadin Jerchalmi, to examine how modern Israeli society builds and dismantles the characters of Masen's Male soldier. Through Yadin's personal analysis, he also examines how the Israeli society is dealing with his complex position, a victim and perpetrator. Chapter 3 verifies the acceptance of Betipy, with Israel's hegemony discourse, and why Vetipur is often defined as a "hig h-quality television" in Israel. This chapter argues that in order to study the status of this series as a "hig h-quality television", it is necessary to study the following context beyond the characteristics of the text.

Neverot claims that it offers an attractive commentary on modern Israeli society and the television content created by it. In Chapter 5, we will compare two texts, "Waltz with Bashir" (Ali Forman, 2008) and the TV series "Parashat Hashavua". The movie "Basir and Waltz Neverott argue that it offers an attractive commentary on modern Israeli society and television content created by it. In Chapter 5, we will compare two texts, "Waltz with Bashir" (Ali Forman, 2008) and the TV series "Parashat Hashavua". The movie "Basir and Waltz Neverot have provided an attractive commentary on modern Israeli society and the TV content created by it. In Chapter 5, we will compare two texts, "Waltz with Bashir" (Ali Forman, 2008) and the TV series "Parashat Hashavua". Movie "Basir and Waltz

The anxiety of the war is expressed through the character of Shaul Nawi, who is plagued by nightmares, hallucinations, and memories of the war. Similarly, Waltz's protagonist, Bashir, suffers from post-traumatic memories of events during the war. However, this chapter argues that the narrative structure of Parashat HaShavuah as a television series allows for a more complex representation of post-traumatic experiences than the narrative structures of many feature films. In 2014, Nippon Television's soap opera Zagri Empire took Israel by storm, and in Chapter 6 I examine both the text itself and the cultural context in which it gained such cult popularity. The series focuses on a family of Moroccan descent living in the southern Israeli town of Be'er Sheva. Israeli film and television have explored questions of ethnic identity for over 50 years. But Zagri manages to blend both populist themes and humor, making it accessible to a wide range of Israeli audiences while allowing space for difficult ideas and opinions that are often taboo. In other words, Zagri maximizes the multi-screen potential inherent in television soap operas.

Regain the nation: Betipul's male warrior

The protagonist of this drama is two homosexuals who have a child with a straight woman. This series has succeeded in deviating from the normal expression of gay father, which provides interesting ideology options, replacing conventional conservative (effective) expressions. I claim. "Pan & amp; gt? In Israel's television, gay father's image has been reconstructed as positive, and this positive (normally) represented (and normally) representation is a potential person. Present the ideology cost, and focus on the most interesting case study.

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

The TV drama "IMA Veabbaz (Mama and Daddy)" is the main character. This series has succeeded in deviating from the normal expression of gay father, and as a result, it offers interesting ideology options to replace conventional conservative (effective) expressions. I claim. In Israeli television, the father of homosexuality reveals various strategies that are reconstructed as positive things, and present the personal and ideology compensation that this positive (normally) expression can be brought. 。 Next, focus on the TV drama "IMA Veabbaz (Mama and Daddy)", one of the most interesting case studies in recent years.

Regain the nation: Betipul's male warrior

The TV drama "IMA Veabbaz (Mama and Daddy)" is the main character. This series has succeeded in deviating from the normal expression of gay father, and as a result, it offers interesting ideology options to replace conventional conservative (effective) expressions. I claim. In Israeli's television, the father of homosexuality reveals various strategies that are reconstructed as positive, presenting personal and ideological expenses that can bring this positive (normally) expression. Next, focus on the TV drama "IMA Veabbaz (Mama and Daddy)", one of the most interesting case studies in recent years.

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

I got with a straight woman. I have succeeded in deviating from the normal expression of gay father, and as a result, providing an interesting ideological alternative to conventional conservative (acceptable) expressions. I claim that there is. In the Israeli television program, the father of homosexuality is defined various strategies that are reconstructed as positive things, and present the potential (and normally) representation of this (and normally) representation. 。 In recent years, it focuses on the TV drama "IMA Veabbaz (Mama and Daddy)", one of the most interesting case studies.

Regain the nation: Betipul's male warrior

Any attempt to trace the history of Israeli television drama encounters several significant difficulties (or challenges). The first concerns historical narratives that move from event to event or from cause to effect. Indeed, television history has also been influenced by postmodernist practices that see historiography as a construction rather than as a representation of reality (White 1984). In other words, contemporary television studies offers a historiography that assumes that its views, like the studies it proposes, are always partial, provisional, and author-dependent (Hilmes 2003; Wheatley 2007). The second difficulty arises from the problems inherent in writing television history: just as television studies covers several academic fields (Corner 2003) and thus produces several types of studies, television history also typically produces histories of television, each focused on a single major aspect. For example, Michele Hilmes (2003), author of a book on the history of television, divides television history into four categories: "technology," "institutions," "programs," and "audiences." In contrast, recent historical studies, including this one, have developed a more holistic approach to television history. Attempts to trace the history of Israeli television drama encounter several significant difficulties (or challenges). The first concerns historical narratives that move from event to event or from cause to effect. In fact, television history has also been influenced by postmodernist practices that see historiography as a construction, not as a representation of reality (White 1984). In other words, contemporary television studies, like the studies they propose, offer a historiography whose views are always partial, provisional, and author-dependent (Hilmes 2003; Wheatley 2007). The second difficulty arises from the problems inherent in writing television history: just as television studies covers several academic fields (Corner 2003) and thus produces several types of research, television history also typically produces histories of television that each focus on a single major aspect. For example, Michele Hilmes (2003), author of a book on the history of television, divides television history into four categories: technology, institutions, programs, and audiences. In contrast, recent historical studies, including this one, have developed more holistic television history studies. Attempts to trace the history of Israeli television drama encounter several significant difficulties (or challenges). The first concerns historical narratives that move from event to event or from cause to effect. In fact, television history has also been influenced by postmodernist practices that see historiography as a construction rather than as a representation of reality (White 1984). In other words, contemporary television studies present a historiography of television that assumes that its views, like those of the studies it proposes, are always partial, provisional, and author-dependent (Hilmes 2003; Wheatley 2007). The second difficulty arises from the problems inherent in writing television history: just as television studies covers several academic fields (Corner 2003) and thus produces several types of studies, television history also typically produces histories of television that each focus on a single major aspect. For example, Michele Hilmes (2003), author of a book on the history of television, divides television history into four categories: "technology," "institutions," "programs," and "audiences." In contrast, recent historical studies, including this one, have developed a more holistic approach to television history.

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

Hal f-century of Israelic identity through television

Regain the nation: Betipul's male warrior

Hal f-century of Israelic identity through television

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

Hal f-century of Israelic identity through television

Regain the nation: Betipul's male warrior

Before television, the history of the world in the world generally starts with "pr e-history" or "experimental era". In this era, it began with the invention of the first technology (around 1870), which enables images and audio transmissions, and ended when television turned into a mass media platform at the end of World War II (JACOBS 2006). In Israel, there is no experimental stage (Oren 2004: 6), and the period until the first television broadcast in Israel is not a technical problem, but rather a political and ideological problem. It is known mainly for the problem of national culture and social identity (Winkler 2006). Most of the scholars who have studied Israel before television before television broadcasting have focused on political and ideological issues.

TV drama in Israel

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

TV drama in Israel

Regain the nation: Betipul's male warrior

TV drama in Israel

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

In this way, the "pre-television" identity discourse resonated with the contents broadcast on television, including television dramas, as well as the regulations established by law, and continues to resonate to this day. However, despite its importance, its position in this chapter is secondary, since no television texts were produced during this period.

Regain the nation: Betipul's male warrior

Israeli Identity Through Television for Half a Century

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

A movie made in this context would have been able to make the same in Africa and Canada. " Alpha and Rovi are exaggerated to some extent. Many of the dramas that were aired at the time offered a "universal" story that had nothing to do with the modern political reality of Israel, but for example, "Fernheim" (Israel, Israel, Israel, Television, 1971. ) Is a movie of Shay Agnon's novel set in Israel.

Regain the nation: Betipul's male warrior

Germany? Various dramas that deal with Israel's political situation, such as Stella (Ram Loevi, ISRAEL TELEVISION, 1975), which depicts the complex relationship between voice coaches and students. "Siach Lochamìm." And "Bitchilát Káyitz 1970" (early summer 1970, Edward Atler's, which depicts a father who was killed by his son who was killed during the Jordan Valley as a reserve. Israel TV, 1972) was first aired. Ruthy Ablin Raveh (2011) argues that these two dramas were important and contributed to the Hero Eatos. However, despite the fact that he was absorbed in the occupation of Israel and questioned about the Zionist's Ethos, these dramas also presented the positive image of Israel, Siach Lochamìm, which is the Israeli Defense Force (IDF) soldier. Drawing the image as "shooting and crying" and "focuses on the humanization and sensitivity of Israeli soldiers to justify Israeli's moral superiority" (Hochberg 2013: 48). Although the dominance of the occupied territory was disgusted, the land was trembling due to ethnic rebellion-the appearance of the Black Panther (Mizurahim's second-generation protest movement in Israel) was a symbol of that-, Alpha testifies. As a matter of fact, these social phenomena were ignored in the 1980s's TV drama in Israel: If you look at the 1980s [Israeli TV] films and production series, you can see the fact that you are convinced: Israel. The Defense Force did not invade Lebanon, the stock market did not fall, and Begin did not get depressed. This was the time of Prime Minister Itshaku Shamir, and the oppressive mechanism in Israel was working hard. Athem Sham Babay Episode 4

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

Contrary to the desire to maintain a consensus of Israel identity through television, the first era of Israeli television was defined by a struggle seeking "independent broadcasting". (Zuckerman 1999: 128-132). The motivation for this struggle was, especially those who were active in the creation of Israel's television, and they regarded Israeli as a platform that critically and representative of the complex Israeli reality. (Ablin Raveh 2011). The concept was reflected in the drama category, especially when Arnon Zucmen was appointed as Dirael Television director in 1973. According to conventional history, it was this time that the "golden age" of Israel's TV drama began (SchWartz and Rotem 1986). In the Golden Age, especially, it is a political product of Zucmen's political perspective, which intends to "push the boundary as much as possible [...] and push the consensus beyond its limits" (the same book: 11, 15). Ta.

Half-century of Israel's identity through television, but contrary to the desire to maintain consensus, the first era of Israeli television was also stipulated by a struggle seeking "independent broadcasting" (Zuckerman 1999: 128- 132). The motivation for this struggle was those who were active in the creation of Israel's television, and they regarded television as a platform that critically and typically conveyed the complex Israeli reality (Ablin Raveh). 2011). The concept was reflected in the drama category, especially when Arnon Zucmen was appointed as Dirael Television director in 1973. According to conventional history, it was this period (SchWartz and Rotem 1986) that the "golden age" of Israel TV dramas began. In the Golden Age, it was a product from the Zucman's political point of view, especially in the intention of "pushing the boundary as much as possible, and pushing the consensus beyond its limits" (the same book: 11, 15).

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

An example of this approach is the drama "Kirbet Hize" (KHIRBET KHIZEH). The drama depicts a fictitious Palestinian village Kirbet o-Hiz, a resident of Kirbeto Hizze, a fictitious Palestinian Defense Forces soldier during the 1948 war. The broadcast of KHIRBET KHIZEH has evolved into one of the most sensitive battles in Israel (Zuckerman 1999: 42-44; Shapira 2000; Oren 2004: 156-191). The events over Kirbet Hizzee not only clarify a lot about the structure of Israel's television at this point, but as at the beginning of the broadcast, still monopolized Israeli's discourse. He has also revealed the central role of television in the progress between the story and the competing story that was born between Israeli viewers. In fact, the attack on Kirbet Hize is similar to the attack on Israel's New Histrers and Post Zionist thinkers more than 10 years later. As Anita Shapira discusses, "the main issue was that the movie was distorted [." But he claimed that it functioned as a propaganda for the Nazis: "Even if the top of the Fataha Public Public Bureau is a genius, I can't think of any more. Even if Fataha's top was a genius, he was a genius. There was no further

I can't say that Israel's TV drama was not political. Despite the fact that television dramas have suppressed politics, the "forbidden" topic has appeared many times, apart from whether or not they are intentional. Gertz and Hermoni (2011) suggested that the TV drama "Mischakìm Bahóref" (Winter Games ", Ram Loevi, ISRAEL TELEVISION, 1987) openly featured political topics.

The 1946 British Palestinian dedication is the replacement of the event in 1948, especially the Palestinian expelled to the newly declared Israeli state. Similar gaps are also found in "Indiáni Bashèmesh" (Indian in the sun, RAM LOEVI, ISRAEL TELEVISION, 1981). This work depicts the relationship between the Ashkenage Israeli military soldier and the soldiers from India, but is a fable of Israel and Palestine, and can be interpreted as seeking autonomy of Palestine (Harlap). Ablin Raveh (2011) does not directly appear in "Lechaver ì Bilvád" (IDO BAHAT, Israel TV, 1991 only for friends), but the first Intiforda 3 appears directly, but the weapons are handled in this series. He argues that it is hidden behind the legal use. Despite the political situation surrounding Israel's TV drama, the miserable situation at this time is not only in politics. The drama category was also troubled by serious budget issues. However, even if a relatively high budget drama series is requested, such as the min i-series "Hedva and Shlomik" (Hedva and Shlomik, SHMUELMAN and IRENA SPECTOR, ISRAEL TELEVISION, 1971). Negative The reaction slowed down the development of television activities, and the production of the drama series was almost completely canceled for several years. I can't say that Israel's TV drama was not political. Despite the fact that television dramas have suppressed politics, the "forbidden" topic has appeared many times, apart from whether or not they are intentional. Gertz and Hermoni (2011) suggested that the TV drama "Mischakìm Bahóref" (Winter Games ", Ram Loevi, ISRAEL TELEVISION, 1987) openly featured political topics.

TV drama in Israel

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

TV drama in Israel

Defined by Zuckerman as the "Communication Revolution" (1999: 141), the Reaves's "Television BEIT" (B) or Channel 2 rule is the "Television BEIT" (B) or Channel 2. The first stage is over, and what exactly the new phase is-. And in this book, it is "rule of channel 2". This is the appearance of a video cassette recorder (VCR), which was used in 40%of Israeli families in the mi d-1980s (Cohen and Cohen 1989). The rise of a pirated cable TV (CASPI and LIMOR 1992: 127), which was very popular in the late 1980s. Channel 2 started an experimental program in 1986 (TOKATLY 2000: 89). Since the early 1990s, cable television has spread to Israel's cultural viewing, which was "almost no precedent" (Zuckerman 1999: 133).

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

Through the television, the hal f-century of Israel's identity "TV Beit" (b) or channel 2 control ends the first phase of Israeli television, and the new phase is the exact moment as "communication revolution". Defined by Zuckerman (1999: 141), Lives (1999: 95) as the "era of mult i-channel TV". And in this book, it is "rule of channel 2". This is the appearance of a video cassette recorder (VCR), which was used in 40%of Israeli families in the mi d-1980s (Cohen and Cohen 1989). The rise of a pirated cable TV (CASPI and LIMOR 1992: 127), which was very popular in the late 1980s. The start of experimental programs on Channel 2 in 1986 (TOKATLY 2000: 89). The penetration of cable TV for cultural viewing in Israel from the early 1990s was "almost no precedent" (Zuckerman 1999: 133).

Hal f-century of Israelic identity through television

As well as the enormous power of the medium of television as an "ideological state apparatus" (Althusser 1971). As Noam Yulan argues, Channel 2 has become a "new state" and serves the ideology of the state more than Channel 1.

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

Israeli television dramas

As Irete Cohen discusses, "The early 21st century, the media in general, especially the Israeli society in television broadcasting, is expressed in all media" (Cohen 2001: 42) 6. In this context, Talmon and Levez are Bat Yam New York Series.

As the hal f-century of Israel's identity through television

AND YOSSI MADMONY, Channel 2: 1995-1997) explains the meaning of the term "fusion" and describes the protagonists as "the history of individuals and communities in the immigration countries of multiple cultures." 2000: 47). Based on the insights of Israeli movie research, the drama series of Channel 2 is a feature of works that reflect two parallel processes, especially the 1990s Israeli movie, especially Yael Munch, called "Borderline Cinema". It can be said that it was incorporated a lot: Heg o-mon y-like subla (words that refer to Israel i-born Jews) and the story of people suffering from a colonial attitude of a retreat of Israeli (2012: 24). 。 Therefore, for example, you can think of the important scenes of the mini series "BNONT BRAUN" (The Braun Girls, IRIT LINUR, CHANNEL 2: 2002): In the first episode, his father, Heji Brown, played by Ashi Dayan, runs around Moshaav (Cooperated Agricultural Community) with the idyllic song "Sil Hake Rem" (Kayo). The song creates a tall direct interaction connection, with Ashi Dayan's most wel l-known textbook, Hu Hu Haláchch basadót (Joseph Miro, 1967). But, unlike Uri, he grabs both horses. and Yossi Madmony, Channel 2: 1995-1997) explains the meaning of the meaning of "fusion" and describes the protagonists as "the history of the history of individuals and communities in the immigration countries of multiple cultures". (2000: 47). Based on the insights of Israeli movie research, the drama series of Channel 2 is a feature of works that reflect two parallel processes, especially the 1990s Israeli movie, especially Yael Munch, called "Borderline Cinema". It can be said that it was incorporated a lot: Heg o-mon y-like subla (words that refer to Israel i-born Jews) and the story of people suffering from a colonial attitude of a retreat of Israeli (2012: 24). 。 Therefore, for example, you can think of the important scenes of the mini series "BNONT BRAUN" (The Braun Girls, IRIT LINUR, CHANNEL 2: 2002): In the first episode, his father, Heji Brown, played by Ashi Dayan, runs around Moshaav (Cooperated Agricultural Community) with the idyllic song "Sil Hake Rem" (Kayo). The song creates a tall direct interaction connection, with Ashi Dayan's most wel l-known textbook, Hu Hu Haláchch basadót (Joseph Miro, 1967). But, unlike Uri, he grabs both horses. AND YOSSI MADMONY, Channel 2: 1995-1997) explains the meaning of the term "fusion" and describes the protagonists as "the history of individuals and communities in the immigration countries of multiple cultures." 2000: 47). Based on the insights of Israeli movie research, the drama series of Channel 2 is a feature of works that reflect two parallel processes, especially the 1990s Israeli movie, especially Yael Munch, called "Borderline Cinema". It can be said that it was incorporated a lot: Heg o-mon y-like subla (words that refer to Israel i-born Jews) and the story of people suffering from a colonial attitude of a retreat of Israeli (2012: 24). 。 Therefore, for example, you can think of the important scenes of the mini series "BNONT BRAUN" (The Braun Girls, IRIT LINUR, CHANNEL 2: 2002): In the first episode, his father, Heji Brown, played by Ashi Dayan, runs around Moshaav (Cooperated Agricultural Community) with the idyllic song "Sil Hake Rem" (Kayo). The song creates a tall direct interaction connection, with Ashi Dayan's most wel l-known text, Hu Hu Hu Halách Basadót (Joseph Miro, 1967, walked in the field). But, unlike Uri, he grabs both horses.

