Trees Before Walls: Alternative Cinematic Perspectives of the Israeli-Palestinian Conflict Jordan Z. Adler A Thesis in The Mel Hoppenheim School of Cinema Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts (Film Studies) at Concordia University Montréal, Quebec, Canada March 2017 © Jordan Z. Adler, 2017 CONCORDIA UNIVERSITY School of Graduate Studies This is to certify that the thesis prepared By: Jordan Z. Adler Entitled: Trees Before Walls: Alternative Cinematic Perspectives of the Israeli-Palestinian Conflict and submitted in partial fulfillment of the requirements for the degree of Master of Arts (Film Studies) complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final Examining Committee: Marc Steinberg Chair Diana Allan Examiner Marc Steinberg Examiner Kay Dickinson Supervisor Approved by Rebecca Taylor Duclos Dean of Faculty Date: March 30, 2017 iii ABSTRACT Trees Before Walls: Alternative Cinematic Perspectives of the Israeli-Palestinian Conflict Jordan Z. Adler Amidst the Israeli-Palestinian conflict, there is a need to concentrate on efforts between local citizens to find a hopeful common ground through dialogue, peace-building, and nonviolent activism. The five non-fiction films examined in this thesis attempt to add nuance to our understanding of the contested region through resisting a polarized political rhetoric that has defined much mainstream coverage of the violence and ethnic struggle. Cultural scholars, through examining Israeli and Palestinian cinema as separate and oppositional entities, further fail to dissolve barriers that contribute to intensified misconceptions of the Other. Therefore, this investigation will align with the aims of “post-Zionism,” an ideology that attempts to move beyond the original tenets of Zionism, embrace the multicultural makeup of Israel-Palestine, and address under-seen, marginalized perspectives of the country’s history. The five post-Zionist documentaries analyzed, made during a period of intensified conflict and stalled peace talks in the early twenty-first century, examine a formidable array of viewpoints while questioning and deconstructing Israeli myths. iv ACKNOWLEDGEMENTS Thank you to Kay Dickinson, my indispensable thesis supervisor, for your wealth of knowledge, careful editing, and direct, insightful feedback. Thank you for helping me to develop an original thesis idea and for keeping me on strict deadlines throughout the past year. Thank you to the few members of the MA Thesis Workshop, including William Fech, Oslavi Linares Martinez, Devin Mendenhall and Jillian Vasko. Thank you for giving prompt feedback to some chapter drafts and for your helpful advice on finding good sources and planning writing sessions. Thank you to Ronit Avni, Elle Flanders and Justine Shapiro, three of the extraordinary documentary filmmakers behind the non-fiction texts in this thesis, who agreed to carve out some time in their busy schedules for an interview. Thank you for thoughtful answers and reflections. Thank you to Concordia University’s Moving Image Resource Centre (MIRC), the McGill University Humanities and Social Sciences Library, and the National Film Board of Canada’s institutional website, for offering quick access to the semi-obscure films that this thesis examines. Thank you to the many teachers and professors who helped to spur my interest in writing, reporting and cinema. A special mention goes to my professors at the School of Journalism and Communication at Carleton University, who taught me how to be a smarter editor and more succinct prose stylist. To the amazing professors of cinema at Carleton University and Concordia University, thank you for inspiring me, challenging me, and exposing me to a rich collection of artworks. And finally, thank you to my mother, father, sister, and extended network of family and friends. Thank you for providing immeasurable support during this creative process and for keeping up with my constantly expanding cinephilia. TABLE OF CONTENTS Introduction ……………………………………………………………………………………. 1 Chapter 1: Landscapes of Cinema in Israel-Palestine ………………………………......….. 7 The National Imaginary of Israeli Cinema …………………………………….. 9 Palestinian Documentary as a Ledger of History ……………………………... 11 The Quick Rise and Fall of the Post-Zionist Movement ……………………... 14 The Complexities of Filming Counter-Narratives in an Israeli Space ….…….. 19 The Chapters Ahead …………………...……………………………………… 21 Chapter 2: Space for Protest ………………………...…………………………………....... 23 Media Misrepresentation of the Israeli-Palestinian Conflict ……….…………. 24 The Strength of Nonviolent Movements and Peace-Building in Budrus and Encounter Point ……………………………………………..... 30 Conclusion: The Virtues of Just Vision ……………….………………………. 39 Chapter 3: Space for Travel ………………………………………………………………… 41 The Architecture of Occupation …………………………………………….… 42 Crossing Borders of Space and Time, Literally and Stylistically …………….. 46 Queering the Space …………………………………………………………… 50 The Presence of an Imagined Space ………………………………………….. 52 Watching the Watchers and Bearing the Barriers …………………………….. 55 The Road Ahead ……………………………………………………………… 59 Chapter 4: Space for Dialogue ………………………………….…………………………... 60 The Value of Enabling Dialogue ……………………………………………... 61 Dialogue in Dheisheh .…………………………………………………………. 