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Israeli War Movie Films 2 1 1

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Israeli War Movie Films
1. Yael Monk analyzes in her article "In Search of Lost Time: First Lebanon War
History According to Three Israeli Films," for week 7, why the movies Beaufort,
Waltz with Bashir, and Lebanon (which we did not watch in the course) did
connect with the Israeli audience, where other movies of that same war failed to
do so. Summarize her arguments.
Beaufort, Waltz with Bashir, and Lebanon movies moved the Israeli audience and
raised varying reactions in different Israeli's parts because of being right-winged. For
instance, Waltz with Bashir reconstructs how and why many innocent civilians were
massacred because the people with the power to stop them did not take any action. This film
tries to explain why these people with power did not act despite seeing what happened. The
movie shows how the Christian militia killed Palestinians without stopping the massacre and
how Israelis were in nominal control of the militia. Thus, "Waltz with Bashir" demonstrates
that Israeli is not accountable for acts of passive genocide. In a similar way of connecting to
the Israeli audience, Beaufort introduces the viewers to Israelis whose voice is hardly heard
in Israeli society. For instance, low-rank military soldiers operating from within what appears
to be the potential last melting pot in Israeli society.
The film portrays the First Lebanon War as a new generation's formative experience
in Israel. As a result, this portrayal connects with the Israeli audience's experience, thereby
leading to increased polarized responses from them. Through the movies, it is evident that the
whole context is not political position-based, rather within the private world of laws that
soldiers in the war must follow. Unlike other movies, Beaufort's film gives the Israeli
audience an in-depth understanding of political review regarding how young people become
pawns in powerful individuals who stay away from the battlefield and death.
Beaufort depicts a peculiarly Israeli dichotomy whereby military criticism takes the
central point. This film attempts to connect with the Israeli audience by showing the existing
contradiction of being an Israeli. This Beaufort film comes out as a psychological thriller;
thus, it becomes difficult not to connect with the Israeli audience (Giansante pg. 111). It
contains a unique blend of naturalism and humor to connect with the audience. The
movements of camera and cinematography back a claustrophobia's sense as a group of Israeli
military Soldiers secure a historic fort of southern Lebanon. Still, Hezbollah forces literary
held them under siege.
The acknowledgment of past experiences' and non-uniform experiences' legitimacy in
Israel makes the Israeli audience recall the effect of war on Israelis. These films change the
perception paradigm about the past among the audience, thereby providing relevancy to
Israeli soldiers' illustration of experiences. For instance, the Beaufort movie gives a glance at
the experience of Israeli soldiers. Generally, the film refreshes thoughts of challenging
scenes, fictional or real, among Israeli soldiers. Beaufort tries to reveal more of war and the
circumstance in which the Soldiers were in. Thus, the film creates a tension that comes from
both the fast-paced action occurrences and via a series of incidents that takes the audience
into the outpost's world, with every claustrophobia and mixed reactions that involve the
danger's thrill and numbness toward the incident.
2. In the movies we watched so far, there is "the sense of abandonment that the
soldiers experience," according to Yael Munk, as she expressed in her article of
week 5 (Munk, The Privatization of War Memory, 99). Analyze this sense of