Bnót Braun summarizes the 1990s Israeli movies and the most important performance in television. The decline of the sabla and the new hero, in this case, the rise of Mizurahi. Another aspect of the TV Beit drama is what Lewis Roniger calls "sel f-oriented individualism." Roniger explains that in the early days of Zionism, he was characterized by a person who was "unwilling (and often there)".

Israeli's TV drama Bnót Braun "summarizes the two most important performances in the 1990s Israeli movies and television. The decline of the sabla and the new hero, in this case, the rise of Mizurahi. Another aspect of the TV Beit drama is what Lewis Roniger calls "sel f-oriented individualism." Roniger explains that in the early days of Zionism, he was characterized by a person who was "unwilling (and often there)".

Israeli TV drama

However, with the times, especially since the 1990s, this image has been replaced by the personal image that focuses on personal needs independent of Israel. The individual is an individual who says that he is sel f-acknowledging that he is living in a society in the spirit of confidence and independence, and strongly supports these values. In a sense, the phenomenon that the values of the Zionist are replaced by individuals or at least losing their central nature has already appeared in the law that regulates the broadcast of channel 2. Unlike the IBA, which promotes the values of Zionist, the second authority (channel 2) on television and radio promotes the main roles of "Jewish Israelites" and develops "good citizens". I think it is to strengthen "democracy and humanism". The series that clearly shows the process described above is "Florentin" (UDI Zamberg and Eytan Fox, Channel 2: 1997-2001). However, with the times, especially since the 1990s, this image has been replaced by an individual image that focuses on personal needs independent of Israel. The individual is an individual who says that he is sel f-acknowledging that he is living in a society in the spirit of confidence and independence, and strongly supports these values. In a sense, the phenomenon that the values of the Zionist are replaced by individuals or at least losing their central nature has already appeared in the law that regulates the broadcast of channel 2. Unlike the IBA, which promotes the values of Zionist, the second authority (channel 2) on television and radio promotes the main roles of "Jewish Israelites" and develops "good citizens". I think it is to strengthen "democracy and humanism". The series that clearly shows the process described above is "Florentin" (UDI Zamberg and Eytan Fox, Channel 2: 1997-2001). However, with the times, especially since the 1990s, this image has been replaced by the personal image that focuses on personal needs independent of Israel. The individual is an individual who says that he is sel f-acknowledging that he is living in a society in the spirit of confidence and independence, and strongly supports these values. In a sense, the phenomenon that the values of the Zionist are replaced by individuals or at least losing their central nature has already appeared in the law that regulates the broadcast of channel 2. Unlike the IBA, which promotes the values of Zionist, the second authority (channel 2) on television and radio promotes the main roles of "Jewish Israelites" and develops "good citizens". I think it is to strengthen "democracy and humanism". The series that clearly shows the process described above is "Florentin" (UDI Zamberg and Eytan Fox, Channel 2: 1997-2001).

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

Half a Century of Israeli Identity Through Television

"Television Gimel" (c) or Israeli television Gimel is closely linked to the global development of television and the period called "the Age of Abundance" and TVIII. At that time, Israeli television

Television drama in Israel; "Television Gimel" (C) or later Israeli television Gimel closely coincides with the global development of television and the period called "the Age of Abundance" and TVIII. Israeli television

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

Israeli television drama

2005 can be said to be the year when Israel's post-television began in earnest. Why? First, in 2005, Provider Cable Hot launched its VOD service, and for the first time, Israeli viewers were able to watch television programs according to their own schedules and preferences, without having to record the programs in advance. However, at this point, viewers could not choose which programs to watch.

Half a century of Israeli identity through television

Content is available in this video catalog only when viewed. Over the years, however, the amount of content has grown dramatically to cover almost all major Israeli texts aired on both broadcast and cable channels. Eventually, Israeli viewers were able to take control of their viewing schedule: VOD viewing "makes the viewing experience better, more refined, and more enjoyable." In the same year, satellite provider Yes launched its DVR service, Yes Max. In some ways similar to a VCR or DVD recorder, the ease of use of these devices, the ability to prepare an entire series and record two shows simultaneously, and the large amount of storage offered. And the option to delete content already viewed without compromising the quality of the broadcast, contributed to the popularity of Yes Max. Since then, both cable and satellite TV companies have added services, making its use in Israel well above the global average (Keinan 2010). Israeli TV drama. The various means of recording content cannot replace some kind of live viewing experience (such as a drama on offer).

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

Israeli TV Dramas

The third event that indicates the beginning of Israel's pos t-television is Bettple's broadcast. "Betipur" is a series that triggered the "unprecedented original drama series" and "Israeli drama flowering" on Israel's television (Cupfer 2007). It is not a coincidence that Betipuru was broadcast in the same year that hot started VOD service. The story configuration of "Betipur" was perfectly matched to the possibility of new viewing provided by VOD (see Chapter 3). Furthermore, "BetipuL" is the first Israeli drama series that was converted to DVD after television, and the remarkable sales were recorded, and there were more attempts to distribute Israeli drama content in the same way. However, "Betipur" is not only a product of technical and structural changes on Israeli television, but also as other dramas (in fact, as well as other cultural texts), widespread social and cultural processes. It is also a product. It is possible to discuss cultural changes that occurred in Israeli society and whether television content is the cause or result, but this study adopts the claim of Tamar Liebes (1999). Understand the decrease in consensus and the fundamental changes that have occurred for many years in the sel f-image of Israeli society. One of the central and most complex changes in the sel f-image of Israeli society is trauma and victims. The third event that indicates the beginning of Israel's pos t-television is Betipur broadcast. "Betipur" is a series that triggered the "unprecedented original drama series" and "Israeli drama flowering" on Israel's television (Cupfer 2007). It is not a coincidence that Betipuru was broadcast in the same year that hot started VOD service. The story configuration of "Betipur" was perfectly matched to the possibility of new viewing provided by VOD (see Chapter 3). Furthermore, "BetipuL" is the first Israeli drama series that was converted to DVD after television, and the remarkable sales were recorded, and there were more attempts to distribute Israeli drama content in the same way. However, "Betipur" is not only a product of technical and structural changes on Israeli television, but also as other dramas (in fact, as well as other cultural texts), widespread social and cultural processes. It is also a product. It is possible to discuss cultural changes that occurred in Israeli society and whether television content is the cause or result, but this study adopts the claim of Tamar Liebes (1999). Understand the decrease in consensus and the fundamental changes that have occurred for many years in the sel f-image of Israeli society. One of the central and most complex changes in the sel f-image of Israeli society is trauma and victims. The third event that indicates the beginning of Israel's pos t-television is Bettple's broadcast. "Betipur" is a series that triggered the "unprecedented original drama series" and "Israeli drama flowering" on Israel's television (Cupfer 2007). It is not a coincidence that Betipuru was broadcast in the same year that hot started VOD service. The story configuration of "Betipur" was perfectly matched to the possibility of new viewing provided by VOD (see Chapter 3). Furthermore, "BetipuL" is the first Israeli drama series that was converted to DVD after television, and the remarkable sales were recorded, and there were more attempts to distribute Israeli drama content in the same way. However, "Betipur" is not only a product of technical and structural changes on Israeli television, but also as other dramas (in fact, as well as other cultural texts), widespread social and cultural processes. It is also a product. It is possible to discuss cultural changes that occurred in Israeli society and whether television content is the cause or result, but this study adopts the claim of Tamar Liebes (1999). Understand the decrease in consensus and the fundamental changes that have occurred for many years in the sel f-image of Israeli society. One of the central and most complex changes in the sel f-image of Israeli society is trauma and victims.

Israeli Identity Through Television Over Half a Century

The protagonists of Euphoria (Ron Rechem and Duffa Levin, HOT3, 2012) have suffered from pos t-traumatic stress disorders (PTSD) after one friend was killed. The Ptzuìm Barósh (head wound, Hanan Savion and Guy Mail, HOT3, 2013) series clearly contains the theme of trauma and contains pos t-mental trauma issues. In addition, the series "HATUFìM" (PRISONERS OF WAR, GIDEON Raff and LIAT BENASULY, CHANNEL 2, 2010-2013) was produced when the Israeli Defense Military soldier Gilad Chargalit was still prisoner. It seems to have been fanned. 8 Another theme of the "TV Gimel" drama (and toward the end of the "TV Bait") is the community that protects the law, and the drama for that is a superb or orthodox that was once orthodox. Produced by orthodox writers and directors. 9 This phenomenon has many explanations, of which two of them are related to this debate. The first explanation is about the pos t-traumatic aspect of Israeli television. One of the reasons for Mirimi Talmon has many religious expressions on television is that the orthodox society has tried to deal with the assassination of Prime Minister Itshaku Rabin (many finger bullets), and Rabin is assassinated. He argues that the social crack between the religious department and the secular division, which had been boiled under the surface of the water, had boiled (Talmon 2013: 66). In other words, these texts do not have traum a-like events, but they can be read as products for attempts to deal with. The second reason, which tends to increase the expression of orthodox Jews on television, is due to the decrease in the image of the "new Jewish", which was an antithesis for the image of Diasporta's religious "female" Jews. Ironically, this series gained popularity among secular viewers, more specifically in the early 2000s, the concept of pos t-shionism in Israel identity discourses in the early 2000s. It is due to the introduction. Post shionism is often said to be "critical analysis of various cultural phenomena that reflects Zionist ideology" (Ophir 2001: 259), which often approachs some ant i-shionist concepts. Presenting options. Or, as Masha Friedman wrote as follows,

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

Israeli TV drama

Amjado's parents were shocked, and the mother decided to teach her about Nagba by showing her granddaughter's photos before 1948. Amjado's parents were shocked, and the mother showed her granddaughter about Nagba by showing the album in the photo taken before 1948. In the last scene of the episode, Maya sings "Seal Halen", but the scene is curated in photos taken before 1948.

Hal f-century Amjad's parents of Israel's identity through television were shocked, and the mother decided to teach her about Nagba by showing her granddaughter's photos before 1948. Amjado's parents were shocked, and the mother showed her granddaughter about Nagba by showing the album in the photo taken before 1948. In the last scene of the episode, Maya sings "Seal Halen", but the scene is curated in photos taken before 1948.

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

Hal f-century of Israelic identity through television

Her grandmother's album. When she sings "We Will Remember Them All", it is a Palestinian figure before being expelled from the village. In this way, "Avodá Aravìt" blures the border between memory and victims in intentional and play. Another theoretical term, with a prefix, has entered the world of Israeli's TV drama. Ella Shahat argues in his research that European Jews (Ashkenagim) have projected the Oriental concepts on both Palestinians and Mizurahi Jews along the ideology of Zionist. Shahat states: "The attitude of the world to the third world is reproduced as a variant of Ashkenage / Cepardi 10, and sometimes in the comparison between eastern Jews and Arabs and blacks. It is reproduced explicitly "(2010: 105). The integration of local postconists and global postcolonial understanding is connected to what is called the "New Mizurahi Story" (Kizel 2014), and the realistic and symbolic violence given to Mizurahi Jews by Ashenage Hegemony. Is exposed. As mentioned above, the story has penetrated popular culture, including television, and has led to the creation of textbooks that challenge the cultural assumptions for ethnic groups and nationality. The culmination of this process is the TV program "Mizurahi Jewish". Her grandmother's album. When she sings "We Will Remember Them All", it is a Palestinian figure before being expelled from the village. In this way, "Avodá Aravìt" blures the border between memory and victims in intentional and play. Another theoretical term, with a prefix, has entered the world of Israeli's TV drama. Ella Shahat argues in his research that European Jews (Ashkenagim) have projected the Oriental concepts on both Palestinians and Mizurahi Jews along the ideology of Zionist. Shahat states: "The attitude of the world to the third world is reproduced as a variant of Ashkenage / Cepardi 10, and sometimes in the comparison between eastern Jews and Arabs and blacks. It is reproduced explicitly "(2010: 105). The integration of local postconists and global postcolonial understanding is connected to what is called the "New Mizurahi Story" (Kizel 2014), and the realistic and symbolic violence given to Mizurahi Jews by Ashenage Hegemony. Is exposed. As mentioned above, the story has penetrated popular culture, including television, and has led to the creation of textbooks that challenge the cultural assumptions for ethnic groups and nationality. The culmination of this process is the TV program "Mizurahi Jewish". Her grandmother's album. When she sings "We Will Remember Them All", it is a Palestinian figure before being expelled from the village. In this way, "Avodá Aravìt" blures the border between memory and victims in intentional and play. Another theoretical term, with a prefix, has entered the world of Israeli's TV drama. Ella Shahat argues in his research that European Jews (Ashkenagim) have projected the Oriental concepts on both Palestinians and Mizurahi Jews along the ideology of Zionist. Shahat states: "The attitude of the world to the third world is reproduced as a variant of Ashkenage / Cepardi 10, and sometimes in the comparison between eastern Jews and Arabs and blacks. It is reproduced explicitly "(2010: 105). The integration of local postconists and global postcolonial understanding is connected to what is called the "New Mizurahi Story" (Kizel 2014), and the realistic and symbolic violence given to Mizurahi Jews by Ashenage Hegemony. Is exposed. As mentioned above, the story has penetrated popular culture, including television, and has led to the creation of textbooks that challenge the cultural assumptions for ethnic groups and nationality. The culmination of this process is the TV program "Mizurahi Jewish".

Israeli TV Drama

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

"Man Warrior", a country of Betipur Vetipur, is one of the largest success stories on Israel's television programs, sold at least in a row to top cable network HBOs, and sold to 17 broadcasting stations. It was done. The fact that psychological discourse was dominated by script, mainly in the form of local cultural needs and preferences (Almog 2004: 633) is a global popularity. It seems to support what he is doing. However, examining the original version of Betipur, you can see that it is deeply rooted in Israeli culture, and is a more wid e-class cultural process that has passed since its birth. "Betipple" is the product of the cultural sensitivity of pos t-geonism, focusing on the characters of the Israeli Defense Pilot's battle pilot Yadin Yelchalmi (see Fig. 2. 1) I argue that the concept of Jews is underneath, clarifying the high price paid for the construction of a "new Jewish" and its destructive effect on Israeli male subjects. BETIPUL was originally broadcast on Israel's cable channel 3 and was broadcast five days a week for two seasons. One treatment was drawn in each episode from the 2nd Sunday (the first day of work in Israel) to Wednesday.

Figure 2. 1 Betipur Jadin Yel Sharmi (Rior Ashkenage). Returned country Betipur Betipur "Man Warrior" is one of the largest success stories on Israel's television programs, at least sold to top cable network HBOs and 17 broadcasts worldwide. It was sold to the station. The fact that psychological discourse was dominated by script, mainly in the form of local cultural needs and preferences (Almog 2004: 633) is a global popularity. It seems to support what he is doing. However, examining the original version of Betipur, you can see that it is deeply rooted in Israeli culture, and is a more wid e-class cultural process that has passed since its birth. "Betipple" is the product of the cultural sensitivity of pos t-geonism, focusing on the characters of the Israeli Defense Pilot's battle pilot Yadin Yelchalmi (see Fig. 2. 1) I argue that the concept of Jews is underneath, clarifying the high price paid for the construction of a "new Jewish" and its destructive effect on Israeli male subjects. BETIPUL was originally broadcast on Israel's cable channel 3 and was broadcast five days a week for two seasons. One treatment was drawn in each episode from the 2nd Sunday (the first day of work in Israel) to Wednesday.

Israeli TV drama

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

Israeli TV drama

Table of Table of Table of Table of Table

And a couple working on the problem between the couple. The stage is mostly in the medical room, but in Season 1, Luven's marriage, the relationship with a teenager, and the complex relationship with one patient. The second season will be set two years later (both on the story and in the series order), and new patients will appear. A female lawyer who wants to have a child, a factory manager suffering from a shell shock, and a young cancer patient. In parallel with these, the progress between Luven and daughter, continuous treatment of suffering couples, and the effects of Luven's private life due to neglecting the appropriate measures to Yadin, a combat pilot. A narrative thread that continues from the season is collected. Such prolonged effects of Yadin's (failed) treatment have been repeated throughout the second season, suggesting how important this score is for the whole series.

Betipur male warrior who regains the country

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

Monday patient Yadin Jerchalmi in Season 1 is a 4 0-yea r-old Defense Forces Battle Pilot, married and became two children, and is the son of the Holocaust survivor. In a raid in Ramaller, one ton bomb was dropped in a building with terrorists, and Yadin killed 12 Palestinian citizens. Ten days later, Yadin caused a heart attack during a lon g-lasting tennis game and fell into a dying state. After these incidents, Yadin was ordered by a superior to see a military psychologist. Instead, he explained that he was looking for a "regular consultation" before visiting Ramarer with the Doctors without a border to see the bombing site, and chose to meet Louven. He just wants Luven to "sign" whether the visit is appropriate or "appropriate". The following week, Yadin visits Luven to ask if he should break up with his wife, and then asks if he should build a romantic relationship with another patient in Luven. Visit.

Table of Table of Table of Table of Table

Betipur male warrior who regains the country

Figure 2. 2 Betipur Luven Dagan (Ashi Dayang).

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

A couple working on Israel's TV dramas and couples. The stage is mostly in the medical room, but in Season 1, Luven's marriage, the relationship with a teenager, and the complex relationship with one patient. The second season will be set two years later (both on the story and in the series order), and new patients will appear. A female lawyer who wants to have a child, a factory manager suffering from a shell shock, and a young cancer patient. In parallel with these, the progress between Luven and daughter, continuous treatment of suffering couples, and the effects of Luven's private life due to neglecting the appropriate measures to Yadin, a combat pilot. A narrative thread that continues from the season is collected. Such prolonged effects of Yadin's (failed) treatment have been repeated throughout the second season, suggesting how important this score is for the whole series.