65 Public Screenings and Probing Talkbacks ……………………………………. 72 Some Final Words …………………………………………………………….. 75 Conclusion …………………………………...……………………………….………………. 76 Bibliography ………...…………………………..…………………….……………………… 80 Filmography ………………………………………………………….………………...…….. 85 1 Introduction In 2009, novelist China Miéville released the dystopian, science-fiction noir The City and the City. The book, which won the Arthur C. Clarke Award and Hugo Award for Best Novel, takes place in two fictional cities: Besźel and Ul Qoma. In Miéville’s work, the two cities are considered twins, co-existing within the same space; however, the citizens of Besźel have learned to “unsee” the inhabitants of Ul Qoma, and vice versa. Although a schism exists between the two populations, there are also “unificationists” who hope to bridge the two cities, through a third urbanity, called Orciny. Praised as a work of speculative science fiction, The City and the City’s themes of emotional separation and cultural hostility among inhabitants of a shared territory provoked critics to compare Besźel and Ul Qoma to West and East Jerusalem. The lack of cohesion between the city cultures in the novel has been widely allegorized to evoke the ways that neighbouring populations purposefully ignore the social and historical claims of the other group. Jewish studies professor Michael Bernard-Donals has described this ignorance as “anamnesis,” or forgetful memory. As he explains, this forgetfulness occurs when one group chooses to exclude elements that “[lurk] at the edges of cultural memory and that intrude upon or break that continuum” (119). The concept of “unseeing” in Miéville’s novel relates to this “anamnesis,” whereby Israelis and Palestinians choose to displace their memories of the Other in favour of their own interpretations of history. In an interview with Geoff Manaugh of the website BLDGBLOG, Miéville responded to the analogies between his novel’s Kafkaesque setting and the situation in Israel-Palestine. As Miéville said: I think there can be a danger of a kind of a sympathetic magic: you see two things that are about divided cities and so you think that they must therefore be similar in some way. Whereas, in fact, in a lot of these situations, it seems to me that — and certainly in the question of Palestine — the problem is not one population being unseen, it’s one population being very, very aggressively seen by the armed wing of another population. 2 The partitioned setting of The City and the City, reminiscent of the boundaries and barriers that separate Israelis and Palestinians, is unique for its exploration of a peace process. The third city that the unificationists hope can bridge the cities together, Orciny, consists of spaces that have not yet been claimed by either Besźel or Ul Qoma. In Orciny, civilians can cross the borders without the fear of detection — a sharp digression from the heavily monitored obstacles and checkpoints that disrupt daily Palestinian life. Despite the comparisons that scholars and critics have made between Miéville’s award-winning novel and Middle East geopolitics, the former’s optimism toward a solution of togetherness and pluralism has petered out in the region of Israel- Palestine. The possibility for unification within the small strip of land between the Mediterranean Sea and the Jordan River is, today, the stuff of fiction. During the twenty-first century, the atmosphere in Israel-Palestine has become increasingly polarized. The hopefulness among citizens for a two-state solution, where an independent Palestinian state exists alongside Israel, has eroded in recent years. (A bi-national, one-state solution, meanwhile, has also received widespread criticism from Israeli Jews.) The rise of Israeli right-wing nationalism, with its focus on building settlements in the Occupied Territories and the increasing securitization of the State as a response to acts of Palestinian aggression and resistance, has effectively undermined the efforts of those persisting to keep peace talks alive. This more contemporary shift in Israeli discourse diverges from much of the national political zeitgeist in the 1990s, when Prime Minister Yitzhak Rabin worked valiantly to open peaceful discussions with Palestinian leadership. Rabin’s assassination in November 1995 by a right-wing radical Israeli became an early sign of the shift to a new age of ethno-nationalist fervour. As violence intensified during the late twentieth and early twenty-first century in Israel- Palestine, cultural bodies within Israel only made rare incursions into capturing this conflict on the big screen. Nevertheless, even amidst a period of instability, documentary filmmakers from around the world wanted to probe more deeply into the Israeli-Palestinian conflict, and observe the efforts between neighbours to understand the Other and find common ground. For a brief time during one of the most tumultuous eras of aggression within the region, filmmakers descended on the Holy Land with the hope to find stories of palpable humanism and connection, aiming to resist the politicized rhetoric that was present within much of the mainstream news coverage of the conflict. 