The Construction of Identity Through Video

In a time of globalization and cross-cultural diversity, video has become one of the primary tools used for the compilation, storage, and sharing of human experiences and memories. This timeline shows how video has been used for digital storytelling: a process of constructing and communicating the various dimensions of identity in the land of Palestine/Israel. Politics aside, Palestinian and Israeli video productions draw a picture of what life is like in the Holy Land, and what it truly means to be one of its people. The oldest available videos exist in the form of independent films and documentaries, as well as the very first music videos that created a sense of nationalism. More recent forms of video representations are Hollywood movies, recorded oral histories, and recorded "spoken word" (speeches), among others. The timeline shown here seeks to represent at least one sample of these many forms of video production for the purpose of identity construction. It shows some Palestinian (green) and Israeli (blue) productions, as well as a few examples of projects that have recently been undertaken by both sides in order to bridge the identity gap between them (red). Due to the lack of online archives of older materials, most of the material shown here was produced in the 1990s and 2000s. ;xNLx;

1950-12-01 13:41:26

Sands of Sorrow (Documentary)

Released 2 years after the Palestinian "Nakba" (catastrophe), Sands of Sorrow is a documentary produced by the Council for Relief of Palestine Arab Refugees. Dorothy Thompson speaks during the opening scene of the documentary, explaining that it's purpose is to shed light on the plight of thousands of displaced Arabs in the Palestine region. This is followed by a brief text-based description of the situation which reads as follows: "Since 1948, 750,000 homeless Arab people have existed in tents and caves in the desert wastes encircling the Holy Land, their former home. These are the first motion pictures of the Palestine Arab Refugees. All these scenes are actual and unrehearsed". As the video scenes are shown, a man with an American accent conducts the voice-over narration. His description of what is being shown appeals to the viewer's compassion for people who live a routine of suffering and hunger. The speaker seeks the Western viewer's compassion by establishing a familiarity with the Palestinian Arab. For example, he explains that Arab tradition is prideful and hard-working, which results in a natural rejection of hand-outs. An image of an educated Palestinian man is shown as the speaker states: "many refugees, like the dignified man in the black jacket, are college educated graduates of American and Arab universities in Cairo and Beirut. This man is a "moudeer," once, in better days, the mayor of his town." This documentary establishes the Palestinian identity as one that is seeking refuge after being removed from its homeland. It discusses the skills that Palestinian refugees had but could no longer efficiently use as they were forced to take the positions of plumbers, carpenters, tailors, and shoemakers in Jerusalem if they wanted to survive. It also discusses the difficulty Palestinian refugees in the Gaza strip faced, as their population overwhelmed the small strip of land and resources were extremely limited.

1971-01-01 09:12:07

Flower Among Cities (Music Video)

Music videos have always played a prominent role in the construction of the Palestinian identity. The song "Flower Among Cities," by the young star Fairouz, quickly became the national song for nationless Palestinian refugees who seek the right to return to their motherland. The song describes the Palestinian identity as one that aspires to once again see the city of Jerusalem. Images of the Holy Land are juxtaposed alongside a video of Fairouz singing earnestly and nostalgically about memories of Palestinian Churches and Mosques. She tells the story of the birth of Jesus Christ, thus portraying Christian and Muslim Palestinians as lovers of peace and humility. At the end of the song, the music video allows a glimpse into the frustration and hope of Palestinians who are still unable to return home: "There will be no locking of the gates of this city of ours, for I am going in to pray [...] And you will wash, O' River Jordan, my face with Holy water; and you will erase, O' River Jordan, the footprints of brutality". Two versions of the song are provided on the left. The first is a clip from a concert which includes an English translation; the second is the official music video.

1987-01-01 00:00:00

Wedding in Galilee (Film)

"Wedding in Galilee," a Palestinian film production by Michel Khleifi, was awarded the Cannes International Critics Prize in 1987. The film recounts the story of a Palestinian mayor who wants to throw a wedding for his son during an Israeli imposed military curfew. Although the mayor seeks permission for this event, his request is denied unless he invites the Israeli military governor and his staff. The story is about the events that occur during the wedding. This film is the first major fictional production to humanize the Palestinian person, showing the details of daily life and culture that supersede the restrictions of Israeli rule. It may be said that this is a film about a wedding that takes place during a charged political climate, rather than one that makes a political statement. The Palestinian identity depicted in this film shows the viewer that people cannot be placed into specific categories based on the morning news. Rather, individuals are complex and their lives are reflective of generations of knowledge, tradition, religion, and culture. The film is not biased towards the Palestinian person, but offers both compassion regarding daily struggles and critique of resorting to violence in desperate times. The full film is attached to the left.

1988-04-01 15:04:07

Aviya's Summer (Film)

"Summer of Aviya" is an Israeli produced film that shows what the life of a young European Jewish 10 year old girl is like after moving to the new land. Aviya's mother, Henya, is traumatized by the events of the World War II, and overcompensates for her weakness by being fiercely independent. This film shows the varying backgrounds of people who came to settle in Israel, as well as the difficulties they encounter in constructing a new identity that is attached to the new land.

1996-01-01 05:45:55

Chronicle of a Disappearance (Film)

"Chronicle of a Disappearance" is a 1996 drama that shows the Palestinian identity as one that is stateless. The director, Elia Suleiman, stars in his own film as a returning refugee who cannot find a familiar or comfortable space in the land that was once home to him. He uses Palestinian folk music often to set the tone, and shows the many challenges that a Palestinian may face if and when granted a chance to go home.