Betipur male warrior who regains the country

Table of Table of Table of Table of Table

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

In other words, Yadin is not being treated, but only comes to consult about a specific dilemma every week. A few weeks later, Yadin felt that the session became too difficult (as Yadin said) stopped therapy, returned to the pilot, and for the first time in a flight in flight. Yadin was "killed" at the end of the first season, but his character continues to bother Luven with Luven. Yadin's father Menake (Izrael Polyakov) came to talk to Luven as a profession, right after Yadin collapsed (previously Yadin was in charge of every time) to talk to Luven and psychological therapy as an occupation. , Attention is focused on his son's death. Menakem also returned in the first episode of Season 2, asking Luven to quit his occupation, and threatened to sue him for negligence. The lawsuit will be deployed throughout the season, and will be settled by Luven in the final round, and probably the overall psychiatric therapy is completely acquitted. As shown by Chapter 3, "Betipur" is read as an allegoric of Israeli society by Israel critics, and Yad's character , that is, Yadin is not treated, but identifies. I just come to consult about the dilemma every week. A few weeks later, Yadin felt that the session became too difficult (as Yadin said) stopped therapy, returned to the pilot, and for the first time in a flight in flight. Yadin was "killed" at the end of the first season, but his character continues to bother Luven with Luven. Yadin's father Menake (Izrael Polyakov) came to talk to Luven as a profession, right after Yadin collapsed (previously Yadin was in charge of every time) to talk to Luven and psychological therapy as an occupation. , Attention is focused on his son's death. Menakem also returned in the first episode of Season 2, asking Luven to quit his occupation, and threatened to sue him for negligence. The lawsuit will be deployed throughout the season, and will be settled by Luven in the final round, and probably the overall psychiatric therapy is completely acquitted. As Chapter 3 says, "Betipur" is read as an allegoric of Israeli society by Israel critics, and Yad's character is not treated, but about specific dilemma. I just come to consult every week. A few weeks later, Yadin felt that the session became too difficult (as Yadin said) stopped therapy, returned to the pilot, and for the first time in a flight in flight. Yadin was "killed" at the end of the first season, but his character continues to bother Luven with Luven. Yadin's father Menake (Izrael Polyakov) came to talk to Luven as a profession, right after Yadin collapsed (previously Yadin was in charge of every time) to talk to Luven and psychological therapy as an occupation. , Attention is focused on his son's death. Menakem also returned in the first episode of Season 2, asking Luven to quit his occupation, and threatened to sue him for negligence. The lawsuit will be deployed throughout the season, and will be settled by Luven in the final round, and probably the overall psychiatric therapy is completely acquitted. As Chapter 3 shows, "Vetipur" is read as a fable of Israeli society by Israel critics, and Yad's character is among them.

In this way, he demonstrates his personality through the act of buying hig h-end equipment that no one buys (and use terrorist attacks). Like the five Yadin, Betipur himself symbolizes the transition from collective TV viewing to personal choices. As everyone is nailed to the TV, Yadin chose to shop online.

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Many viewers chose to use VOD services and DVD box sets to consume Betipul and buy them. While heading for psychotherapy, Yadin, who is faithful to the state group and serves the benefit, has adopted the basic premise of the Zionist ideology. Yadin has stated his opposition to his treatment by arguing that he was not "really" in the therapy. It appears in a clear expression of contempt to Luven and the question that Luven asks him, and also appears in the way to pay the session (cash on Luven's table). On the other hand, it is a member of the secular and individualistic culture, and the "psychological language" is an indispensable composition of the world view as "one of the basic" minerals "" (Almog 2004: 823). Yadin, who has been adopted as an element, is familiar with psychotherapy discourse, and hopes to work to work. At the end of the treatment, Yadin becomes a "model" patient, reveals his dreams and even thinks about sexual orientation. BETIPUL shows the tension between the need to recognize their sexual orientation and the necessity of not recognizing their sexual orientation. Many viewers chose to use VOD services and DVD box sets to consume and buy them. While heading for psychotherapy, Yadin, who is faithful to the state group and serves the benefit, has adopted the basic premise of the Zionist ideology. Yadin has stated his opposition to his treatment by arguing that he was not "really" in the therapy. It appears in a clear expression of contempt to Luven and the question that Luven asks him, and also appears in the way to pay the session (cash on Luven's table). On the other hand, it is a member of the secular and individualistic culture, and the "psychological language" is an indispensable composition of the world view as "one of the basic" minerals "" (Almog 2004: 823). Yadin, who has been adopted as an element, is familiar with psychotherapy discourse, and hopes to work to work. At the end of the treatment, Yadin becomes a "model" patient, reveals his dreams and even thinks about sexual orientation. BETIPUL shows the tension between the need to recognize their sexual orientation and the necessity of not recognizing their sexual orientation. Many viewers chose to use VOD services and DVD box sets to consume Betipul and buy them. While heading for psychotherapy, Yadin, who is faithful to the state group and serves the benefit, has adopted the basic premise of the Zionist ideology. Yadin has stated his opposition to his treatment by arguing that he was not "really" in the therapy. It appears in a clear expression of contempt to Luven and the question that Luven asks him, and also appears in the way to pay the session (cash on Luven's table). On the other hand, it is a member of the secular and individualistic culture, and the "psychological language" is an indispensable composition of the world view as "one of the basic" minerals "" (Almog 2004: 823). Yadin, who has been adopted as an element, is familiar with psychotherapy discourse, and hopes to work to work. At the end of the treatment, Yadin becomes a "model" patient, reveals his dreams and even thinks about sexual orientation. BETIPUL shows the tension between the need to recognize their sexual orientation and the necessity of not recognizing their sexual orientation.

Menachem is not the only father relevant in this context. The first is Dan Halutz, who served as an Israeli Air Force commander a few years before Bechpur was aired and was chief of staff of the Israeli Ministry of Defense at the time of the first gassing in Bechpur.

Israeli TV drama

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

The other is Reuven himself, or more precisely, another character played by Assi Dayan in the past, Uri Kahana, protagonist of the film We Walked in the Fields (directed by Joseph Miro, 1967). The consideration of Yadin as the subject of trauma is thus carried out through the three "fathers" Dan Halutz, Menachem Yerushalmi, and Uri Kahana, but before that, let us briefly examine the relationship between trauma, Zionism, and masculinity. Only the fathers are relevant in this context. The first is Dan Halutz, who served as commander of the Israeli Air Force a few years before Betipur was released and as chief of staff of the Israeli Ministry of Defense at the time of the gassing in the first Betipur.

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Trauma, shionism, and masculinity have been hurt in the past and now. Our metitals are blooming from 2, 000 years of expulsion, beating, persecution, and killing [... ...] Do you want to understand us? Start with trauma. YAIR 2011: 11, 17 The term "trauma" originally refers to "the impact of all injuries that break the skin as a result of external violence, and such injuries on the entire creature" (Laplanche and Pontalis 1988: 465 ) When psychoanalysis adopted this term metaphor, the three important characteristics of physical trauma were applied to psychological trauma: "The various definitions of trauma in the context of psychoanalysis are physical and mental happiness. However, the person who suffers from a strong event that threatens to the excess or recurrence, or is caused by humans, but the term "trauma" is originally used as a metaphor. As is almost separated from the physical context of, the term "trauma" is strictly separated from the psychoanalyst definition of mental injury, and is used today in a wider, more social cultural context. Until it became so, I have gained additional meaning. The idea that groups and nations can also suffer from trauma and suppress and overcome them are as follows, along with the rise of meta trauma.

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

Regain consciousness, engrave memories forever, change the future identity in a fundamental and irreparable way. 2004: 1 Trauma, Zionism, and masculinity are still hurt. Our metitals are blooming from 2, 000 years of expulsion, beating, persecution, and killing [... ...] Do you want to understand us? Start with trauma. YAIR 2011: 11, 17 The term "trauma" originally refers to "the impact of all injuries that break the skin as a result of external violence, and such injuries on the entire creature" (Laplanche and Pontalis 1988: 465 ) When psychoanalysis adopted this term metaphor, the three important characteristics of physical trauma were applied to psychological trauma: "The various definitions of trauma in the context of psychoanalysis are physical and mental happiness. However, the person who suffers from a strong event that threatens to the excess or recurrence, or is caused by humans, but the term "trauma" is originally used as a metaphor. As is almost separated from the physical context of, the term "trauma" is strictly separated from the psychoanalyst definition of mental injury, and is used today in a wider, more social cultural context. Until it became so, I have gained additional meaning. The idea that groups and nations can also suffer from trauma and suppress and overcome them are as follows, along with the rise of meta trauma.

Table of Table of Table of Table of Table

Regain consciousness, engrave memories forever, change the future identity in a fundamental and irreparable way. 2004: 1 Trauma, Zionism, and masculinity are still hurt. Our metitals are blooming from 2, 000 years of expulsion, beating, persecution, and killing [... ...] Do you want to understand us? Start with trauma. YAIR 2011: 11, 17 The term "trauma" originally refers to "the impact of all injuries that break the skin as a result of external violence, and such injuries on the entire creature" (Laplanche and Pontalis 1988: 465 ) When psychoanalysis adopted this term metaphor, the three important characteristics of physical trauma were applied to psychological trauma: "The various definitions of trauma in the context of psychoanalysis are physical and mental happiness. However, the person who suffers from a strong event that threatens to the excess or recurrence, or is caused by humans, but the term "trauma" is originally used as a metaphor. As is almost separated from the physical context of, the term "trauma" is strictly separated from the psychoanalysis definition of mental injury, and is used today in a wider, more social cultural context. Until it became so, I have gained additional meaning. The idea that groups and nations can also suffer from trauma and suppress and overcome them are as follows, along with the rise of meta trauma.

Recover the country: Betipur male warrior

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

In contrast to the other definitions of personal and collective trauma that traum a-like events are the source of pos t-traumatic experiences, the definition of Alegzander's "cultural trauma" is a painful event with trauma. He denies the idea that it is a naturally generated product and a social and culturally constructed process. Alegzander denies the projection of cultural trauma in an incident, and has repeated that trauma is only created by social intermediary. In this sense, the characteristics of a society that suffer from cultural trauma is rather than the basic contents. Alternatively, in Benedict Anderson's words, cultural trauma can be regarded as "imagined trauma" (IBID .: 9). As with many other society, Israeli society, as a means of asserting (especially) in cultural trauma (especially), sometimes, in other society, especially the Palestinian society, (especially the Palestinian society ( I am engaged in chaumont 1997). However, despite the trauma that makes up Israelic identity, the Israeli culture has been controversial against his collective trauma, despite the advantages of victims. One of the main reasons is related to Israel's favorite sel f-images, especially masculine images. The main thing is that Traum a-like events itself is the source of pos t-traumatic experiences, contrasting with other definitions of personal and collective trauma, the definition of Allegzander's "cultural trauma". Renies the idea that trauma is a natural product of painful events and a social and culturally constructed process. Alegzander denies the projection of cultural trauma in an incident, and has repeated that trauma is only created by social intermediary. In this sense, the characteristics of a society that suffer from cultural trauma is rather than the basic contents. Alternatively, in Benedict Anderson's words, cultural trauma can be regarded as "imagined trauma" (IBID .: 9). As with many other society, Israeli society, as a means of asserting (especially) in cultural trauma (especially), sometimes, in other society, especially the Palestinian society, (especially the Palestinian society ( I am engaged in chaumont 1997). However, despite the trauma that makes up Israelic identity, the Israeli culture has been controversial against his collective trauma, despite the advantages of victims. One of the main reasons is related to Israel's favorite sel f-images, especially masculine images. The main thing is that the traum a-like event itself is the source of a pos t-traumatic experience, and in contrast to other definitions of personal and collective trauma, the definition of Alleg Sender's "cultural trauma" is trauma. Is a natural product of painful events and the idea that it is a social and culturally constructed process. Alegzander denies the projection of cultural trauma in an incident, and has repeated that trauma is only created by social intermediary. In this sense, the characteristics of a society that suffer from cultural trauma is rather than the basic contents. Alternatively, in Benedict Anderson's words, cultural trauma can be regarded as "imagined trauma" (IBID .: 9). As with many other society, Israeli society, as a means of asserting (especially) in cultural trauma (especially), sometimes, in other society, especially the Palestinian society, (especially the Palestinian society ( I am engaged in chaumont 1997). However, despite the trauma that makes up Israelic identity, the Israeli culture has been controversial against his collective trauma, despite the advantages of victims. One of the main reasons is related to Israel's favorite sel f-images, especially masculine images. As the main one

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And the slogan “More actions, less words” (ibid.: 136) became one of the central tenets of Zionist ideology. In this context, it is not surprising that the principles of psychoanalysis were also seen as fundamentally at odds with the image of the Jew as defined by early Zionism (Gluzman 2007: 20) and that, as Oz Almog argued, psychological philosophy bore the corporeal and productive nature of an anti-passive ethos (2004: 616). This negative view of psychology seems to have had a decisive impact on Israeli society’s willingness and ability to deal with traumatic experiences, both at the individual and collective levels. The image of the new Jew not only rejected the notion of victimhood, which it linked with passivity, weakness, and femininity, but, moreover, the process of self-examination and self-analysis, and thus the very work of trauma, was considered unnecessary and even dangerous. This view was manifested in the way Israeli society, and the state, dealt with the trauma of the Holocaust. As Dominic Lacapra puts it, "Israel was not willing to listen to the voices of the survivors, essentially because the Israelis, for understandable reasons, were trying to build a different kind of state with a different kind of political actor" (Lacapra 2014: 158). Lacapra adds: "στό was

"The Zionist, primarily the 'New Jew', began to be constructed as a central ideal that immigrants, and later the Sabra people, had to accept, becoming a kind of rigid superego whose needs had to be met. However, the Zionist theme could not always meet these demands and repeatedly faced the gap between the national ideal and reality.

Reclaiming the Nation

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

Live experience. It is therefore clear, as we saw in chapter 1, why post-Zionism sought to undermine the image of the 'New Jew', to highlight the arbitrariness of its 'construction' and to expose the high costs extracted from both the 'New Jew' and his (gender, ethnic, and national) 'other'. In other words, one of the goals of post-Zionism was first to point out the artificiality of the masculine image and then to present an alternative, less rigid model of masculinity. "Israeli Post-Tele," as a period of Israeli television characterized by elements of post-Zionism, often adopted this critical perspective, presenting male characters who, trying to live up to the standards of the 'New Jew', harm themselves and their environment. They are men who have experienced in their own bodies the contradiction between their true selves and their ego ideals. And their attempts to live up to the norms of Israeli masculinity eventually prove traumatic and elicit great psychological tolls, leading to their breakdown and loss of humanity. Moreover, the television texts that portray such men, unlike Zionist literature and film, support a post-Zionist view and therefore emphasize the construction of the male body and its costs. Here, we will introduce how they are represented.

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Israel's TV drama You are not responsible for the target. Your execution was perfect. wonderful. Again, you have no problem. You did exactly what was instructed. It has not deviated from the right or one to the left. If you complain, I want you to meet me. Quoted: Levy Barjirai 2002 Dan Haltz and the victim's trauma This series is not mentioned in this series, but is appointed Dan Haltz, who was appointed Chief of Staff of IDF just before the "BetipuL" screening. Has the figure of Yadin's person, and Harutz's opinions and remarks respond to Yadin's person. The main incident that linked the two was that in 2002, Hamas military organization commander Sala Chahhddi was dropped a on e-ton bomb in Shahde's home by the Israeli Defense Force pilot and was "targeted assassination." 。 In this bombing, 14 civilians died, in addition to Shahde and another Hamas executive, and 11 of them were children. In response to this behavior and the aftermath, the Israeli newspaper featured an ad to protest bombing: "Tell the pilot who dropped the atomic bomb: Tell the pilot who dropped the atomic bomb. The Aircraft Commander at the time, Haltes, Halit. I decided to answer this question, and when I met the members of the Air Force, I did the following remarks. It is not you to choose a target.

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

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The reason why Yadin and Haruts can sleep well when they are bombed suggests that the acts they are involved do not have any effect on them, and as long as they and the systems they work are, these incidents. Is not a problem. Similarly, according to Stein, the Israeli Defense Force has not yet recognized that the perpetrator may experience it even when the shell shock was recognized as a legitimate psychological state in the Israeli Defense Force. There was no question about murder or guilt about other combat acts (Stein 2003: 72). However, the connection between Harutz and Yadin is even deeper. After Harutz's speech, Haruz replied, "Is it justified to ask what the pilot feels after launching a bomb?" Halz answered exactly: No. It's not a legitimate question, nor has it been asked. However, if I want to know what to feel when I fire a bomb, let's answer: I feel the plane shakes a little as a result of the bomb. One second has disappeared. That's what I felt quoted: Levy Barjirai 2002

Recovery of the nation: The story of Yadin, who dropped a on e-ton bomb and killed an innocent citizen to kill the terrorist in Betipur, reminds us of the killing of Sahade. In addition, Yadin's response, when Luven asked what he thought about his actions, resonated the words of Harutz like a mantra, clarified the connection between the two, and clarified them. At the beginning, Yadin says that he has no moral questions or guilt about what he did, and he added: Yadin sleeps well. Under the assumption that you do what you need to do in the best way as possible [......], [in the correct building]. If you don't hit a correct building, you will have problems with yourself, your conscience and system. But if you hit me like me, but if there were wrong people, there was no problem. I sleep like a baby. Don't be misunderstood, of course, you have discomfort when you ask what happened. But conscience does not hurt.

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

Recovery of the nation: Yadin's story that he killed a bomb and killed a innocent citizen to kill Betipur's male warrior terrorist is reminiscent of the killing of Sahade. In addition, Yadin's response, when Luven asked what he thought about his actions, resonated the words of Harutz like a mantra, clarified the connection between the two, and clarified them. At the beginning, Yadin says that he has no moral questions or guilt about what he did, and he added: Yadin sleeps well. Under the assumption that you do what you need to do in the best way as possible [......], [in the correct building]. If you don't hit a correct building, you will have problems with yourself, your conscience and system. But if you hit me like me, but if there were wrong people, there was no problem. I sleep like a baby. Don't be misunderstood, of course, you have discomfort when you ask what happened. But conscience does not hurt.

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Harutz's remarks in Israel's memories appear closely in dialogue between Yadin and Luven. In the fifth dialogue, Yadin was criticized by Luven and revealed Luven's family life, including his wife's cheating. Yadin's words are also transmitted to Luven, and when Yadin calls Nam in a complicated relationship with Luven as a "psychiatric prostitute," Luven forgets himself and strangles Yadin. After that, Luven regains his consciousness and leaves Yadin. In the next session / episode, Luven asks Yadin a week later. On the other hand, Yadin answered with a evil half laughing: "What did you feel? "When I was in a pilot to drop the atomic bomb, Haruts said," I felt a light impact on the plane, "and denied the possibility that the attacker would be mental pain.

