The Hero’s Wife: The Depiction of Female Holocaust Survivors in Israeli Cinema Prior to the Eichmann Trial and in its Aftermath

Israeli culture in the 1940s and 1950s was dominated by ideological considerations. Zionist films, as other aspects of Eretz-Israel and Israeli culture, distinctively propagated Zionist ideas. As a consequence of their sociopolitical focus, these films neglected the complexities of the relationship...
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Autor*in:	Liat Steir-Livny [verfasserIn]

Format:	E-Artikel
Sprache:	Englisch

Erschienen:	2018

Schlagwörter:	HOLOCAUST CINEMA HOLOCAUST SURVIVORS THE EICHMANN TRIAL HOLOCAUST COMMEMORATION

Übergeordnetes Werk:	In: Polish Political Science Yearbook - Wydawnictwo Adam Marszałek, 2017, 47(2018), 2, Seite 406-413
Übergeordnetes Werk:	volume:47 ; year:2018 ; number:2 ; pages:406-413

Links:	Link aufrufen Link aufrufen Link aufrufen Journal toc Journal toc

DOI / URN:	10.15804/ppsy2018218

Katalog-ID:	DOAJ010050493

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allfieldsGer	10.15804/ppsy2018218 doi (DE-627)DOAJ010050493 (DE-599)DOAJ530a9593be8d45cb97b38b50d5f483b3 DE-627 ger DE-627 rakwb eng JZ2-6530 JA1-92 Liat Steir-Livny verfasserin aut The Hero’s Wife: The Depiction of Female Holocaust Survivors in Israeli Cinema Prior to the Eichmann Trial and in its Aftermath 2018 Text txt rdacontent Computermedien c rdamedia Online-Ressource cr rdacarrier Israeli culture in the 1940s and 1950s was dominated by ideological considerations. Zionist films, as other aspects of Eretz-Israel and Israeli culture, distinctively propagated Zionist ideas. As a consequence of their sociopolitical focus, these films neglected the complexities of the relationship between Holocaust survivors and the native Jews in Eretz Israel. Instead, Holocaust survivors were reduced to a homogeneous entity that bore distinct negative connotations. Films depicted female Holocaust survivors as mentally unstable, unfit mothers, and often played up negative sexual stereotypes. In these films, the women were “cured” or went through a process of “purification” thanks to the Zionist establishment. Historical research often cites the trial of Adolf Eichmann (1961) as being a turning point in the Israeli public’s perception of the Holocaust, and its representation in Israeli culture. This article will focus on an analysis of the film The Hero’s Wife (Peter Frye, 1963) that was produced in the aftermath of the trial. It will discuss the innovative representations of this unresearched film and will seek to answer the questions of why, and in what way, its narrative comprises a subversive antithesis to the narrative shaped by Zionist fiction films made prior to the Eichmann trial. HOLOCAUST CINEMA HOLOCAUST SURVIVORS THE EICHMANN TRIAL HOLOCAUST COMMEMORATION International relations Political science (General) In Polish Political Science Yearbook Wydawnictwo Adam Marszałek, 2017 47(2018), 2, Seite 406-413 (DE-627)86421622X (DE-600)2863742-2 02087375 nnns volume:47 year:2018 number:2 pages:406-413 https://doi.org/10.15804/ppsy2018218 kostenfrei https://doaj.org/article/530a9593be8d45cb97b38b50d5f483b3 kostenfrei https://czasopisma.marszalek.com.pl/images/pliki/ppsy/47-2/ppsy2018218.pdf kostenfrei https://doaj.org/toc/0208-7375 Journal toc kostenfrei https://doaj.org/toc/0208-7375 Journal toc kostenfrei GBV_USEFLAG_A SYSFLAG_A GBV_DOAJ GBV_ILN_11 GBV_ILN_20 GBV_ILN_22 GBV_ILN_23 GBV_ILN_24 GBV_ILN_31 GBV_ILN_32 GBV_ILN_39 GBV_ILN_40 GBV_ILN_60 GBV_ILN_62 GBV_ILN_63 GBV_ILN_65 GBV_ILN_69 GBV_ILN_70 GBV_ILN_73 GBV_ILN_90 GBV_ILN_95 GBV_ILN_100 GBV_ILN_110 GBV_ILN_120 GBV_ILN_138 GBV_ILN_151 GBV_ILN_152 GBV_ILN_161 GBV_ILN_184 GBV_ILN_187 GBV_ILN_206 GBV_ILN_213 GBV_ILN_230 GBV_ILN_250 GBV_ILN_281 GBV_ILN_285 GBV_ILN_293 GBV_ILN_370 GBV_ILN_374 GBV_ILN_602 GBV_ILN_636 GBV_ILN_647 GBV_ILN_702 GBV_ILN_2001 GBV_ILN_2003 