Open AccessIzraelczycy spoglądają na Polaków przez obiektyw kamery filmowej
Author(s) -
Ela Bauer
Publication year - 2019
Publication title -
narracje o zagładzie
Language(s) - English
Resource type - Journals
eISSN - 2451-2133
pISSN - 2450-4424
DOI - 10.31261/noz.7898
Subject(s) - judaism , the holocaust , amusement , history , media studies , art , religious studies , art history , literature , sociology , theology , psychology , philosophy , social psychology , archaeology
There is already wide range of studies that aim at understanding the different ways in which the Holocaust is presenting in Israeli cinema. Although these studies present wide spectrum of themes, processes and points of view regarding this issue, this rich corpus of research does not include references to the various ways in which Polish-Jewish relations are portrayed in Israeli films. This article is interesting to open scholarly discussion on the ways in which Jewish-Polish relations are presenting in in several documentary and fictional Israeli films: Aba'le Bo La-lonapark (Daddy Come to the Amusement Park), directed by Nitza Gonen in 1995; Spring 1941, directed by Uri Barbash in 2007; Pizza b'Auschwitz (Pizza in Auschwitz) by Mosh Zimmermanh in 2008; Ema shel Valentina (Valentina's Mother), directed by Arik Lubzki and Matti Hararri in 2009; and Hakatayim (Past Life) directed by Avi Nesher in 2016. A discussing on the perception of Polish Jewish relations at this collection of films can add an additional angle to the topic of Polish-Jewish relations during and after the Second War World.