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

This Harutz's remark, which is engraved in Israel's TV drama Israel's memory, appears closely in the dialogue between Yadin and Luven. In the fifth dialogue, Yadin was criticized by Luven and revealed Luven's family life, including his wife's cheating. Yadin's words are also transmitted to Luven, and when Yadin calls Nam in a complicated relationship with Luven as a "psychiatric prostitute," Luven forgets himself and strangles Yadin. After that, Luven regains his consciousness and leaves Yadin. In the next session / episode, Luven asks Yadin a week later. On the other hand, Yadin answered with a evil half laughing: "What did you feel? "When I was in a pilot to drop the atomic bomb, Haruts said," I felt a light impact on the plane, "and denied the possibility that the attacker would be mental pain.

Figure 2. 3 Leven stands on Yadin (Betipur).

This Harutz's remark, which is engraved in the memory of Israel's TV Doramislael, appears closely in the dialogue between Yadin and Luven. In the fifth dialogue, Yadin was criticized by Luven and revealed Luven's family life, including his wife's cheating. Yadin's words are also transmitted to Luven, and when Yadin calls Nam in a complicated relationship with Luven as a "psychiatric prostitute," Luven forgets himself and strangles Yadin. After that, Luven regains his consciousness and leaves Yadin. In the next session / episode, Luven asks Yadin a week later. On the other hand, Yadin answered with a evil half laughing: "What did you feel? "When I was in a pilot to drop the atomic bomb, Harutz said," I felt a light impact on the plane, "and denied the possibility that the attacker would be mental pain.

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

Israeli TV drama

He denies the concept of perpetrator's trauma itself. In contrast, Yadin said that when he was attacked, he said, "I felt a little impact on the wings of the plane," and assumed a metaphor, not a bomb criminal. 。 In particular, at the end of the game, the high angle GUN was used in the attack scene frame, and this idea has been strengthened by the fact that Yadin is only small, but from the SDF aircraft. In this way, by transferring the words of the attacker (who should have not felt anything) into the mouth of the victim (experiencing trauma), Yadin does not recognize it in the therapy session. In other words, it acknowledges that killing innocent people can be trauma even if it is a destruction. According to Stein, Yadin has built Yadin as a person who actually suffers from a shell shock in text (2003: 61) to show two main symptoms, insensitive and anxiety (2003: 61). On the other hand, Yadin experience emotional disconnection. Both the bomb incident and his own lineage experience are forced to be spoken in the third person, from afar, as a story of others. On the other hand, during flight training, Yadin refused to stop attacking the target "enemy" machine, so he denied the concept of perpetrator's trauma. I'm doing it. In contrast, Yadin said that when he was attacked, he said, "I felt a little impact on the wings of the plane," and assumed a metaphor, not a bomb criminal. 。 In particular, at the end of the game, the high angle GUN was used in the attack scene frame, and this idea has been strengthened by the fact that Yadin is only small, but from the SDF aircraft. In this way, by transferring the words of the attacker (who should have not felt anything) into the mouth of the victim (experiencing trauma), Yadin does not recognize it in the therapy session. In other words, it acknowledges that killing innocent people can be trauma even if it is a destruction. According to Stein, Yadin has built Yadin as a person who actually suffers from a shell shock in text (2003: 61) to show two main symptoms, insensitive and anxiety (2003: 61). On the other hand, Yadin experience emotional disconnection. Both the bomb incident and his own lineage experience are forced to be spoken in the third person, from afar, as a story of others. On the other hand, during flight training, Yadin denied the concept of perpetrator's trauma, which crashed his plane in the mountains, because he refused to stop attacking the target "enemy" machine. That's it. In contrast, Yadin said that when he was attacked, he said, "I felt a little impact on the wings of the plane," and assumed a metaphor, not a bomb criminal. 。 In particular, at the end of the game, the high angle GUN was used in the attack scene frame, and this idea has been strengthened by the fact that Yadin is only small, but from the SDF aircraft. In this way, by transferring the words of the attacker (who should have not felt anything) into the mouth of the victim (experiencing trauma), Yadin does not recognize it in the therapy session. In other words, it acknowledges that killing innocent people can be trauma even if it is a destruction. According to Stein, Yadin has built Yadin as a person who actually suffers from a shell shock in text (2003: 61) to show two main symptoms, insensitive and anxiety (2003: 61). On the other hand, Yadin experience emotional disconnection. Both the bomb incident and his own lineage experience are forced to be spoken in the third person, from afar, as a story of others. On the other hand, during flight training, Yadin refused to stop attacking the targeted "enemy" machine, so he crashed his plane on the mountains.

One of the main messages of Vetipur is that if the Israeli society allows to overcome the perpetrator's trauma, it may be repeatedly exposed to "fatal ideology and practice."

Betipur male warrior who regains the nation

He inherited how Menake Yelsharmi and Trauma's work, Yadin, inherited from his symbolic father, Dan Hullz, inherited the belief that the perpetrators should not experience trauma, how to deal with the trauma. At the age of 16, when Menake was 16, while hiding from the Nazis, he physically hit his father's chronic cough so that he did not hide with that sound. I understand. According to Yadin, Menake has no regret or guilt about his actions. As Menakem told Luven, he was drunk on the night of his father. Menake, who was asked by Luven about drinking Menakem, replied: I go home at 5 o'clock and pour brandy into a glass and drink. Drink tea in a big glass. Then all the bad thoughts disappear, does Luven Alcohol work? Is it recommended as a way to deal with life? It's a very good way to menake. He has a problem, and when he drinks, it disappears. I can't stop and think about small pain and suffering. Is it because of my mother? Hitler? [Is there a good thing to talk to me? Will my father come back? One of the main messages of Betipur is that if the Israeli society allows to overcome the perpetrator's trauma, it can be repeatedly exposed to "fatal ideology and practice."

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

He inherited how Menake Yelsharmi and Trauma's work, Yadin, inherited from his symbolic father, Dan Hullz, inherited the belief that the perpetrators should not experience trauma, how to deal with the trauma. At the age of 16, when Menake was 16, while hiding from the Nazis, he physically hit his father's chronic cough so that he did not hide with that sound. I understand. According to Yadin, Menake has no regret or guilt about his actions. As Menakem told Luven, he was drunk on the night of his father. Menake, who was asked by Luven about drinking Menakem, replied: I go home at 5 o'clock and pour brandy into a glass and drink. Drink tea in a big glass. Then all the bad thoughts disappear, does Luven Alcohol work? Is it recommended as a way to deal with life? It's a very good way to menake. He has a problem, and when he drinks, it disappears. I can't stop and think about small pain and suffering. Is it because of my mother? Hitler? [Is there a good thing to talk to me? Will my father come back? One of the main messages of Vetipur is that if the Israeli society allows to overcome the perpetrator's trauma, it may be repeatedly exposed to "fatal ideology and practice."

One of the main messages of Vetipur is that if the Israeli society allows to overcome the perpetrator's trauma, it may be repeatedly exposed to "fatal ideology and practice."

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

"How to deal with Israel's TV drama Menake" -The drinker rather than speaking-is actually a trauma-like event, in fact, repeated behavior after the mistress killing. Holds as a kind of obsessive repetition that reproduces repeatedly. Menakeem shows a certain kind of "trauma", and by revisiting his life, he feels like "overwhelmed by its trauma past and betrayed people who have been exhausted". It can be said that it is resistant (Lacapra 2014: 22). (Lacapra 2014: 22). However, this "coping method" is used not only for the act of Menakem killing the family, but also for other traum a-like events in his life. As soon as his wife died, he immediately engaged in various backdrops, and according to Yadin, he said, "I met another woman and got married as if nothing had happened. You know? He is at all. Menake was also overwhelmed without sadness. " I didn't try to take my daily work aside to deal with it.

The adopted and supported "solution"-Drinking alcohol is actually repeated in the trauma-like event, and repeats traumatic events. Reproduces as a kind of obsessive repetition. Menakeem shows a certain kind of "trauma", and by revisiting his life, he feels like "overwhelmed by its trauma past and betrayed people who have been exhausted". It can be said that it is resistant (Lacapra 2014: 22). (Lacapra 2014: 22). However, this "coping method" is used not only for the act of Menakem killing the family, but also for other traum a-like events in his life. As soon as his wife died, he immediately engaged in various backdrops, and according to Yadin, he said, "I met another woman and got married as if nothing had happened. You know? He is at all. Menake was also overwhelmed without sadness. " I didn't try to take my daily work aside to deal with it.

Israeli TV drama

One of the main messages of Vetipur is that if the Israeli society allows to overcome the perpetrator's trauma, it may be repeatedly exposed to "fatal ideology and practice."

According to Freud, it is possible to work through the subject, reinvestes life, and even control trauma to some extent critically. It may lead to melancholi, which is characterized by deep pain, suspension of interest in the outside world, loss of love, suspension of all activities, declining sel f-adjustment emotions "(Freud 1917: 244) .

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

When Yadin's commander (Harutz) does not allow killing innocent people to cause mental distress, but therefore refuse the possibility of "emotional labor." His father thought it was not worth talking about his own trauma history, refused to speak, and his only reaction to his son's bombing was in his support. Sometimes. When there is a system that denies the concept of guilty and shell shock after violent and destructive acts, Yadin cannot solve psychological problems after Ramala's bombing, and compulsive repetitive state The reason for continuing to be trapped in and eventually dies is clear. But, as described, this death is not a single traum a-like result, but rather a clear ties to the construction of Yadin's masculine identity, more specifically as an identity of the heterosexual. According to Freud, it may work through objects to distinguish between trauma, reinvesting life, and even controlling trauma to some extent, but acting. May lead to melancholia, which is characterized by "refusal with deep pain, suspension of interest in the outside world, lost love, stopping all activities, decreasing sel f-adjustment emotions" (Freud 1917). : 244).

One of the main messages of Vetipur is that if the Israeli society allows to overcome the perpetrator's trauma, it may be repeatedly exposed to "fatal ideology and practice."

When Yadin's commander (Harutz) does not allow killing innocent people to cause mental distress, but therefore refused the possibility of "emotional labor." His father thinks that his father talks about his own trauma history, refuses to speak, and his only reaction to his son's bombing is his support. Sometimes. When there is a system that denies the concept of guilty and shell shock after violent and destructive acts, Yadin cannot solve psychological problems after Ramala's bombing, and compulsive repetitive state The reason for continuing to be trapped in and eventually dies is clear. But, as described, this death is not a single traum a-like result, but rather a clear ties to the construction of Yadin's masculine identity, more specifically as an identity of the heterosexual. According to Freud, it is possible to work through the subject, reinvestes life, and even control trauma to some extent critically. It may lead to melancholi, which is characterized by deep pain, suspension of interest in the outside world, loss of love, suspension of all activities, declining sel f-adjustment emotions "(Freud 1917: 244) .

Betipur male warrior who regains the nation

When Yadin's commander (Harutz) does not allow killing innocent people to cause mental distress, but therefore refuse the possibility of "emotional labor." His father thinks that his father talks about his own trauma history, refuses to speak, and his only reaction to his son's bombing is his support. Sometimes. When there is a system that denies the concept of guilty and shell shock after violent and destructive acts, Yadin cannot solve psychological problems after Ramala's bombing, and compulsive repetitive state The reason for continuing to be trapped in and eventually dies is clear. But, as described, this death is not a single traum a-like result, but rather a clear ties to the construction of Yadin's masculine identity, more specifically, as an identity of heterosexuality.

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

A few months before the Shavid column was announced, the episode of "Betipul" was broadcast. According to it

Israeli's TV drama Uri Kahana and heterosexual masculinity Trauma During the Lebanon War in 2006, it was a failure to control Israel's discourse, journalist Ali Shavit Was published in the Haaretz magazine a column entitled "What happened to us" (there is no question mark, and it is not specified who we "). Shabit's answer to this question was clear: it was pharmaceutical in political correctness. Political Colectorness, which has dominated Israel's discourse and Israelian consciousness over the past generations, is completely separated from the situation in Israel. Since they began to be recognized as the occupation army, they were uneasy, shaken, and turned around, rather than the army that protects all minority groups that can only exist in society. It became. In addition, in the world of policy collectness, "power" and "army" have become dirty words, and the power is identified as fascism. The world of academics has promoted political collectones absolutely and established a somewhat suicide criticism. Shavit 2006, 3;

One of the main messages of Vetipur is that if the Israeli society allows to overcome the perpetrator's trauma, it may be repeatedly exposed to "fatal ideology and practice."

Journalist Ali Savit, a journalist, who had a sense of failure during the Second Leve n-a -Lebanon War in the Trauma of Israel's TV Dramauri Kahana and Heterogeneous Masculinity in 2006. Haaretz magazine announced a column entitled "What happened to us" (there is no question mark, and it is not specified who uses "we"). Shabit's answer to this question was clear: it was pharmaceutical in political correctness. Political Colectorness, which has dominated Israel's discourse and Israelian consciousness over the past generations, is completely separated from the situation in Israel. Since they began to be recognized as the occupation army, they were uneasy, shaken, and turned around, rather than the army that protects all minority groups that can only exist in society. It became. In addition, in the world of policy collectness, "power" and "army" have become dirty words, and the power is identified as fascism. The world of academics has promoted political collectones absolutely and established a somewhat suicide criticism. Shavit 2006, 3;

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

Israeli TV drama

One of the main messages of Vetipur is that if the Israeli society allows to overcome the perpetrator's trauma, it may be repeatedly exposed to "fatal ideology and practice."

By side with these two monologue-merchants quoted from fiction works and Shavid's works that observed the reality of Israel-, the SDF and the individual's "appropriate way" in it. You can see the similarity of the claim. Both Menachem Yerushalmi and Ari Shavit argue that they are out of purpose or do not keep their sel f-reflection or sel f-questions. Their reality is that the Israeli soldiers (and then Israelians) should not be asked other questions from "ordinary" people (and nation). It is a special situation. As Yadin receives therapy and paid the ultimate price of himself, the Israeli state is now paid for the positive and dangerous "Political Collectones". Menachem Yerushalmi and Ari Shavit also share the opinions of Israel's masculinity and the various elements they recognize as threatening it: Shavit is "publicly blamed." He expressed nostalgia on "old Israeli masculinity", and regarded the "feminist, homosexual, and all other minority groups" as a threat to masculinity. Similarly, Menakem accepts anyone who does not meet this standard.

Recover the country: Betipur male warrior

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

Recover the country: Betipur male warrior

One of the main messages of Vetipur is that if the Israeli society allows to overcome the perpetrator's trauma, it may be repeatedly exposed to "fatal ideology and practice."

Recover the country: Betipur male warrior

As a result, his ability declined and died. Menake replies, suggesting that Leven's father, Menakeem, may have played a role in his son's tragedy. Why am I? [What does it mean? Feel guilty? What is it? Did you raise your son into a man? Well, you came and opened a wonderful world to your son, and you said to your son that you need to look inside, examine it, and feel. He felt so. And where is he now? It's a piece of sea that fish eats.

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

An interesting perspective on Israel's TV drama Shabit and Menakem's views is that Gideon Levi, a journalist in Israeli, belonging to the radical left, is in book review. Like Menakem, Levi also looks at the relevance of Yadin's treatment and airplane accident. Similar to Shavit, he pointed out the "danger" of sel f-reflection for Israeli masculinity. However, unlike Menakem and Shavid, Levi sees Israel's iconic collapse of "overkill and mal e-female image" as "valuable contribution to society." In this way, both Menake and Shavit see the masculinity of Israel as an existing naturally necessary existence, which collapsed by a kind of "unwanted" idea that penetrates Israel's consciousness. Seass Israel's masculinity as a problematic and vulnerable independence. In other words, it was neither therapy nor "feminists and homosexuals", nor the "policy collectones culture" that broke the masculinity of Israel. As with any rigid gender configuration, it is the masculinity of Israel that collapsed due to its own internal conflict and inconsistency, and "feminist and homosexual" and academic learning. Is only exposed this existing process. Israeli masculinity artificial and arbitrary properties and taxes imposed

One of the main messages of Vetipur is that if the Israeli society allows to overcome the perpetrator's trauma, it may be repeatedly exposed to "fatal ideology and practice."

Israeli TV drama

Furthermore, as Michael Glusman showed, the early Israeli literature was r e-forming the concept of Jewish masculinity and trying to build a monolithic masculine identity, but the early Israeli literature work. Some of them actually overturn the new Jewish ideology and their body's hungr y-mony image, including the original text. One of these texts related to this debate is Moche Shamir's "He walked in the field" (1947). This novel published just before the Israeli Independence War was regarded as "a kind of sabla generation" (Almog 1998: 24) for critics and readers, and the main character Uri of the novel is depicted as a new type of protagonist. Ta. Nuris Gato is a paper written several decades after the announcement of this novel, and most of this novel is an optimistic outlook, saying, "It is difficult to harmonize collective values and personal values. He argues that it is possible to face it (Gertz 1993: 67). However, Glusman denies this novel's reading and claims that it is a synonymous text that decoses the image of hegemony. Furthermore, as Michael Gourusman shows, early Israeli literature is trying to reconsider the concept of Jewish masculinity and build a monolithic masculine identity, but early Israel. Some literary works actually overturn the new Jewish ideologies and their body's hegr e-monye image, including the original text. One of these texts related to this debate is Moche Shamir's "He walked in the field" (1947). This novel published just before the Israeli Independence War was regarded as "a kind of sabla generation" (Almog 1998: 24) for critics and readers, and the main character Uri of the novel is depicted as a new type of protagonist. Ta. Nuris Gato is a paper written several decades after the announcement of this novel, and most of this novel is an optimistic outlook, saying, "It is difficult to harmonize collective values and personal values. He argues that it is possible to face it (Gertz 1993: 67). However, Glusman denies this novel's reading and claims that it is a synonymous text that decoses the image of hegemony. Furthermore, as Michael Glusman showed, the early Israeli literature was r e-forming the concept of Jewish masculinity and trying to build a monolithic masculine identity, but the early Israeli literature work. Some of them actually overturn the new Jewish ideology and their body's hungr y-mony image, including the original text. One of these texts related to this debate is Moche Shamir's "He walked in the field" (1947). This novel published just before the Israeli Independence War was regarded as "a kind of sabla generation" (Almog 1998: 24) for critics and readers, and the main character Uri of the novel is depicted as a new type of protagonist. Ta. Nuris Gato is a paper written several decades after the announcement of this novel, and most of this novel is an optimistic outlook, saying, "It is difficult to harmonize collective values and personal values. He argues that it is possible to face it (Gertz 1993: 67). However, Glusman denies this novel's reading and claims that it is a synonymous text that decoses the image of hegemony.