GBV_ILN_2005 GBV_ILN_2006 GBV_ILN_2007 GBV_ILN_2008 GBV_ILN_2009 GBV_ILN_2010 GBV_ILN_2011 GBV_ILN_2014 GBV_ILN_2015 GBV_ILN_2018 GBV_ILN_2020 GBV_ILN_2021 GBV_ILN_2025 GBV_ILN_2026 GBV_ILN_2027 GBV_ILN_2037 GBV_ILN_2050 GBV_ILN_2056 GBV_ILN_2057 GBV_ILN_2061 GBV_ILN_2068 GBV_ILN_2093 GBV_ILN_2106 GBV_ILN_2108 GBV_ILN_2113 GBV_ILN_2116 GBV_ILN_2143 GBV_ILN_2147 GBV_ILN_2148 GBV_ILN_2190 GBV_ILN_2232 GBV_ILN_2470 GBV_ILN_2548 GBV_ILN_2863 GBV_ILN_2953 GBV_ILN_4012 GBV_ILN_4035 GBV_ILN_4037 GBV_ILN_4046 GBV_ILN_4112 GBV_ILN_4125 GBV_ILN_4126 GBV_ILN_4242 GBV_ILN_4249 GBV_ILN_4251 GBV_ILN_4277 GBV_ILN_4305 GBV_ILN_4306 GBV_ILN_4307 GBV_ILN_4313 GBV_ILN_4322 GBV_ILN_4323 GBV_ILN_4324 GBV_ILN_4325 GBV_ILN_4326 GBV_ILN_4333 GBV_ILN_4338 GBV_ILN_4346 GBV_ILN_4367 GBV_ILN_4393 GBV_ILN_4700 GBV_ILN_4753 AR 47 2018 2 406-413
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source	In Polish Political Science Yearbook 47(2018), 2, Seite 406-413 volume:47 year:2018 number:2 pages:406-413
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container_title	Polish Political Science Yearbook
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author	Liat Steir-Livny
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topic_title	JZ2-6530 JA1-92 The Hero’s Wife: The Depiction of Female Holocaust Survivors in Israeli Cinema Prior to the Eichmann Trial and in its Aftermath HOLOCAUST CINEMA HOLOCAUST SURVIVORS THE EICHMANN TRIAL HOLOCAUST COMMEMORATION
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title	The Hero’s Wife: The Depiction of Female Holocaust Survivors in Israeli Cinema Prior to the Eichmann Trial and in its Aftermath
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title_full	The Hero’s Wife: The Depiction of Female Holocaust Survivors in Israeli Cinema Prior to the Eichmann Trial and in its Aftermath
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title_sort	hero’s wife: the depiction of female holocaust survivors in israeli cinema prior to the eichmann trial and in its aftermath
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title_auth	The Hero’s Wife: The Depiction of Female Holocaust Survivors in Israeli Cinema Prior to the Eichmann Trial and in its Aftermath
abstract	Israeli culture in the 1940s and 1950s was dominated by ideological considerations. Zionist films, as other aspects of Eretz-Israel and Israeli culture, distinctively propagated Zionist ideas. As a consequence of their sociopolitical focus, these films neglected the complexities of the relationship between Holocaust survivors and the native Jews in Eretz Israel. Instead, Holocaust survivors were reduced to a homogeneous entity that bore distinct negative connotations. Films depicted female Holocaust survivors as mentally unstable, unfit mothers, and often played up negative sexual stereotypes. In these films, the women were “cured” or went through a process of “purification” thanks to the Zionist establishment. Historical research often cites the trial of Adolf Eichmann (1961) as being a turning point in the Israeli public’s perception of the Holocaust, and its representation in Israeli culture. This article will focus on an analysis of the film The Hero’s Wife (Peter Frye, 1963) that was produced in the aftermath of the trial. It will discuss the innovative representations of this unresearched film and will seek to answer the questions of why, and in what way, its narrative comprises a subversive antithesis to the narrative shaped by Zionist fiction films made prior to the Eichmann trial.