3 This thesis will examine five documentaries, released in the early twenty-first century and made between the mid-1990s and late-2000s, which attempt to broaden our comprehension of a regional peace process. One common thread among some of these films is the focus on capturing elusive moments of dialogue between Israelis and Palestinians. Some of the non-fiction texts, such as Encounter Point, Budrus, and Zero Degrees of Separation, focus on the ties between the populations as they engage in nonviolent activism and anti-occupation demonstrations, while resisting obvious tropes to represent Israeli and Palestinian life. Meanwhile, Route 181: Fragments of a Journey in Palestine-Israel uses the teaming of an Israeli and Palestinian filmmaker to subvert state-commissioned systems of travel and separation that are supposed to divide the citizenry. Furthermore, both Encounter Point and Promises — probably the most popular title within this thesis, due to its Academy Award nomination in 2002 — manage to chronicle meetings between Israelis and Palestinians, as they shed their preconceptions of the Other to more deeply understand the circumstances of these new allies. The creative and humanist efforts of these filmmakers (and their curious, conscientious subjects) are significant showcases of ground-level peace-building work among the two populations, corresponding with scholarly and mainstream literature that focused on paths toward peace among Israelis and Palestinians. Nevertheless, these documentaries were also a product of a time when the viability of a two-state solution was widely debated among political scientists, and when cross-border conversations between citizens could manageably occur. Even though titles from Israel and Palestine have become common entities on the international film festival circuit, with the most successful finding play at art-house and repertory cinemas across North America and Europe, contemporary fiction narratives focused on the interplay between Israelis and Palestinians are quite rare. On a personal level, this investigation into more nuanced representations of the Israeli-Palestinian conflict comes from my interest in understanding more about the ways that artists have attempted to grapple with the complexity of the Middle Eastern discord while managing to find spaces for optimism and dialogue. As a Jewish Canadian who has long been fascinated with Israel, it was absorbing to read about the different national paradigms of Israeli and Palestinian cinema, while observing the ways that documentarians have eschewed some of the local cinematic conventions to make space for marginalized perspectives of the conflict. It is thrilling to know that, even 4 though cultural roads to enable a more dimensional geopolitical understanding only lasted for a short period, we can use these heralded non-fiction examples as indicative of a spirit to relegate official narratives and expand our ideas of what exists in the region. The noble, pluralistic aims of many of these filmmakers were beacons of light amidst the dark, contentious political climate in the Middle East. A few weeks after the directors and two of the subjects of Promises appeared at the Academy Awards, I went to see the documentary with my father, when it screened as part of the Sprockets Toronto International Film Festival for Children in Toronto, which specialized in showing films aimed at families. I vividly remember a brewing excitement in the auditorium during the film’s final third, when some of the young children from West Jerusalem and the Dheisheh refugee camp in the West Bank agree to meet. (One of the film’s more playful moments, as Palestinian boy Faraj goes through an extensive, near-ritualistic application of cologne and hair gel to prepare for this day, got big, warm laughs from the packed screening.) The film’s climactic sequences of unification between the children were probably my first exposure to this type of cross-cultural dialogue. As someone who attended a Jewish religious school that promoted and propagated the idea that Israel was a place of the most benevolent morality, a thriving culture, and a long history bound up in Biblical texts, the documentary was also deeply illuminating. At this educational institution, a prayer on behalf of the State of Israel, which praised God and the Israeli army for continuing to shield and protect the land’s Jewish inhabitants, was spoken on the morning announcements every day. (I can still recite it from memory.) Meanwhile, whereas Jewish holidays and Israel’s independence day were celebrated with gusto, there was virtually no classroom discussion of Palestinian life or history in the Middle East. None of the maps that adorned the classroom walls contained diagrams of partition borders or names of Palestinian towns, effectively erasing their presence from this territory. The only times that educators acknowledged a Palestinian co-existence with Jews in Israel was during speeches about the violence of the Second Intifada — sermons delivered by teachers about the enduring victimization of the Jewish people at the hands of terrorists. Unsurprisingly, this disproportionately one-sided perspective of the conflict became the de facto view among an impressionable class of young, outspoken Jews. Yet, my introduction to a different side of the conflict with Promises, a film that ends with a hopeful message of continued reconciliation between Israelis and Palestinians, kept me