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

Recovery of the nation: Betipur male warrior

The hero who sacrifices himself for his country makes Uri Kahana an iconic figure after the Six-Day War. Although the film version of URI may be less complex as a character than the literary version, the hegemonic reading of the film as an ideal example of male heroism is once again incomprehensible: if the literary version of URI is unable to reconcile the hegemonic gaze with the demands of his own body, then, as Goertz suggests, "the protagonist's private world and his willingness to sacrifice his life for his country" (1993: 64) are ultimately the same in the film. Moreover, although in this film URI's death takes place during an important military operation rather than during training, it remains a somewhat mysterious death, like Yadin's, which cannot be clearly described as either an accident or a suicide. Intertextual connections can be found between Walking in the Fields and Betipul, beyond the portrayal of the protagonist in Assi Dayan's text. The therapy sessions between Assi Dayan and Lior Ashkenazi seem to be more than a convergence of two exemplary representatives of the "Sabra, rough on the outside and sensitive on the inside, the tough Israeli man, the ultimate Sabra," the creators of "Vetipul" claim in the audio commentary track of the DVD box set "Cell." The hero who sacrifices himself for his country made Uri Kahana an iconic figure after the Six-Day War. The film version of URI may be less complex as a character than the literary version, but the hegemonic reading of the film as an ideal example of male heroism is once again incomprehensible: if the literary version of URI cannot reconcile the hegemonic gaze with the demands of his own body, then, as Goertz suggests, "the protagonist's private world and his willingness to give up his life for his country" (1993: 64) are ultimately the same in the film. Moreover, in this film, Uri's death does not occur during training, but during an important military operation, but like Yadin's, it remains a somewhat mysterious death that cannot be clearly described as either accidental or suicide. Between Walking in the Fields and Betipul, intertextual connections can be found that go beyond the portrayal of the protagonist in Assi Dayan's text. The therapy sessions between Assi Dayan and Lior Ashkenazi seem to be more than a convergence of two exemplary representatives of "the tough Israeli man, the ultimate sabra, tough on the outside and sensitive on the inside," the creators of Betipul claim in the audio commentary track of the DVD box set Cell. The hero who sacrifices himself for his country made Uri Kahana an iconic figure after the Six-Day War. Although the film version of URI may be less complex as a character than the literary version, the hegemonic reading of the film as an ideal example of male heroism is once again incomprehensible: if the literary URI is unable to reconcile the hegemonic gaze with the demands of his own body, then, as Goertz suggests, "the protagonist's private world and his willingness to give up his life for his country" (1993: 64) are ultimately the same in the film. Moreover, although in the film URI's death occurs during an important military operation rather than during training, it remains a somewhat mysterious death, like Yadin's, which cannot be clearly described as either an accident or a suicide. Intertextual connections can be found between Walking in the Fields and Betipul, beyond the portrayal of the protagonist in Assi Dayan's text. Assi Dayan and Lior Ashkenazi's therapy sessions seem to be more than a convergence of two exemplary representatives of "Sabra: rough on the outside, sensitive on the inside, the tough Israeli man, the ultimate Sabra," the makers of Betipur claim in the audio commentary track of the DVD box set Cell.

And they both fly away. That's it.

To briefly analyzed his dreams, Yadin reached the conclusion that "no shooting" is the pilot, and that he does not shoot because the enemy aircraft "does not really have a threat". When Ruben asks, "Who is the enemy aircraft is piloting," Yadin replied, "The enemy aircraft is not a threat."

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

Yadin notices that the enemy aircraft is his own project, and the following conversation continues. Something is blocking it. What is your part that you want to erase? Who is that enemy? Yadin That's not. It would have been clear whether it was an enemy [......] Louven What do you think about him? What about the fled pilot? What do you think about him? Yadin I think he is a coward. Not a man. I don't want to fuck like a girl without turning back and fighting ... I want to fuck his ass. (For a long time) You ... . . . Do you think so? Do you think I'm gay? I think it suits my father's theory. He believes that only girls and logs will see shrinkage. I may be gay. so what? [That's a dream of homosexuality. You can see him and the burner on his back is on fire. ... Push into his ass hole. ... And both fly away. That's it.

Israeli TV drama

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

Israeli TV drama

Yadin's question only serves to highlight what was already implied in Yadin's first session: that he is a repressed homosexual. The text, however, does not answer this question and instead denies Yadin's interpretation of the dream. According to Reuven, Yadin's association of weakness with homosexuality is something he inherited from his father and can reject. In this way, Reuven, and indeed the text as a whole, seem to reject not only Yadin's conclusions about his own sexuality, but also the view put forward by Menachem and Ari Shavit that femininity and homosexuality are external to Israeli male subjectivity, weakening Israeli masculinity from the outside. Instead of the binary oppositions proposed by Zionist ideology, such as femininity vs. femininity, heterosexuality vs. homosexuality, the series argues that there are feminine and homosexual elements in any masculine identity and that any attempt to eliminate these elements is dangerous to an inherently queer-harmonious subjectivity. Indeed, Yadin's question "Reclaiming the Country: Male Warriors of Betipur" only serves to highlight what was already implied in Yadin's first session: that he is a repressed homosexual. However, the text does not answer this question, but further denies Yadin's interpretation of the dream. According to Reuven, Yadin's association of weakness with homosexuality is something he inherited from his father and can reject. In this way, Reuven, and indeed the text as a whole, seem to reject not only Yadin's conclusions about his own sexuality, but also the view put forward by Menachem and Ari Shavit that femininity and homosexuality are external to Israeli male subjectivity, weakening Israeli masculinity from the outside. Instead of the binary oppositions proposed by Zionist ideology, such as femininity vs. femininity, heterosexuality vs. homosexuality, the series argues that there are feminine and homosexual elements in any masculine identity, and that any attempt to eliminate these elements is dangerous to an inherently queer-harmonious subjectivity. Indeed, Yadin's question about "Reclaiming the Country: A Male Warrior of Betipur" only serves to highlight what was already implied in Yadin's first session: that he is a repressed homosexual. However, the text does not answer this question, but instead denies Yadin's interpretation of the dream. According to Reuven, Yadin's association of weakness with homosexuality is something he inherited from his father and can reject. In this way, Reuven, and indeed the text as a whole, seem to reject not only Yadin's conclusions about his own sexuality, but also the view put forward by Menachem and Ari Shavit that femininity and homosexuality are external to Israeli male subjectivity, weakening Israeli masculinity from the outside. Instead of the binary oppositions proposed by Zionist ideology, such as femininity vs. femininity, heterosexuality vs. homosexuality, the series argues that there are feminine and homosexual elements in any masculine identity, and that any attempt to eliminate these elements is dangerous to an inherently queer-harmonious subjectivity. In fact, this

Reclaiming the Country: The Men of Betipur

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

In particular, to read the masculinity of Israel as a trauma, it is necessary to look at one of the decisive myths of modern Western culture, the Freud's proposal, one of the decisive myths of modern Western culture. According to Freud, an ideal ego is formed when the child overcomes the Edipus complex.

To understand the masculinity of Israel, especially Israel, as a trauma, it is necessary to focus on the Freud's advocated Edipus complex, one of the decisive myths of modern Western culture on masculine formation. According to Freud, an ideal ego is formed when the child overcomes the Edipus complex.

To understand the masculinity of Israel, especially Israel, as a trauma, it is necessary to look at the Freud's proposal Edips complex, one of the decisive myths of modern Western culture on masculine formation. According to Freud, an ideal ego is formed when the child overcomes the Edipus complex.

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

"Through the introduction of the ego [...] The two parents said," The basic characteristics of the individual [parent] with the supe r-ego introduced, that is, their power, their seriousness, their directors and punishment. To maintain the trend "(Freud 1924: 167). This is an important stage in the development of children, and the process of identification with what was previously subject to desires is "a large percentage of determining the form of the ego", and "personality." ] (Freud 1923: 28) makes an essential contribution to the construction of what is called. According to Freud, the abandonment of a mother (and a father as soon as possible) is necessary for the normal development of a child, but this process is a trauma experience or "structural trauma. You can read it as a trauma "in connection with transcendental absence (absence / origin), occurs in various ways in all society and all life" (Lacapra 2014: 77). Unlike historical trauma, which can identify traum a-like events, "structural trauma (such as [penetration]]) is not an event, but rather a status that causes anxiety related to the potential of historical trauma. (The same book: 82). Lacapura is a typical example of this kind of trauma is the trajectory of Oedipus (the same book: 77). One side for overcoming complex trauma is "structural trauma." "Through the introduction of the ego [...] The two parents said," The basic characteristics of the individual [parent] with the supe r-ego introduced, that is, their power, their seriousness, their directors. To maintain the tendency of punishment (Freud 1924: 167). This is an important stage in the development of children, and the process of identification with what was previously subject to desires is "a large percentage of determining the form of the ego", and "personality." ] (Freud 1923: 28) makes an essential contribution to the construction of what is called. According to Freud, the abandonment of a mother (and a father as soon as possible) is necessary for the normal development of a child, but this process is a trauma experience or "structural trauma. You can read it as a trauma "in connection with transcendental absence (absence / origin), occurs in various ways in all society and all life" (Lacapra 2014: 77). Unlike historical trauma, which can identify traum a-like events, "structural trauma (such as [penetration]]) is not an event, but rather a status that causes anxiety related to the potential of historical trauma. (The same book: 82). Lacapura is a typical example of this kind of trauma is the trajectory of Oedipus (the same book: 77). One side for overcoming complex trauma is "structural trauma." "Through the introduction of the ego [...] The two parents said," The basic characteristics of the individual [parent] with the supe r-ego introduced, that is, their power, their seriousness, their directors and punishment. To maintain the trend "(Freud 1924: 167). This is an important stage in the development of children, and the process of identification with what was previously subject to desires is "a large percentage of determining the form of the ego", and "personality." ] (Freud 1923: 28) makes an essential contribution to the construction of what is called. According to Freud, the abandonment of a mother (and a father as soon as possible) is necessary for the normal development of a child, but this process is a trauma experience or "structural trauma. You can read it as a trauma "in connection with transcendental absence (absence / origin), occurs in various ways in all society and all life" (Lacapra 2014: 77). Unlike historical trauma, which can identify traum a-like events, "structural trauma (such as [penetration]]) is not an event, but rather causing anxiety related to the potential of historical trauma. (The same book: 82). Lacapura is a typical example of this kind of trauma is the trajectory of Oedipus (the same book: 77). One side for overcoming complex trauma is "structural trauma."

"It is clear that there is a fundamental difference between a son's desire for his mother and his father's desire. As Butler shows, the ego is always the "gender of the ego" (Butler 1995: 166), and "normative" femininity and masculinity are associated with heterosexual desire and therefore with the repression of homosexual desire that threatens it (...: 168), so to overcome Oedipus is to overcome the "gender of the ego".

Reclaiming the Nation Male Warriors of Betipur

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

Even those who kill innocent children not only revealed by appropriate psychotherapy, but also hide their "good souls". The enthusiastic welcome in Israel and the battle over the soul of Israeli soldiers will be the focus of the next chapter.

It's not a television, Vetipure: Restoring "Israel" "" Discovering something in your taste is to discover yourself, what do you want? "What I wanted"), I don't know what I had to say, and what to say, and as a result, I found out if I didn't know. " (1993: Thus, it overturns the concept of quality belonging to the art and cultural texture of the predicate of quality (1993: 109). Cultural Study's. Bourdew, who had a great influence on the field, derived the opinion that "the excellent art is not simply waiting for recognition and analysis." It seems that the value that is associated with it seems to affect the justification of the overall power structure (Edgar and Sedgwick 2005: 3). Rather than considering, what should be considered is the social and economic power behind such a taste, and they naturally naturalize social and classical inequality. The field of television research, such as such a theoretical standpoint, and the influence of other schools (Geraghty 2003), how to work. I have almost avoided discussing.

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

Even those who have killed Israeli TV drama guilty children are not only revealed by appropriate psychotherapy, but also hide the "good soul" that will probably be rescued. The enthusiastic welcome in Israel and the battle over the soul of Israeli soldiers will be the focus of the next chapter.

It's not a television, Vetipure: Restoring "Israel" "" Discovering something in your taste is to discover yourself, what do you want? "What I wanted"), I don't know what I had to say, and what to say, and as a result, I found out if I didn't know. " (1993: Thus, it overturns the concept of quality belonging to the art and cultural texture of the predicate of quality (1993: 109). Cultural Study's. Bourdew, who had a great influence on the field, derived the opinion that "the excellent art is not simply waiting for recognition and analysis." It seems that the value that is associated with it seems to affect the justification of the overall power structure (Edgar and Sedgwick 2005: 3). Rather than considering, what should be considered is the social and economic power behind such a taste, and they naturally naturalize social and classical inequality. The field of television research, such as such a theoretical standpoint, and other scholarships (GERAGHTY 2003), how to work. I have almost avoided discussing.

Israeli TV drama

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

This chapter does not claim that "Vetipur" is neither "hig h-quality TV" nor a "good" television. Rather, if you borrow Foucault's words, you will continue to praise Betipur, disturb the "acceptable tranquility", and "the rules that are not born from itself, but they must be known. Indicates that it is the result of the establishment of legitimacy that must be examined. "

It's not a TV, it's a betipur.

1972: 28). Therefore, "We must recognize that they are not possible at first glance" (same book: 29). This chapter does not try to claim that "Vetipur" is neither "hig h-quality TV" nor "good" television. Rather, if you borrow Foucault's words, you will continue to praise Betipur, disturb the "acceptable tranquility", and "the rules that are not born from itself, but they must be known. Indicates that it is the result of the establishment of legitimacy that must be examined. "

It's not a TV, it's a betipur.

1972: 28). Therefore, "We must recognize that they are not possible at first glance" (same book: 29). This chapter does not claim that "Vetipur" is neither "hig h-quality TV" nor a "good" television. Rather, if you borrow Foucault's words, you will continue to praise Betipur, disturb the "acceptable tranquility", and "the rules that are not born from itself, but they must be known. Indicates that it is the result of the establishment of legitimacy that must be examined. "

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

1972: 28). Therefore, "We must recognize that they are not possible at first glance" (same book: 29).

Betipur: Text and ContextBetipur displays several textual qualities of "quality television" as defined by Thompson, but first and foremost, it is a controversial statement about Israeli society. One of the main factors that reinforce its "quality" is the fact that it has received many excellent critical reviews: "one of the boldest experiments ever produced in local television" (Shaked 2005a), "without a doubt the best Israeli drama broadcast this year" (Shaked 2005b), "a stroke of brilliance" (Tan.), a fascinating orchestration of subtle nuances and subdued action (Ben-Noon 2005), "a phenomenal phenomenon on local TV screens as we know them" (Kutz 2009), "setting new standards for writing and creativity in Israeli television drama" (Tzach 2005), "one of the best and most thoughtful drama series ever produced in the country" (Two Fat Men 2005). In addition to acclaim from television critics, Betipur has also garnered support from mental health professionals. Jewish Psychology, an Israeli website for and by mental health professionals, devoted an article to discussing the series, calling it "the greatest merger of the fields of drama and therapy to date" (Betipur 2, 2008). The series' quality was also evidenced by its eight nominations at the annual Israel Film and Television Academy Awards.

Israeli TV Drama

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

The Rorschach spots require the therapist to temporarily reject the literal meaning of the spots and choose another, more abstract or imaginative one. The spots invite the subject to find and create meaning in them, thus "entering the space between reality and fantasy" (Tibon 2009: 461). The opening of Betipul asks the viewer:

Not TV, Betipul: Rethinking "Israeliness"

Figure 3. 1 Opening of Betipul.

To look for meaning beyond the surface of the spots, but on a metaphorical and symbolic level, beyond the fictional characters. Apart from the promos and title sequences, one of the main textual choices for a symbolic reading of the series is the casting of Assi Dayan in the lead role of the healer. As the film's Israeli critic Uri Klein has argued, Assi Dayan "has long since become more than just an actor; he is an incarnation of myth" (Klein 1991: 27). This assertion has to do with two main facts: First, Dayan is the son of Moshe Dayan, one of Israel's most prominent military leaders. Second, as mentioned in chapter 2, shortly after the 1967 Six-Day War, Assi Dayan played a heroic soldier in one of the most important films in the history of Israeli cinema, Walking in the Fields. Dayan's public image declined over the years, due to drug addiction and other incidents, but his tarnished reputation symbolizes the decline of true father figures in Israeli society, adding another meaning to his casting as a healer (Duvdevani 2008). In other words, the juxtaposition of this aged and broken myth with other characters, many of whom are younger and most of whom are in various stages of development, allows for a deeper understanding of the myth.

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

Not TV, Betipul: Rethinking "Israeliness"

Figure 3. 1 Opening of Betipul.

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

The Israeli television drama Rorschach's Spots asks the therapist to temporarily reject the literal meaning of the spots and choose a different, more abstract or imaginative meaning. The spots invite the subject to find and create meaning in them, thus "entering the space between reality and fantasy" (Tibon 2009: 461). The opening of Betipul asks the viewer:

Not TV, Betipul: Rethinking "Israeliness"

Figure 3. 1 Opening of "Betipul".

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

Israeli TV dramas

The collapse conveys a collective, probably state of national dysfunction. Yael Munk (2006) presented such an interpretation, and as a space where Luven's office is "analysis of the entire personality of the Israelites," Assei Dayang "the myth will collapse one by one. On the other hand, it plays a role as a mirror that reflects Israel, which is losing the dignity of youth. " Contrary to these claims that "Betipur" is essentially an Israel series, the US cable network HBO purchased this format and then purchased 17 networks in various countries. It can be considered evidence that the charm is truly universal. However, as mentioned in the previous chapter, three major arguments are more than the fact that this series is incorporated into Israeli culture, which has been a huge success in the United States, especially in the United States. Can be presented. These elements are not only impaired the "Israeli" of the series, but rather strengthened. First of all, let's pay for the format, not the series itself, but was bought overseas. As the Sylvio Waceboard claims, "the form of DNA is rooted in the transcendental cultural value of the country" (WaisBord 2004, 368). As the Waisboard points out, the intent behind the market form is, "Maximizing profits," ethnic

"Betipul is a controversial series" Yael Munk's claim that Betipul dispels cultural myths leads us to the second feature of the series mentioned in quick succession: it's not TV, it's Betipul: a review of the "Israelite" argument "Betipul is a controversial series" Yael Munk's claim that Betipul dispels cultural myths leads us to the second feature of the series mentioned in quick succession: it's not TV, it's Betipul: a review of the "Israelite" argument "Betipul is a controversial series" Yael Munk's claim that Betipul is a controversial series leads us to the second feature of the series mentioned in quick succession: it's not TV, it's Betipul: a review of the "Israelite" argument "Betipul is a controversial series" Yael Munk's claim that Betipul is a controversial series leads us to the second feature of the series mentioned in quick succession: it's not TV, it's Betipul: a review of the "Israelite" argument It's not TV, it's Betipul: a review of the "Israelite" argument "Betipul is a controversial series" Yael Munk's argument that "Betipul" dispels cultural myths leads us to the second feature of the series that has been mentioned in rapid succession: it seems that.