abstractGer	Israeli culture in the 1940s and 1950s was dominated by ideological considerations. Zionist films, as other aspects of Eretz-Israel and Israeli culture, distinctively propagated Zionist ideas. As a consequence of their sociopolitical focus, these films neglected the complexities of the relationship between Holocaust survivors and the native Jews in Eretz Israel. Instead, Holocaust survivors were reduced to a homogeneous entity that bore distinct negative connotations. Films depicted female Holocaust survivors as mentally unstable, unfit mothers, and often played up negative sexual stereotypes. In these films, the women were “cured” or went through a process of “purification” thanks to the Zionist establishment. Historical research often cites the trial of Adolf Eichmann (1961) as being a turning point in the Israeli public’s perception of the Holocaust, and its representation in Israeli culture. This article will focus on an analysis of the film The Hero’s Wife (Peter Frye, 1963) that was produced in the aftermath of the trial. It will discuss the innovative representations of this unresearched film and will seek to answer the questions of why, and in what way, its narrative comprises a subversive antithesis to the narrative shaped by Zionist fiction films made prior to the Eichmann trial.
abstract_unstemmed	Israeli culture in the 1940s and 1950s was dominated by ideological considerations. Zionist films, as other aspects of Eretz-Israel and Israeli culture, distinctively propagated Zionist ideas. As a consequence of their sociopolitical focus, these films neglected the complexities of the relationship between Holocaust survivors and the native Jews in Eretz Israel. Instead, Holocaust survivors were reduced to a homogeneous entity that bore distinct negative connotations. Films depicted female Holocaust survivors as mentally unstable, unfit mothers, and often played up negative sexual stereotypes. In these films, the women were “cured” or went through a process of “purification” thanks to the Zionist establishment. Historical research often cites the trial of Adolf Eichmann (1961) as being a turning point in the Israeli public’s perception of the Holocaust, and its representation in Israeli culture. This article will focus on an analysis of the film The Hero’s Wife (Peter Frye, 1963) that was produced in the aftermath of the trial. It will discuss the innovative representations of this unresearched film and will seek to answer the questions of why, and in what way, its narrative comprises a subversive antithesis to the narrative shaped by Zionist fiction films made prior to the Eichmann trial.
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title_short	The Hero’s Wife: The Depiction of Female Holocaust Survivors in Israeli Cinema Prior to the Eichmann Trial and in its Aftermath
url	https://doi.org/10.15804/ppsy2018218 https://doaj.org/article/530a9593be8d45cb97b38b50d5f483b3 https://czasopisma.marszalek.com.pl/images/pliki/ppsy/47-2/ppsy2018218.pdf https://doaj.org/toc/0208-7375
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Zionist films, as other aspects of Eretz-Israel and Israeli culture, distinctively propagated Zionist ideas. As a consequence of their sociopolitical focus, these films neglected the complexities of the relationship between Holocaust survivors and the native Jews in Eretz Israel. Instead, Holocaust survivors were reduced to a homogeneous entity that bore distinct negative connotations. Films depicted female Holocaust survivors as mentally unstable, unfit mothers, and often played up negative sexual stereotypes. In these films, the women were “cured” or went through a process of “purification” thanks to the Zionist establishment. Historical research often cites the trial of Adolf Eichmann (1961) as being a turning point in the Israeli public’s perception of the Holocaust, and its representation in Israeli culture. This article will focus on an analysis of the film The Hero’s Wife (Peter Frye, 1963) that was produced in the aftermath of the trial. 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The Hero’s Wife: The Depiction of Female Holocaust Survivors in Israeli Cinema Prior to the Eichmann Trial and in its Aftermath

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