2008-10-26 03:15:50

Gaza/Sderot Life in Spite of Everything

This program is one of the contemporary video productions that aim to bridge the gap between the Palestinian and Israeli identities. This type of inclusive production became more popular in the new millennium, as public access to the internet encouraged the exploration of a new form of self-conducted journalism. The project commenced for approximately two months during which two videos were uploaded daily. These videos recorded the lives of people living in Gaza and Sderot, two cities that exist side-by-side but cannot interact due to the politically charged climate in the region. Physical blockades restrict movement from one city into the other, therefore forcing the alienation of neighbours from one another. This project aims to resist physical blockades by establishing personal connections among Palestinians and Israelis and breeding a new online culture of co-existence and mutual understanding. The project successfully portrays the daily struggles of both communities, and shows their common fears and hopes for the future. This project is one of the very first independently released online documentaries about the Palestinian/Israeli conflict. In a new age that seeks to escape political boundaries and establish a more communally driven feeling of mutual respect and peace, such independent productions have become increasingly common. To learn more about the project, watch the attached video by Arik Bernstein, a co-producer of the project. To visit the website, click on "find out more".

2009-12-01 22:36:22

Amreeka (Film)

"Amreeka" is a drama about a Palestinian Christian mother who faces many difficulties when she moves to America. This film establishes a very rarely seen angle of Palestinian identities: that of the Christians. Christians in Palestine are often neglected as a minority, as the Palestinian identity known to the rest of the world is predominantly Muslim. Moreover, this film shows one of the most important facets of Palestinian life: refuge in foreign lands. The refugee who seeks the right to return to his/her motherland is shown to be welcome neither in Israel nor in America.

2012-01-01 04:05:51

You Don't Mess with the Zohan (Film)

"You Don't Mess with the Zohan" is a Hollywood production directed by Dennis Dugan and produced by Adam Sandler. The story is about an Israeli counter-terrorist army commander who fakes his own death in order to pursue his dream of becoming an actor. However, his mission is stunted when he is needed to fight a Palestinian terrorist group in Manhattan. Zohan arrives to work on a street that is split in the middle between Palestinians and Israelis. Although this movie is perceived to be a comic satire about the Palestinian/Israeli conflict, it clearly makes a political statement by portraying the Israeli identity as one that maintains order while the Palestinian identity commits violence and causes chaos. This is one of many contemporary video-based reflections on the Israeli identity as one that is conscripted into fulfilling army duties without choice. It addresses a very quiet and personal Israeli wish to escape service and, instead, spend the years of youth fulfilling personal dreams, like hairdressing. The Zohan's ability to convince the two parties to act peacefully, as well as his marriage to a Palestinian woman named Dalia, promotes a peaceful resolution of the conflict. Ultimately, although this movie provides a rudimentary overview of both identities, it aims to bring forth a message of peace through laughter.

2013-01-01 22:52:58

Zochrot - Oral History Project

Zochrot is an Israeli non-governmental organization that was established in the early 2000s with the aim to: "challenge the Israeli Jewish public's preconceptions and promote awareness, political and cultural change within it to create the conditions for the Return of Palestinian Refugees and a shared life in this country." In 2013, Zochrot started recording the oral testimonies of both Palestinian and Israeli individuals, with the primary motivation to bring the events of the 1948 "Nakba" to light and educate the Israeli public on the right of Palestinians to return to their motherland. This is one of many instances of contemporary cross-identity efforts between Israelis and Palestinians with the motive of raising awareness regarding historical facts and, eventually, creating a community that houses both identities fairly and peacefully. To view the archive of oral histories, click on "find out more". To view a sample, watch the attached video.

2014-03-03 09:51:05

Testimonies by Israeli Soldiers (Youtube)

The Israeli identity is inseparable from that of a soldier, as all Israeli citizens are conscripted into the army (with few exceptions). In recent years, the testimonies of soldiers who have completed their years of duty have surfaced on Youtube. The video-based documentation of their speeches has had a tremendous impact in shaping international perceptions of the Israeli identity. Rather than being portrayed by news media as either peace-fighters or uniformed terrorists, these ex-soldiers have taken it upon themselves to humanize their perceived identity and take control of their own story-telling. In the example video provided on the left, Eran Efrati gives a talk in Denver, Colorado, which addresses his experience serving in the Israeli Defence Forces. He brings to light the intricate details of his service, including his own fears, questions, and the lessons that he learned. Efrati refuses to accept externally imposed definitions of his identity as an Israeli man, and insists upon drawing his own picture of himself as an Israeli man who actively seeks peace.

2014-04-09 22:32:25

Fountainheads (Music Videos)

Music videos have become integral components in the construction of the Israeli nationalistic identity. Youth groups such as the Fountainheads create videos that present Judaism as the primary element of being Israeli. The attached video is of a song called "Now We Are Free". The video visually recounts the Biblical story of Moses freeing the Jews from Egyptian slavery and bringing them to the Holy Land. This historical story is the cornerstone of the Israeli claim to the land of Israel/Palestine. For more information about the Fountainheads, click on "find out more".

The Construction of Identity Through Video

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