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

It's not TV, it's Betipul: a review of the "Israelite" argument "Betipul is a controversial series" Yael Munk's argument that "Betipul" dispels cultural myths leads us to the second feature of the series that has been mentioned in rapid succession: it seems that.

It's not TV, it's Betipul: a review of the "Israelite" argument "Betipul is a controversial series"

Betipur not only provides windows that look into Israel's reality, but also expresses his opinions that are rarely heard in Israeli society. Betipur is not only a symbol of Israeli society, but also "metaphor of the state of the nation" (Tan-BRINK 2005). Ranan Shakd is described in the criticism of the episode in this series: "The giant explosive barrels are lined up in this series, all of which are genuine Israel products, Holocaust, second generation, Machizumo, sexual identity, ethnic identity, relationship between father and child, violence. And the oppression is caused one by one in a magnificent and powerful display in a short time of 30 minutes "(Shaked 2005B). In other words, "Betipur" presents a controversial view, and is therefore exposed to one of the main features of "hig h-quality TV" (Thompson 1997: 15). One of the differences in federal criticism of Betipul will help to further explain its controversy aspects. Rabbi Valdi, the chief of the writer course at Jerusalem's Maare TV Movie Art School, criticizes the series in an article published in the righ t-wing orthodox publications "Nekudá". Valdi claims that this series is "extremely obscene in words and content," and even states that "young people should not work on such materials" (VARDI 2006:

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

Israeli TV drama

Valdi has shown another interpretation of the "Israel i-like" of this series, and argues that the Tel Avi v-based media environment reflects how it accepts Israeli's reality. He added that it is useful in considering the ideas spread among influential members, the conflict, values, and basic ideas of Israeli society. And their perspective on the conflict, values, and basic ideas of Israel society [... ...] Most (all the creators of this series) live in Tel Avib, and Hyhal in the center of Tel Avib. Hatalbutt (usually a concert hall that plays European classical music) within a radius of 2 kilometers (VARDI 2006: 68). In the words of TV critic Jalon Ta n-Brink, it is "Male, Tel Avibs, Ashkenage (.......), which does not represent viewers and its social composition" (Glazer 2008) More quotes). Such observations of Ta n-Blink, which connect social and economic status and cultural preferences, are closely related to the concept of Bourdew's taste. According to Bourdue, the taste or "good taste" is not a simple belief, but a social and ideologic context, and is supported by the existence of "certain taste". Not only is the Ashkenjim 4 and the uppe r-class middle class, but also the attitude toward the Israelites expressed by this program is deeply rooted in specific social economic sectors.

Israeli TV drama

Valdi has shown another interpretation of the "Israel i-like" of this series, and argues that the Tel Avi v-based media environment reflects how it accepts Israeli's reality. He added that it is useful in considering the ideas spread among influential members, the conflict, values, and basic ideas of Israeli society. And their perspective on the conflict, values, and basic ideas of Israel society [... ...] Most (all the creators of this series) live in Tel Avib, and Hyhal in the center of Tel Avib. Hatalbutt (usually a concert hall that plays European classical music) within a radius of 2 kilometers (VARDI 2006: 68). In the words of TV critic Jalon Ta n-Brink, it is "Male, Tel Avibs, Ashkenage (.......), which does not represent viewers and its social composition" (Glazer 2008) More quotes). Such observations of Ta n-Blink, which connect social and economic status and cultural preferences, are closely related to the concept of Bourdew's taste. According to Bourdue, the taste or "good taste" is not a simple belief, but a social and ideologic context, and is supported by the existence of "certain taste". Not only is the Ashkenagim 4 and the middle class in the upper class, but also the attitude toward the Israelites expressed by this program is deeply rooted in specific soci o-economic sectors.

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

"BeTipul is not proper TV" The answer to "what do critics want" is a list provided by Raanan Sheikh in an article titled "My Little Racism." The list is unrelated to BeTipul and was written when Sheikh was no longer a TV critic, but it still gives a clue to his cultural preferences: We (Ashkenazim) want our homeland back. We Ashkenazim want our homeland back. And because we know that will not happen, we thank you, yes, all of you, all the precious and valuable peoples, the sacred vehicles of the Holy Land, [Operation Flying Carpet], Operation Solomon, the brooms of Falash Mu'la, the Knights of Yaqnun, the men of Mimouna, all five of you, for letting us invade, here, there, everywhere. Not TV, BeTipul: Rethinking "Israel" Let's make space for ourselves in the places that really matter, like our children's schools. Let's have a place that is just for us. Shaked 2008 Whether Shayk is expressing a personal view or satirizing the views of others, BeTipul seems to offer a perfect answer to the fantasy he speaks of - having one's own "space". This possibility arises not only from the unmistakably Ashkenazi brilliance of the series and the more or less homogenous demographic profile of its characters, but also from the recognition, valid or not, that it is "difficult to watch". As Shayk himself says, BeTipul is a kind of shock therapy. Two days after watching the first five episodes, I can't stop thinking about it. I'm not used to television. BeTipul has been on my mind for two days now. BeTipul demands a great commitment from the viewer. It airs every day, and it's a time-consuming and demanding job to follow it every day, without a shred of fun. Shaked 2005a

Shaked's pleasure in pain is the pleasure of being special and therefore of having high qualities and tastes, and he seems to define his tastes - like everyone else's - in terms of negation (Bourdieu 1993: 111). Indeed, this sense of uniqueness is prominent in much of Betipur's critique, with repeated references to the contrast with "ordinary television", and in particular reality television. For example, Gideon Levy writes about Betipur, referring to Hisardút (Channel 10, 2007-2012), the Israeli version of Survivor: "This is real survival, to return after one successful season with an equally successful second season." Ilan Reisinger adds: "Because it gave me not just a viewing experience, but a participatory one too." In Jewish psychology, Professor Hanoch Yerushalmi, one of the clinical psychologists who analyzed Betipur, writes: "I find the series fascinating, but watching television is not usually stimulating for me."

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

"Betipur", a poor media (Levine 2008), which is not orthodox "but a popular taste, surpasses a regular TV program, so it is necessary to enjoy it without any questions. Can do. The discourse over "Vetipur" (like other "hig h-quality" programs (Fricker 2007: 14)), "Betipy" is "not television", or rather an excellent artistic quality. Present as one. In other words, this discourse continues to present television as an inferior media, but to draw on the distinction between "normal" programs and "hig h-quality" programs that transcend the media. It is (Levine 2008: 394). If so, it's not surprising that HBO purchased "Betipur". HBO is a channel that has set a slogan "not a TV" and has set it apart from other "normal" TV channels: "It's not a TV. It's HBO" (Jaramillo 2002; McCabe and akass 2007: 83; leverette et al. But in contrast to the differentiating HBO, in both the production method and content, HBO is indeed a TV network. The same company, which advertises it is not a television, is actually a subsidiary of Time Warner, the world's largest media Konglomarit, and has many "normal TV" channels. And, of course, the high quality branding is used for financial purposes (Jaramillo 2002: 73), while "be. BETIPUL, a poor media (Levine 2008), which is not a taste but a popular taste, can be enjoyed without any questions. Is the discourse over (like other "hig h-quality" programs (Fricker 2007: 14)), "Betipy" is "not TV" or something else, that is, excellent artistic quality. In other words, this discourse continues to present television as an inferior media, while himself is a "hig h-quality" program that transcends the media. It's not surprising that HBO has purchased "Vetipur" if you are thinking about drawing into it. It is a channel that has set an apart from other "ordinary" TV channels: "It's not a TV. It's HBO" (Jaramillo 2002; mcCabe and Akass 2007: 83; Contrary to differentiation claims, in both the production method and the content, the HBO is indeed a TV network. The same company is actually a subsidiary of Time Warner, the world's largest media Konglomarit, and has many "normal TV" channels. And some of the high quality branding of HBO is used for financial purposes (Jaramillo 2002: 73). "BETIPUL", a poor media (Levine 2008) that is not "be. Orthodox" but is a popular taste, surpasses regular TV programs. You can enjoy it without any questions. The discourse over "Vetipur" (like other "hig h-quality" programs (Fricker 2007: 14)), "Betipy" is "not television", or rather an excellent artistic quality. Present as one. In other words, this discourse continues to present television as an inferior media, but to draw on the distinction between "normal" programs and "hig h-quality" programs that transcend the media. It is (Levine 2008: 394). If so, it's not surprising that HBO purchased "Betipur". HBO is a channel that has set a slogan "not a TV" and has set it apart from other "normal" TV channels: "It's not a TV. It's HBO" (Jaramillo 2002; McCabe and akass 2007: 83; leverette et al. But in contrast to the differentiating HBO, in both the production method and content, HBO is indeed a TV network. The same company, which advertises it is not a television, is actually a subsidiary of Time Warner, the world's largest media Konglomarit, and has many "normal TV" channels. And, of course, the high quality branding is used for financial purposes (Jaramillo 2002: 73).

The same year, the same year, when hot started video-on-demand service, according to the company's website, a video that provides "higher quality, more sophisticated, more fun viewing experiences". It is also o n-demand service, "Betipuru," which provides viewers with a novel and more complex story structure.

It's Not TV, It's Betipul: Reviewing "Israelines" & amp; lt; pans & amp; gt; A realistic, fun viewing experience was realized.

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

It's not a television, Betipur: The same year, the same year when hot started video-on-demand service to reconsider "Israeli", according to the company's website. The videos on demand service that provide a more sophisticated and more fun viewing experience, and also provided the Vetifle, which provides viewers a novel and more complex story structure.

It's Not TV, It's Betipul: Reviewing "Israelines" & amp; lt; pans & amp; gt; A realistic, fun viewing experience was realized.

It's Not TV, It's Betipur: Review "ISRAELITY", and in the same year, Hotel started a video-on-demand service in the same year, and according to the company's website, "higher quality, more sophisticated. , Far fun viewing experience was realized.

Not a television, Betipur: The same year, the same year, when hot, which reconsidered "Israeli-like", started the video-on-demand service for the first time, "according to the company's website," higher quality, even higher. Vide o-o n-demand service that provides sophisticated and more fun viewing experiences, and has also been broadcast, "Betipyle," which provides a novel and more complex story structure for viewers.

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

It's Not TV, It's Betipur: Review "Israelity" and found that hot the first video-on-demand service in the same year in the same year, and according to the company's website, "higher quality and more sophisticated. , Far fun viewing experience was realized.

It's not a TV, it's Betipur: Restore "Israeli"

Jason Mittel (2015 )'s concept of "complexity of the story" will be useful in clarifying this debate. According to Mittel, modern American televisions are increasingly providing new vocabulary on TV storytelling. The novel and unconventional story structure is a creative opportunity and complex that is recognized as being recognized as being called a "complex qualities", although it does not guarantee the quality itself, although it does not guarantee the quality itself. We provide a view experience (iBid.: 210-226). Mittel is not a creative or artistic talent in the TV story, but a variety of historical American televisions, including the fact that viewers can control the nature of viewing. Emphasized that it is due to institutional and technical transformation (the same book: 31). Similarly, "BETIPUL" is a busy and a viewer who wants to decide on a viewing schedule by himself, like other "hig h-quality" or "complicated" programs, or "elegant that generally shuns television" (in general. " The same book: 34) It seems to be targeting viewers, or simply thinking that they are different from the "ordinary" masses (Nelson 2007: 44). In this sense, VOD viewing can make viewers enjoy both worlds, just like DVD viewing. In other words, the concept of "the complexity of the story" of Jason Mittel (2015) will be useful in clarifying this debate. According to Mittel, modern American televisions are increasingly providing new vocabulary on TV storytelling. The novel and unconventional story structure is a creative opportunity and complex that is recognized as being recognized as being called a "complex qualities", although it does not guarantee the quality itself, although it does not guarantee the quality itself. We provide a view experience (iBid.: 210-226). Mittel is not a creative or artistic talent in the TV story, but a variety of historical American televisions, including the fact that viewers can control the nature of viewing. Emphasized that it is due to institutional and technical transformation (the same book: 31). Similarly, "BETIPUL" is a busy and a viewer who wants to decide on a viewing schedule by himself, like other "hig h-quality" or "complicated" programs, or "elegant that generally shuns television" (in general. " The same book: 34) It seems to be targeting viewers, or simply thinking that they are different from the "ordinary" masses (Nelson 2007: 44). In this sense, VOD viewing can make viewers enjoy both worlds, just like DVD viewing. In other words, Jason Mittel (2015 )'s concept of "complexity of the story" will be useful in clarifying this discussion. According to Mittel, modern American televisions are increasingly providing new vocabulary on TV storytelling. The novel and unconventional story structure is a creative opportunity and complex that is recognized as being recognized as being called a "complex qualities", although it does not guarantee the quality itself, although it does not guarantee the quality itself. We provide a view experience (iBid.: 210-226). Mittel is not a creative or artistic talent in the TV story, but a variety of historical American televisions, including the fact that viewers can control the nature of viewing. Emphasized that it is due to institutional and technical transformation (the same book: 31). Similarly, "BETIPUL" is a busy and a viewer who wants to decide on a viewing schedule by himself, like other "hig h-quality" or "complicated" programs, or "elegant that generally shuns television" (in general. " The same book: 34) It seems to be targeting viewers, or simply thinking that they are different from the "ordinary" masses (Nelson 2007: 44). In this sense, VOD viewing can make viewers enjoy both worlds, just like DVD viewing. In other words

"A term coined by Avi Sant for HBO programming, which, as Santo argues, "is in dialogue with existing television formats and conventions, drawing attention to the variations HBO introduces to otherwise familiar television experiences" (Santo 2008: 24). However, BeTipul,

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

Is there along with the existing TV format in terms of content and industry practices. Ignore the fact that the distinction between "Betipul" built by various critics and regular television is based on the nature of television. "BETIPUL" had two main features of the media, intimacy and continuousization, (Newcomb 1974: 245). Furthermore, when Lanan Shake praised Ashi Dayan's performance mainly in the reaction (Shaked 2005a), he may not have noticed, but in fact, the television presented by Hores Newcom. It clearly indicates the essence of one important characteristics. However, criticism of "Betipul" not only tends to ignore the nature of television and the basics of dependence on it, but also depends on the two "inferior" television genres, a talk program and telenovella. There was a tendency to ignore it. Regarding the former, the configuration of "BETIPUL" resembles the conversation between the moderator and the guest, which is typical for the su b-genre of the "on e-t o-one" talk show. In this conversation, viewers are introduced to past incidents and are provided to "treatment." "Betipul" also uses some telenovella characteristics, which are broadcast every day in the golden time frame. exists alongside existing TV formats in terms of content and industry practice. Ignore the fact that the distinction between "Betipul" built by various critics and regular television is based on the nature of television. "BETIPUL" had two main features of the media, intimacy and continuousization, (Newcomb 1974: 245). Furthermore, when Lanan Shake praised Ashi Dayan's performance mainly in the reaction (Shaked 2005a), he may not have noticed, but in fact, the television presented by Hores Newcom. It clearly indicates the essence of one important characteristics. However, criticism of "Betipul" not only tends to ignore the nature of television and the basics of dependence on it, but also depends on the two "inferior" television genres, a talk program and telenovella. There was a tendency to ignore it. Regarding the former, the configuration of "BETIPUL" resembles the conversation between the moderator and the guest, which is typical for the su b-genre of the "on e-t o-one" talk show. In this conversation, viewers are introduced to past incidents and are provided to "treatment." "Betipul" also uses some telenovella characteristics, which are broadcast every day in the golden time frame. Is there along with the existing TV format in terms of content and industry practices. Ignore the fact that the distinction between "Betipul" built by various critics and regular television is based on the nature of television. "BETIPUL" had two main features of the media, intimacy and continuousization, (Newcomb 1974: 245). Furthermore, when Lanan Shake praised Ashi Dayan's performance mainly in the reaction (Shaked 2005a), he may not have noticed, but in fact, the television presented by Hores Newcom. It clearly indicates the essence of one important characteristics. However, criticism of "Betipul" not only tends to ignore the nature of television and the basics of dependence on it, but also depends on the two "inferior" television genres, a talk program and telenovella. There was a tendency to ignore it. Regarding the former, the configuration of "BETIPUL" resembles the conversation between the moderator and the guest, which is typical for the su b-genre of the "on e-t o-one" talk show. In this conversation, viewers are introduced to past incidents and are provided to "treatment." "Betipul" also uses some telenovella characteristics, which are broadcast every day in the golden time frame.

It is true that Vetipur "can have the texture of peripheral culture while maintaining legitimacy. Nevertheless, it is questionable to extract vethnic from other television genres from other television genres, and in that sense, specific programs and genres are separated from the entire television content, emphasizing their characteristics. Comparable to other cases that try to ignore other characteristics (Feuer 1995: 111-113; Levine 2008: 395).

It's not a TV, it's Betipur: Restoration of "Israeli"

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

It's not a TV, it's Betipur: Restoration of "Israeli"

Thus, the discourse over the vettivules can be regarded as part of an attempt to make popular cultural forms of artistic value and legitimacy and to make them part of the "appropriate" cultural capital. This attempt is clearly social and political when new social categories define themselves with "unique" aesthetics and justify cultural preferences and lifestyles that comply with their own preferences. It gets colored. As Jane Foyer discusses, if a program is labeled "quality" or "complex" and is branded, viewers can reconfirm their "quality" status ( Feuer 1984: 56). With this sense of security, viewers can enjoy TV content that are more sophisticated, formatized, and psychologically deep than regular programs, and as a result, they distinguish themselves from "popular viewers". But we can relieve our guilt. The uniqueness of Betipur tends to emphasize specific elements of text, but to neglect other elements rather than the essential qualities of text, and in this case, while emphasizing the uniqueness of the program, after all. It seems that the media called television, especially in artistic standards, is neglecting the fact that it is still considered inferior media. In addition, one of the main methods that emphasizes its uniqueness is to emphasize the following names. It is true that Vetipur "can have the texture of peripheral culture while maintaining legitimacy. Nevertheless, it is questionable to extract vethnic from other television genres from other television genres, and in that sense, specific programs and genres are separated from the entire television content, emphasizing their characteristics. Comparable to other cases that try to ignore other characteristics (Feuer 1995: 111-113; Levine 2008: 395).

