From the Editors
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Ella Habiba Shohat
On 3-5 July 1989, an unusual gathering, which went largely unreported in the media, took place in Toledo, Spain—“Judíos orientales y palestinos. Un diálogo para la paz árabe-israelí” (“Jews of the Orient and Palestinians: A Dialogue for Arab-Israeli Peace.”) Four years before the commencement of the Oslo Accords, the Toledo conference took place at a time when Israeli law forbade such meetings, legally defined as proscribed political contacts with Palestinian ...Keep Reading »
A widespread narrative has maintained that Israel rescued Jews from the Arab/Muslim lands, brought them from the Diaspora to the Promised Land, thus ending a millennial Babylonian Exile. Could it be, I have asked, that this engineered In-gathering of the Exiles itself engendered new exiles that resulted in a series of traumatic ruptures? In the wake of these new diasporizations, what memories could be narrated and which were to be erased in order to fit the official picture ...Keep Reading »
Ella Shohat, Israeli Cinema: East/West and the Politics of Representation (1989). New Edition. New York and London: I. B. Tauris, 2010 [When Ella Shohat’s book Israeli Cinema: East/West and the Politics of Representation was first published in 1989, Edward Said wrote: “Shohat's Israeli Cinema is a tour-de-force. Not only is it theoretically sophisticated, it is also deeply rooted in the changing politics and perceptions of the Israeli predicament as they bear upon Israeli ...Keep Reading »
As part of our recognition of the life, work and tragic death of Juliano Mer-Khamis (1958-2011), we are publishing an excerpt from Ella Shohat’s recent postscript chapter to the new edition of Israeli Cinema: East /West and the Politics of Representation (IB Tauris, London), which features a discussion of Juliano’s powerful documentary, Arna’s Children. The excerpt is taken from the section, “Independence, Nakba and the Visual Archive,” published with the ...Keep Reading »
Ella Habiba Shohat is Professor of Cultural Studies at New York University. Her books include: Taboo Memories, Diasporic Voices (Duke Univ. Press, 2006); Israeli Cinema: East/West and the Politics of Representation (Univ. of Texas Press, 1989; Updated Edition with a new postscript chapter, I.B. Tauris, 2010); Talking Visions: Multicultural Feminism in a Transnational Age (MIT & The New Museum of Contemporary Art, 1998); Dangerous Liaisons: Gender, Nation and Postcolonial Perspectives (co-edited with Anne McClintock & Aamir Mufti, Univ. of Minnesota Press, 1997); and with Robert Stam, Unthinking Eurocentrism (Routledge, 1994), winner of the (Katherine Kovacs Singer Best Book Award); Multiculturalism, Postcoloniality and Transnational Media (Rutgers Univ. Press, 2003); Flagging Patriotism: Crises of Narcissism and Anti-Americanism (Routledge, 2007); and Race in Translation: Culture Wars Around the Postcolonial Atlantic (NYU press, 2012). Shohat’s co-edited (with Evelyn Alsultany) volume Between the Middle East and the Americas: The Cultural Politics of Diaspora is just out from Univ. of Michigan Press. Her writing has been translated into diverse languages, including: French, Italian, Portuguese, Spanish, German, Arabic, Hebrew, Turkish, Polish, and Romanian. Shohat has also served on the editorial board of several journals, including: Social Text; Critique: Critical Middle Eastern Studies; Meridians: Feminism, Race, Transnationalism; Interventions: International Journal of Postcolonial Studies; and Middle East Journal of Culture and Communication. She is a recipient of such fellowships as Rockefeller and the Society for the Humanities at Cornell University, where she also taught at The School of Criticism and Theory. She was awarded a Fulbright research / lectureship at the University of São Paulo, Brazil, for studying the cultural intersections between the Middle East and Latin America.
"The women express a desire to participate in warfare, and are frustrated when they are forced to remain in the safe houses with the children while the men conduct battle. In 1948, they gain the “right” to guard the kibbutz with hunting rifles. The film concludes with photographs of these women wielding their guns, implying that they gave up their own liberation for the sake of the national struggle and the settler colonial project."click | email | tweet