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abandonment, as she describes it in her article, and give examples for it from the
different movies that we watched so far
In the Waltz with Bashir, Hill 24 Doesn't Answer, Beaufort, and Kippur movies, the
sense of abandonment that soldiers experience, according to Yael Munk, is evident. For
instance, these soldiers viewed themselves as "Sons of Darkness' subjected to a "war of
survival" (Munk pg. 99). In various situations, the patriotic ideal to defend their country had a
shallow sense of meaning to people under the threat of existential anxiety of
meaninglessness. Kippur and Beaufort movies contain "myths" about the discourse of Israeli
whereby Kippur reveals the first days of the Yom Kippur War of 1973 in the Syrian front
while the latter depicts the last days of the presence of Israeli on Lebanese soil after 18 years
of occupation.
The two movies, Kippur and Beaufort, overt patriotism. The soldiers appear
abandoned; thus, paving the way for low-ranked military personnel to reveal their
ambivalence toward the war. Most soldiers have not met as civilians, but the intimate
circumstances make them meet to face the survival challenge and potential death risk (Munk
pg. 136). The films figure the patriotic military service implication as an ideological and
conceptual framework. Primarily, Israeli soldiers fought to survive as a result of their
arbitrariness situation. According to Ron Leshem's view about Beaufort, the film reveals
what the Israeli audience cannot wish to hear. For instance, despite being young, the soldiers
experienced forceful learning and making friends with the horror.
Kippur's film depicts disorientation as an expression of abandonment. Since war tends
to be a chaotic event, it develops a split in the continuity of life. Thus, it rips soldiers away
from their normal social lives and thrust them into a strange existence and new territories. As
a result, a sense of abandonment continues to develop because of the emerging slip. War is
always unplanned and takes soldiers by surprise (Talmon & Yaron pg. 121). Most Israeli
soldiers developed trauma, especially those "thrown" into various, violent existence cannot
return to their original places. The movies portray how the sense of abandonment emerges via
soldiers' spatial disorientation. As Israeli soldiers make steps toward the military choppers,
they cannot differentiate between north and south. As opposed to Tel Aviv's empty streets'
authentic representation, the battlefield's monotonous description appears to give no hope.
Instead, the soldiers lack a guiding hand; instead, confident leadership has betrayed them by
pretending that all things are under control.
On the battlefield, wounded soldiers are left lying on the ground during evacuation.
As doctors try to airlift injured soldiers, some soldiers stop the exercise by claiming that the
authority has ordered not to take any wounded or dead soldier in the chopper. All seriously
injured soldiers end up being pronounced dead, a situation that marks their mission,
especially for anonymous soldiers. Kippur film reveals that the Yom Kippur War's trauma is
one of the soldiers' abandonment (Talmon & Yaron pg. 121). For instance, Israeli soldiers
participated in the war to meet their national duty but found the battle not resembling the past
wars' image. As a result, the soldiers were left to fight in a situation not trained for. Thus, this
sense of abandonment gets depicted in a brief personal story incorporated into the narrative,
mise-en-abyme.
Beaufort's film sabotages the reality of the battlefield condition of soldiers. This
sabotage remains a major form of a sense of abandonment among Israeli soldiers.
Israeli soldiers are in limbo since they live in an indeterminate state. Also, they are under
strict instructions not to fire back. Instead, they must absorb enemy fire and causalities
without retaliation. As a result of a sense of abandonment, some soldiers opt to defy orders
and risk their lives to save injured colleagues. For instance, combat medics are not ashamed
of crying under pressure, contrary to what commanders expect. Generally, the situation turns
to be painful as disappointment characterizes it. Most of the soldiers cannot believe in the

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Surname 1 Professor's Name Student's Name Course Date Israeli War Movie Films 1. Yael Monk analyzes in her article "In Search of Lost Time: First Lebanon War History According to Three Israeli Films," for week 7, why the movies Beaufort, Waltz with Bashir, and Lebanon (which we did not watch in the course) did connect with the Israeli audience, where other movies of that same war failed to do so. Summarize her arguments. Beaufort, Waltz with Bashir, and Lebanon movies moved the Israeli audience and raised varying reactions in different Israeli's parts because of being right-winged. For instance, Waltz with Bashir reconstructs how and why many innocent civilians were massacred because the people with the power to stop them did not take any action. This film tries to explain why these people with power did not act despite seeing what happened. The movie shows how the Christian militia killed Palestinians without stopping the massacre and how Israelis were in nominal control of the militia. Thus, "Waltz with Bashir" demonstrates that Israeli is not accountable for acts of passive genocide. In a similar way of connecting to the Israeli audience, Beaufort introduces the viewers to Israe ...
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