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Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

Israel's TV drama "BetipuL is one of the major features of BETIPUL, as being led by talented creators, is the personality based on creators." In the series created by the "and the Wikipedia item (" Betipur "2014)," and TV critic Luta Cupfer (2007) The quality and value of this series are often caused by the creator's talent and creativity. It brings out the great creativity in dialogue and editing. " Even Mordecai Valdi, who criticized the content of the series, acknowledged that "the professional dramatic script has succeeded in opening a breakthrough in the television world." (VARDI 2006: 67). In other words, it is another important feature of "hig h-quality television", the "pedigree", that is, the creators who have gained high reputation and reputation in movies, especially in movies (Thompson 1997: 14). In fact, Betipul was created by talented creators with great pedigree. Moldecai Valdi says somewhat critically.

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Israeli TV drama

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

The first thing I went to was eight channels, but they couldn't deviate from the niche. He asked Channel 10 (this idea), but did not make a lon g-term investment. [I also called out to Channel 1, which seems to be the most appropriate for this kind of project, but there was no reply. [...]

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On the other hand, "Hot" began to show interest [... ...] Looking back, it was a very courageous decision for "Hot". Hagai Levi quoted from "Chargal 2006"

The story by Hagai Levi depicts fantasy struggles in the television industry, and in this sense, it matches the same story attached to many series featuring "high quality television". This is not to support the truth of this story, but simply emphasizes the elements of critics that clarify the personal and creative aspects of textbooks. This is to show that there is a tendency to neglect. The best representation of the critic with "Betipur" and the author is the depiction of the beginning of "Betipur" by Dvolit Chargal: "Betipulers were born in the gymnasium [... ... When Hagai Levi was standing on the room runner, he suddenly came to his head in his head. " Dark beds and disordered ateliers may have been replaced by gymnasiums, but romantic ideas and humanity axiomes (Belsey 1980: 13), that is, textbooks are the creator's thoughts, ideas, and psychological psychological. The idea of thinking that it is a direct product of the configuration and social background has a great effect on this description. Chargal ignores the economic, industrial and technical conditions that lead to the creation of Betipur. Alternatively, in Burdue's words, he ignores Hagai Levi's position as an "producer" as an "producer" that objectively converses the preferences of Chargal and other critics. In short, producers, more specifically, ] The first thing I went to was eight channels, but they could not deviate from the niche. He asked Channel 10 (this idea), but did not make a lon g-term investment. [I also called out to Channel 1, which seems to be the most appropriate for this kind of project, but there was no reply. [...]

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

On the other hand, "Hot" began to show interest [... ...] Looking back, it was a very courageous decision for "Hot". Hagai Levi quoted from "Chargal 2006"

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It's not a TV, it's Betipur: Restoration of "Israeli"

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

The story by Hagai Levi depicts fantasy struggles in the television industry, and in this sense, it matches the same story attached to many series featuring "high quality television". This is not to support the truth of this story, but simply emphasizes the elements of critics that clarify the personal and creative aspects of textbooks. This is to show that there is a tendency to neglect. The best representation of the critic with "Betipur" and the author is the depiction of the beginning of "Betipur" by Dvolit Chargal: "Betipulers were born in the gymnasium [... ... When Hagai Levi was standing on the room runner, he suddenly came to his head in his head. " Dark beds and disordered ateliers may have been replaced by gymnasiums, but romantic ideas and humanist axiomes (Belsey 1980: 13), that is, the text is the creator's thoughts, ideas, and psychological. The idea of thinking that it is a direct product of the configuration and social background has a great effect on this description. Chargal ignores the economic, industrial and technical conditions that lead to the creation of Betipur. Alternatively, in Burdue's words, he ignores Hagai Levi's position as an "producer" as an "producer" that objectively converses the preferences of Chargal and other critics. In short, producers, more specifically

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Israel's TV drama & amp; San & amp; gt; "Betipur is psychologically deep" The individualist aspect of Betipur is derived from the individual, or or personal psychology. It reflects that. Therefore, we are focusing on one of the main reasons for "Betipur" as "the topic of the day, and probably the seasonal topic" (KANTI 2006), especially dynamic psychotherapy. Encounter that. This focus contributes to the quality of this series in two ways.

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

The personalist aspect of Betipul, which is derived from Israel's TV drama "Betipul is psychologically deep," reflects the fact that this series focuses on individuals and personal psychology. I am. Therefore, we are focusing on one of the main reasons for "Betipur" as "the topic of the day, and probably the seasonal topic" (KANTI 2006), especially dynamic psychotherapy. Encounter that. This focus contributes to the quality of this series in two ways.

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The individualist aspect of "Betipur", which is derived from the author's name of the author's television drama "Betipur is psychological", reflects the fact that this series focuses on individuals and personal psychology. There is. Therefore, we are focusing on one of the main reasons for "Betipur" as "the topic of the day, and probably the seasonal topic" (KANTI 2006), especially dynamic psychotherapy. Encounter that. This focus contributes to the quality of this series in two sense. Give a deep impression-after all, the core of mental mental therapy is at the depth of humans.

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

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Israeli TV drama

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

It is linked to the body and assumes physicalization "(BOURDIEU 1986: 244), which enables appreciation of the artistic work. The problem of Bourdue is that this kind of capital is regarded as a natural ability to have the body, but in fact, other types of capital, such as economic, institutional, and educational. It is tied. The idea that enjoying valuable cultural products is an essential ability

It's not a TV, Betipur: Restoration of "Israeli"; "Bourdieu 1986: 244), which is linked to the body and presupposes physicalization, enables appreciation of art works, which are noble hobbies. It is something to do. The problem pointed out by Bourdue is that this kind of capital is regarded as the natural ability of the body, but it is actually deeply linked to other types of capital, such as economic, institutional, and educational. 。 The idea that enjoying valuable cultural products is an essential ability

It's not a television, but a betipur. Reviewing "Israeli", "it is" and "associated with the body and presupposes physicalization" (BOURDIEU 1986: 244), which enables appreciation of art works, which are a noble hobby. The problem of Bourdue is that this kind of capital is regarded as a natural ability to have the body, but in fact, other types of capital, such as economic, institutional, and educational. It is tied. The idea that enjoying valuable cultural products is an essential ability

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It's not a TV, it's a betipur: It's a body that reconstructs "Israeli", and it is a prerequisite for physicalization, "(Bourdieu 1986: 244), which enables appreciation of art works. 。 The problem of Bourdue is that this kind of capital is regarded as a natural ability to have the body, but in fact, other types of capital, such as economic, institutional, and educational. It is tied. The idea that enjoying valuable cultural products is an essential ability

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

It's not a TV, it's Betipur: Restore "Israeli"

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Obviously, this is not the situation that the elites have discovered that this program is high because of its cultural and emotional complexity. Rather, the elites have discovered that this program is high quality by mobilizing both the series and psychological discourse in order to politics their cultural conditions and preferences. As a result, they justified their social privileges by presenting their preferences and emotional abilities as "gifts of nature" (Bourdieu 1990: 211).

Israeli's television drama is clearly not the elite discovered that this series is high because of its cultural and emotional complexity. Instead, the elites have discovered that they are high quality by mobilizing both the series and psychological discourse in order to politics their cultural conditions and preferences. As a result, the presentation of their own preferences and emotional abilities as "gifts of nature" (Bourdieu 1990: 211) has justified their social privileges.

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

This is not a situation in Israel's television drama , obviously, the elites have discovered that this program is high because of its cultural and emotional complexity. Rather, the elites have discovered that this program is high quality by mobilizing both the series and psychological discourse in order to politics their cultural conditions and preferences. As a result, they justified their social privileges by presenting their preferences and emotional abilities as "gifts of nature" (Bourdieu 1990: 211).

Table of Table of Table of Table of Table

It is clear that television dramas in Israel have discovered that the series is high quality due to its cultural and emotional complexity. Rather, the elites discovered that they were high quality by mobilizing both the series and psychological discourse in order to politics their cultural conditions and preferences. In this way, by presenting their preferences and emotional abilities as "gifts of nature" (BOURDIEU 1990: 211), they justify their social privileges.

A television drama in Israel, obviously, the elite has not discovered that the program is high because of its cultural and emotional complexity. Rather, the elites have discovered that this program is high quality by mobilizing both the series and psychological discourse in order to politics their cultural conditions and preferences. As a result, they justified their social privileges by presenting their preferences and emotional abilities as "gifts of nature" (Bourdieu 1990: 211).

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

TV drama in Israel

Table of Table of Table of Table of Table

"The most legitimate criticism of its handling was placed in the mouth of the crude and violent character in the past by the creator of the program, so the creators (lack of lack) are" TV). Not.

Television Drama in Israeli Identity in Post-TV Culture Itay Harlap

Betipple Series 2006: 35). However, it seems that the attitude toward mental therapy is more textbook than the content. "Vetipur" is characterized by a realistic expression style according to the rules of classical treatment, and maintains time linear and lack of sel f-reflection. The only thing that deviates from this style is the scene just after Menake attacks Luven in words during the two seasons, and this scene deviates from a realistic style, subjectively depicting Luven's reaction to the attack. It leads to a fantastic sequence. In this fantastic sequence, the song (different from the typical soundtrack of this series, which consists of only instrumentals), was accompanied by Menake, and Menake was a broken man. Hit your head (Figure 3. 2) and let him sleep on the sofa. Luven looked out of the window, saw Yadin's character flashback (in the previous episode), looked back on his sofa, and this time he was an old man lying on the sofa instead of Menakeem. (Fig. 3. ο

Figure 3. 2 Betipur Menkem Yelcharmi (Izrael Poliankov).

Israeli TV drama

Figure 3. 3 Luven Fantasy (Betipur). "The most legitimate criticism of its treatment was put in the mouth of a crude and violent character in the past by the creator of the program. "It's not a TV.

It's not a TV, it's Betipur: Restore "Israeli"

Figure 3. 2 Betipur Menkem Yelcharmi (Izrael Poliankov).

Israeli TV drama

Figure 3. 3 Luven Fantasy (Betipur). "The most legitimate criticism of its handling was placed in the mouth of the crude and violent character in the past by the creator of the program, so the creators (lack of lack) are" TV). Not.

It's not a TV, it's Betipur: Restore "Israeli"

Figure 3. 2 Betipur Menkem Yelcharmi (Izrael Poliankov).

Israeli TV drama

Figure 3. 3 Luven Fantasy (Betipur).

The end of the imagination is that the song suddenly ends, Luven sits on the chair again, and returns to his usual treatment. Why is this program suddenly deviating from the standard style? As many scholars have pointed out, traum a-drawn movies and television texts are characterized by the collapse and fragmentation of both stories and aesthetics, which can escape from realism and call it modernism or postmodernism. There is a tendency to prefer style ((Walker 2005: 19). Repetition, impressive illusion, dream (Caruth 1996: 4), and the collapse of linear time, fragile and incapable of control (HirSch 2004: 105). Does not mean that the depiction of trauma must be incorporated in fantasy elements, and does not necessarily mean that the depiction of fantasy must be motivated by the trauma. If other completely realism texts are so sharply deviated from realism, and why this specific case is the true protagonist. If it is "Psychology itself" (Asheri 2008), this hero is "suffering from trauma", and it can be said that this series is the first to give priority to fantasy by abandoning realism.

It's not a TV, Betipur: The end of the imagination that reconsidered "Israeli" is that the song ends suddenly, Luven sits again in a chair, and returns to his usual treatment. Why is this program suddenly deviating from the standard style? As many scholars have pointed out, traum a-drawn movies and television texts are characterized by the collapse and fragmentation of both stories and aesthetics, which can escape from realism and call it modernism or postmodernism. There is a tendency to prefer style ((Walker 2005: 19). Repetition, impressive illusion, dream (Caruth 1996: 4), and the collapse of linear time, fragile and incapable of control (HirSch 2004: 105). Does not mean that the depiction of trauma must be incorporated in fantasy elements, and does not necessarily mean that the depiction of fantasy must be motivated by the trauma. If other completely realism texts are so sharply deviated from realism, and why this specific case is the true protagonist. If it is "Psychology itself" (Asheri 2008), this hero is "suffering from trauma", and it can be said that this series is the first to give priority to fantasy by abandoning realism.

It's not a television, Betipur: The end of the imagination that reconsidered "Israeli" is that the song ends suddenly, Ruven sits on the chair again, and returns to his usual treatment. Why is this program suddenly deviating from the standard style? As many scholars have pointed out, traum a-drawn movies and television texts are characterized by the collapse and fragmentation of both stories and aesthetics, which can escape from realism and call it modernism or postmodernism. There is a tendency to prefer style ((Walker 2005: 19). Repetition, impressive illusion, dream (Caruth 1996: 4), and the collapse of linear time, fragile and incapable of control (HirSch 2004: 105). Does not mean that trauma must be incorporated in fantasy elements, and that the fantasy depiction must be motivated by the trauma. If other completely realism texts are so sharply deviated from realism, and why this specific case is the true protagonist. If it is "Psychology itself" (Asheri 2008), this hero is "suffering from trauma", and it can be said that this series is the first to give priority to fantasy by abandoning realism.

It's not a TV, it's Betipur: Restore "Israeli"

It often marks a traumatic issue. In other words, Betipur responds traumatically when the fundamental premises of the text itself are questioned, as when Menachem accuses Reuven, or more precisely psychotherapy itself, of being involved in Yadin's death. At this point, one of the moral and political problems inherent in the aesthetic choices of the series surfaces. Insofar as individual and collective trauma occurs within the framework of therapy, the text "knows" how to address it, and seems to offer a sense of shared control from the position of an "omniscient" viewer. The one and only deviation from these principles, the very moment when psychodynamic therapy is attacked, gives us two important insights into the text. First, as argued above, the text not only portrays psychotherapy, but also adheres to its premises and views, even making it the "protagonist". Second, and more relevantly, because the text believes in the principles of therapy, it also believes in the possibility of a "cure", a chance to make things right. What does that mean? According to Slavoj žižek's reading, one of the main ideological enterprises of Israeli society is that which often characterizes traumatic problems. In other words, Betipur reacts traumatically when the fundamental premises of the text itself are questioned, as when Menachem accuses Reuven, and more precisely psychotherapy itself, of being involved in Yadin's death. At this point, one of the moral and political problems inherent in the aesthetic choices of the series surfaces. Insofar as individual and collective trauma occurs within the framework of therapy, the text "knows" how to deal with it and seems to offer a sense of shared control from the position of an "omniscient" viewer. The one and only deviation from these principles, the very moment when psychodynamic therapy is attacked, gives us two important insights into the text. First, as argued above, the text not only depicts psychotherapy, but also adheres to its premises and views, even making it the "protagonist". Secondly, and more relevantly, the text believes in therapeutic principles, and therefore also believes in the possibility of a “cure”, a chance to get things right. What does this mean? According to Slavoj žižek’s reading, one of the main ideological enterprises of Israeli society is the “treatment of the body”. It often characterizes traumatic problems. In other words, Betipur reacts traumatically when the fundamental premises of the text itself are questioned, as when Menachem accuses Reuven, or more precisely psychotherapy itself, of being involved in Yadin’s death. At this point, one of the moral and political problems inherent in the aesthetic choices of the series surfaces. Insofar as individual and collective trauma occurs within the framework of therapy, the text “knows” how to address it, and seems to offer a sense of shared control from the position of an “omniscient” viewer. The one and only deviation from these principles, the very moment when psychodynamic therapy is attacked, gives us two important insights into the text. First, as argued above, the text not only portrays psychotherapy, but also adheres to its premises and perspectives, even making it the "protagonist". Secondly, and more relevantly, since the text believes in therapeutic principles, it also believes in the possibility of a "cure", a chance to get things right. What does this mean? In Slavoj žižek's reading, one of the main ideological enterprises of Israeli society is this:

Companies that manage to stay afloat despite their unethical practices have no "core of gold." They are automated, "without hiding anything on the surface." What you see is what you get: the killing of innocent people." But the passage seems unable to face this harsh truth, and for the first time shows a traumatic reaction. Thus, while the text may raise difficult questions about Israeli society, it ultimately

Israeli TV Drama

The thorough and extensive healing course that takes place in Israeli society inevitably reveals that we Israelis are moral beings at heart. All we need is the courage to embark on this journey. And as long as we stay "within the confines of consensus," it is possible to be controversial and popular at the same time.

Bad TV/Good (After) TV: Aging and Masculinity in Neverot (Eagles)

In 2010, on Israel's 62nd Independence Day, Israel's main cable channel Hot3 aired a miniseries called Neverot. One literally means "corpse" and the other is an expletive that is close to "bastard". It is no coincidence that the series premiered on Independence Day, as it is part of a post-Zionist/post-television culture that wants to reassess, if not deconstruct, some of the most sacred values of Israel and Zionism (mainly heroism and masculinity). But, as we will argue in this chapter, Nevelot also speaks to the medium in which she works: television. The protagonists of Nevelot are Ephraim and Moshke (Yehoram Gaon and Yossi Pollack), an elderly couple living in Tel Aviv (Figure 4. 1). Through Ephraim's memories, we learn about their past as young people before the establishment of the state.

Figure 4. 1 Moshke and Ephraim as old men (Yehoram Gaon and Yossi Pollack) in Nevelot.

Israeli TV Drama

Figure 4. 2 Moshke and Ephraim (Michael Moshonov and Oz Zahavi) in their youth in Nebelot.

As part of the resistance activity, Ephryme and Mosque help the illegal immigrant secretary, and one mission withdraws a woman named Tamara from the Mediterranean Sea. It looks like a triangular relationship, but Ephrime and Mosque fell in love with Tamara and try to spend as much time as possible with her. At one point, Ephrime and Mosque were rushed to the battle, and at the end they were surrounded by corpse in a bloody field (Never, that is, "Sfakiri"), and the vultures literally rotated their heads. Ephrime and Moske vow if they can go home alive, break up with Tamara and never let her go. Returning to modern times, the "grumpy old man" Ephryme and Moske spend most of their time at a local coffee shop where they met as a young fighter. However, one day, a traffic accident caused by Tamara to be hit by a coffee shop, and their daily lives shake a lot. After the accident, Ephryme, and later Mosque went on a slaughter journey.

Bad TV / Good (later) TV Resistance activity, Ephrime and Mosque help in the smuggling of illegal immigrants, and in one mission, they withdraw a woman named Tamara from the Mediterranean Sea. It looks like a triangular relationship, but Ephrime and Mosque fell in love with Tamara and try to spend as much time as possible with her. At one point, Ephrime and Mosque were rushed to the battle, and at the end they were surrounded by corpse in a bloody field (Never, that is, "Sfakiri"), and the vultures literally rotated their heads. Ephrime and Moske vow if they can go home alive, break up with Tamara and never let her go. Returning to modern times, the "grumpy old man" Ephryme and Moske spend most of their time at a local coffee shop where they met as a young fighter. However, one day, a traffic accident caused by Tamara to be hit by a coffee shop, and their daily lives shake a lot. After the accident, Ephryme, and later Mosque went on a slaughter journey.

Bad TV / As part of a good (later) television resistance activity, Ephryme and Mosque help the illegal immigrant smuggling, and in one mission, they withdraw a woman named Tamara from the Mediterranean Sea. It looks like a triangular relationship, but Ephrime and Mosque fell in love with Tamara and try to spend as much time as possible with her. At one point, Ephrime and Mosque were rushed to the battle, and at the end they were surrounded by corpse in a bloody field (Never, that is, "Sfakiri"), and the vultures literally rotated their heads. Ephrime and Moske vow if they can go home alive, break up with Tamara and never let her go. Returning to the present age, the "grumpy old man" Ephryme and Moske spend most of their time at a local coffee shop where they met as a young fighter. However, one day, a traffic accident caused by Tamara to be hit by a coffee shop, and their daily lives shake a lot. After the accident, Ephryme, and later Mosque went on a slaughter journey.

Bad TV / Good (later) TV

They may not have been caught, but they still seemed to have ended the murder. Despite its intense violent content, "Nevelot" was highly evaluated by critics (started in 2010), and immediately became one of the programs that was shown in VOD-VOD in 2010. (Yagil 2010, Shechnick 2011). Naturally, the main discourse over this program is to be treated for the elderly in Israeli society, and, of course, the opportunity to fulfill a healthy revenge on the younger generation. However, as we try to explain in the first half of this chapter, the main driving force behind the vicious death of the elderly duo is not necessarily revenge itself, but rather a trauma experience that was caused by old age. It is an attempt to deal with it and contain it. Specifically, Ephryme and Mosque make young people of Tel Aviv as "evil objects", that is, (like the oath in his fog), and eventually get tired. Multiple sizoids that must be made. Nevertheless, the main concern in this chapter is not the action or psychological state of the fictional characters, but the series work itself. Therefore, in the second part of this chapter, we will verify the series work itself.

The old and evil target "Zionist Revolution" means that, as mentioned above in this book, "correction", especially the Jewish body, "Designed a new Jewish who has the opposite body and personality of the Diaspori Jews. It was a revolution that aimed to "do" (GLUZMAN 2002: 43-45). Looking at the young Ephryme and Mosque, they succeeded in this challenge and claim that their bodies were actually based on the demands of hegemony. However, if you read the relationship between Ephrime, Mosque, and Tamara, you can see that the latter, like many other women in war literature, does not hinder the sister relationship of warriors, but only there. 。

The Israeli TV drama they may not have been caught, but they seemed to have ended the murder. Despite its intense violent content, "Nevelot" was highly evaluated by critics (started in 2010), and immediately became one of the programs that was shown in VOD-VOD in 2010. (Yagil 2010, Shechnick 2011). Naturally, the main discourse over this program is to be treated for the elderly in Israeli society, and, of course, the opportunity to fulfill a healthy revenge on the younger generation. However, as we try to explain in the first half of this chapter, the main driving force behind the vicious death of the elderly duo is not necessarily revenge itself, but rather a trauma experience that was caused by old age. It is an attempt to deal with it and contain it. Specifically, Ephryme and Mosque make young people of Tel Aviv as "evil objects", that is, (like the oath in his fog), and eventually get tired. Multiple sizoids that must be made. Nevertheless, the main concern in this chapter is not the action or psychological state of the fictional characters, but the series work itself. Therefore, in the second part of this chapter, we will verify the series work itself.

The Israeli TV drama may not be caught, but it still seemed to have ended the murder. Despite its intense violent content, "Nevelot" was highly evaluated by critics (started in 2010), and immediately became one of the programs that was shown in VOD-VOD in 2010. (Yagil 2010, Shechnick 2011). Naturally, the main discourse over this program is to be treated for the elderly in Israeli society, and, of course, the opportunity to fulfill a healthy revenge on the younger generation. However, as we try to explain in the first half of this chapter, the main driving force behind the vicious death of the elderly duo is not necessarily revenge itself, but rather a trauma experience that was caused by old age. It is an attempt to deal with it and contain it. Specifically, Ephryme and Mosque make young people of Tel Aviv as "evil objects", that is, (like the oath in his fog), and eventually get tired. Multiple sizoids that must be made. Nevertheless, the main concern in this chapter is not the action or psychological state of the fictional characters, but the series work itself. Therefore, in the second part of this chapter, we will verify the series work itself.

Israeli TV drama

He is a character who plays a role in making male friendship respectable (Mosse 1985: 128). Thus, between Ephraim and Moshke, a homoerotic relationship is born that has no room for expression in the Israeli industrialist culture. Moreover, their "unsettled" (Mulvey 2000: 487) placement on the literally penetrable battlefield tests them and puts them at odds with the masculine ideal (Silverman 1992: 74). And more significantly, the current age of two as a symbolic representation of the young Jew completely precludes any transformation that has been achieved, especially in view of the fact that Zionism has championed youth as well as masculinity (Hazan 2001: 166). The image of an old and weak Orthodox Jew in the Diaspora (Biale 1997: 179), a Jew who, according to Max Nordau, suffered from degeneration and nervous breakdown (Mosse 1985: 35) was positioned, measured and judged against this very youthful archetype. Ephraim and Moshke's seemingly meaningless presence in the café highlights Nordau's concrete metaphor of the "Jewish café" (ibid.: 42), which aims to illustrate the contrast between the image of the Diaspora Jew and the "Jewish muscle". Another reason why Ephraim and Moshke are further removed from the Zionist ideal today is that old age is seen as victimhood. As Ephraim tells Moshke: "We are going to die. If it weren't for our hearts [... ...] some thug in a BMW would flatten us like a pancake". Later, they watch a news program that reveals that "dozens of old people have been assaulted in the past year by criminals looking for easy targets". The victim position has many ideological advantages to be derived from it (Ophir, 2000: 174-200), yet Ephraim and Moshke remain deeply connected to the same weak and noisy elements from which the "new Jew" desperately sought to escape, and as a result, Ephraim and Moshke are excluded from the Zionist ideal. At this point, one of the most problematic aspects of growing older becomes more pronounced for Ephraim and Moshke: the compromise of masculinity. For example, just before his car accident, Ephraim describes his and Moshke's daily life: "None of us are the same as before. We drink coffee, juice, tea, a little beer [... ...], we talk,

Almost always. We are always talking. That's all that we remain in the giant lips we were lips. " "Ephrime and Moche have a pair of" talking lips "are a clear metaphor from masculine to feminin, pos t-modern transition.

Bad TV / Good (post) TV Almost always. We are always talking. That's all that we remain in the giant lips we were lips. " "Ephrime and Moche have a pair of" talking lips "are a clear metaphor from masculine to feminin, pos t-modern transition.

Bad TV / Good (post) TV almost always. We are always talking. That's all that we remain in the giant lips we were lips. " "Ephrime and Moche have a pair of" talking lips "are a clear metaphor from masculine to femininity, postmodern.

Bad TV / Good (post) TV

Physiologically (lips often represent women's genitals), culturally (speaking, or rather, a monkey is considered a boring woman's entertainment). This feminization, which is exposed to ephrime and Mosque, has also appeared in most of the series that Mosque cannot piss. In this way, the problem related to Mosque's aging is assembled not only for symbolic Fars but also as a dangers of the actual physical organs itself as a painful blow to the ability to function as a man. The idea that the body of an old man has lost masculinity and abilities is not limited to ephrymes, Moses, or Israeli men, as seen in many sentences about old age: "Spector Mercel is" Spector Mercel. "The old man is not recognized as a man at all because he does not follow the power, dominance, and the main youth, so he is not recognized as a man at all." In other words, elderly men experience the sharp loss of sovereignty and control, and their experience may be described as trauma (Krystal 1995; Kaplan 1999). Thus, at first glance, Neverot characterizes Ephul's murder as follows:

Men who are weakened by races and classes will develop an alternative revolutionary method to prove their masculinity [......] and "the unstable male identity. [............................................... Make violence always possible to protect your identity. "(2000: 780). In Harris's words, their violent behavior is effectively interpreted as a masculine performance that tries to recover hegmony masculinity stripped by Ephryme and Mosque.

Israeli TV drama

Immediately after Ephryme expresses a young Tel Aviv from the cafe window, Mosuke told Ephryme (Fig. 4. 3): Ephryme, and during that time, the dog sons are our sons. Pass in front of the window. It pierces our hearts, what they are seeing [... ...] It started here in a cafe. It is said that the world is made in words. The same is true here, everything started with words. Mosuke Nevero

Mosque calls young people "Neberot" probably means that they are not unwilling. However, as mentioned earlier, the word Nebelot is literally a "dead body", and both ephryme and Mosque go back to the traum a-like moment when both have become dead bodies on the battlefield. In this way, the expression "Nebelot!" Is not only a components used to describe reality, but also a speech act that creates new reality, or an edited expression (Austin 1975). The expression "Nevero" is an executive act that tailor indiscriminate young people who pass in front of their own cafe into dead bodies, project, sacrifice, and projected all prey.

Figure 4. 3 Young people (Nevero) visible from the window of the cafe.

Bad TVs / Good (later) TV Men who have weakened by races and classes develop an alternative revolutionary method to prove their masculinity [......] "Male identity instability [.................................... 2000: 780) makes violence always possible. In Harris's words, their violent behavior is effectively interpreted as a masculine performance that tries to recover hegmony masculinity stripped by Ephryme and Mosque.

Israeli TV drama

Figure 4. 3 Young people (Nevero) visible from the window of the cafe.

Bad TV / Men who are weakened by good (later) TV races and class claim that they develop an alternative revolutionary method to prove their masculinity [......] , "Men's identity instability [....................... 2000: 780) to keep violence to protect their own identity. In Harris's words, their violent behavior is effectively interpreted as a masculine performance that tries to recover hegmony masculinity stripped by Ephryme and Mosque.

Israeli TV drama

Figure 4. 3 Young people (Nevero) visible from the window of the cafe.

Bad TV / Good (later) TV

the reality of the elderly today. The murder of the young is precisely Ephraim and Moses' way of trying to eliminate these characteristics. Ephraim and Moske's psychological transformation, in which they project their feminine characteristics onto others and try to attack them, can be explained by Freud's delusional mechanism (Freud, 1911) and its development by Melanie Klein in her own work (Klein, 1946). In the story behind the Schreber affair, told by Freud after reading Schreber's diary, the psychoanalyst develops a delusional mechanism in which "inner perceptions are repressed and, instead, their contents, through certain distortions, enter consciousness in the form of outer perceptions" (1911: 66). At a later stage, Freud argues that violence is directed at the outer object onto which all feelings and emotions are projected. Freud emphasizes in his writings that most of these cases are usually related in some way to homoerotic desire (ibid.: 43), but Robin Wood adds that a man can simply feel threatened by traits that he considers feminine, and a similar mechanism can be set in motion (Wood 2002: 341). In her work, Melanie Klein revisits Schreber's case and Freud's paranoid mechanism, proposing a much more complex defense mechanism that she calls the paranoid-schizoid position. According to Klein, this position characterizes the infant in its pre-stage, which in moments of anxiety leads the infant to project onto the mother the same frightening traits from which it tries to dissociate, so to speak, and exorcise itself. Thus, the mother not only frees the child's ego from dangerous, malevolent, and potentially painful scenarios (Klein 1946: 101-102), but also enables the child to rid himself of unwanted or dangerous parts of himself (Feldman 1992: 72). One of Klein's central and most innovative points is that projection is not directed at a single object, but rather is a multiple projective act, that is, the negative attributes that the baby attributes to one object (the "bad object" and also the "bad breast") and the positive attributes that the baby attributes to another object (i. e. the "good object"/"good breast"). The "irritable breast" is "attacked with verbal pessimistic fantasies - it seems to be falling apart; whereas the pleasant breast [...] feels complete" (1946: 101), Klein claims. This disintegration results in two main processes: "the omnipotent creation of ideal objects and states,

Klein's focus may be on young children, but her various readers say that the position she develops is one that "we maintain, at least episodically, throughout our lives" (Black and Mitchell 1995: 90).

Israeli TV dramas

Especially when stress or emotional overload. Moreover, this position is often linked to trauma experience (Cohen 1985: 174). Based on the reconstruction of the murderous acts committed by Ephryme and Mosque, what is being performed here is an agonistic relationship with the trauma experience, and a pos t-mental trauma mode that leads to eliminating "bad things". The conclusion is derived: Ephryme and Mosque are "bad", whether a victim (Neverot in the sense of a dead body) or an inner violent perpetrator (Neverrot in the sense of rash). Project characteristics to the younger generation. By this projection, young people transform into "evil objects". That is why young people are fragmentary and large, but also "request" to bite and chew, just as the vulture bites the carcasses. In other words, Ephrime and Moske are also building good objects embedded in the image of the deceased Tamara. Tamara is the more idealized in the memories of Ephryme and Mosque, the closer to idol worship. Not only extraordinary beauty, but also Tamara is almost human away, and it is like a "mystery" with many contradictions. It is after Tamara's death that Ephrime turned this idealization to another person, Tamara's daughter Dina. However, when Dina is killed, the murder case suddenly stops. Say Nebellot is trying to make a statement about the violence that Israel and Israeli society has taken heavy. There is no objection that the Israeli society is also a paranoid skisoid position that divides the world into "good people" and "bad guys." Those who are on the side of us and those who oppose us. From this idea, do you commit an unbalanced and irrational violence? The Israeli society also wakes up when he is late, and has been aware that the size of the damage he has brought to the environment and the opportunity to repair that damage for a long time. Is it? However, this series criticizes the paradise of the Israeli society, and even suggests the steep price we paid by adopting a world of good and evil. Especially when stress or emotional overload. Moreover, this position is often linked to trauma experience (Cohen 1985: 174). Based on the reconstruction of the murderous acts committed by Ephryme and Mosque, what is being performed here is an agonistic relationship with the trauma experience, and a pos t-mental trauma mode that leads to eliminating "bad things". The conclusion is derived: Ephryme and Mosque are "bad", whether a victim (Neverot in the sense of a dead body) or an inner violent perpetrator (Neverrot in the sense of rash). Project characteristics to the younger generation. By this projection, young people transform into "evil objects". That is why young people are fragmentary and large, but also "request" to bite and chew, just as the vulture bites the carcasses. In other words, Ephrime and Moske are also building good objects embedded in the image of the deceased Tamara. Tamara is the more idealized in the memories of Ephryme and Mosque, the closer to idol worship. Not only extraordinary beauty, but also Tamara is almost human away, and it is like a "mystery" with many contradictions. It is after Tamara's death that Ephrime turned this idealization to another person, Tamara's daughter Dina. However, when Dina is killed, the murder case suddenly stops. Say Nebellot is trying to make a statement about the violence that Israel and Israeli society has taken heavy. There is no objection that the Israeli society is also a paranoid skisoid position that divides the world into "good people" and "bad guys." Those who are on the side of us and those who oppose us. From this idea, do you commit an unbalanced and irrational violence? The Israeli society also wakes up when he is delayed one day, and has been aware that the size of the damage he has brought to the environment and the opportunity to repair that damage has been a long time. Is it? However, this series criticizes the paradise of the Israeli society, and even suggests the steep price we paid by adopting a world of good and evil. Especially when stress or emotional overload. Moreover, this position is often linked to the trauma experience (Cohen 1985: 174). Based on the reconstruction of the murderous acts committed by Ephryme and Mosque, what is being performed here is an agonistic relationship with the trauma experience, and a pos t-mental trauma mode that leads to eliminating "bad things". The conclusion is derived: Ephryme and Mosque are "bad", whether a victim (Neverot in the sense of a dead body) or an inner violent perpetrator (Neverrot in the sense of rash). Project characteristics to the younger generation. By this projection, young people transform into "evil objects". That is why young people are fragmentary and large, but also "request" to bite and chew, just as the vulture bites the carcasses. In other words, Ephrime and Moske are also building good objects embedded in the image of the deceased Tamara. Tamara is the more idealized in the memories of Ephryme and Mosque, the closer to idol worship. Not only extraordinary beauty, but also Tamara is almost human away, and it is like a "mystery" with many contradictions. It is after Tamara's death that Ephrime turned this idealization to another person, Tamara's daughter Dina. However, when Dina is killed, the murder case suddenly stops. Say Nebellot is trying to make a statement about the violence that Israel and Israeli society has taken heavy. There is no objection that the Israeli society is also a paranoid skisoid position that divides the world into "good people" and "bad guys." Those who are on the side of us and those who oppose us. From this idea, do you commit an unbalanced and irrational violence? The Israeli society also wakes up when he is delayed one day, and has been aware that the size of the damage he has brought to the environment and the opportunity to repair that damage has been a long time. Is it? However, this series criticizes the paradise of the Israeli society, and even suggests the steep price we paid by adopting a world of good and evil.

This series also commits the same violation. Nevertheless, this debate involves this series, rather than the political reality of Israel, is related to the media handled by this series, that is, a television that is more clear and directly covered by Nevero. It is a thing.

Bad TV / Good (post) TV

Elim Poon - Journalist, Creative Writer

Last modified: 27.08.2024

Culture,Visual Anthropology, / , lcusoccer.org Drama & Performance Studies, /, lcusoccer.org Bloomsbury Collections Title and Price List June xlsx - Free ebook download as Excel Spreadsheet .xls /.xlsx), PDF File .pdf). In other words, these films examined the image of the “new Jew” and depicted heterosexual masculinity, which was presented unquestioned by early Israeli cinema.

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