Israel

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              2 Archival description results for Israel

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              My Dream House
              ES ES-OVNI CTX-S014-SS001-0125 · Item · 2005
              Part of Non-Identified Video Observatory (OVNI)

              Four families in Israel/Palestine built their dream houses. This process confronts them with the wounds of their past and takes us into their dreams for a better future: Kalman was born to Holocaust survivors in a refugee camp in Cyprus after World War II, his first house in Israel was a house left by the Arab community in Haifa.Zaki is the son of Palestinian refugees who were expelled from their village in the Israeli War of Independence, the Palestinian Naqba of 1948. He and his family live only few miles away from the ruins of their former home. Michal, daughter of Israeli settlers in Sinai, saw the bulldozers destroy her beloved home during the evacuation from Sinai in 1982 and Rina never had a private home in the Kibbutz where she grew up. Through these personal stories Tal creates a sensitive kaleidoscope of Israeli society at the beginning of the new Millennium.

              Untitled
              A Film Unfinished
              ES ES-OVNI CTX-S014-SS001-0121 · Item · 2010
              Part of Non-Identified Video Observatory (OVNI)

              This film seeks the truth behind one of the most mysterious Nazi propaganda films ever shot inside the Warsaw Ghetto: a silent film that meticulously placed staged scenes of Jews enjoying a life of luxury in the ghetto alongside other chilling images that required no staging at all. Ironically, after the war, filmmakers and museums used fragments of the film as objective, general illustrations to accompany narratives of survivors and other written documents. Few people were aware of the dubious manner in which these images were created and the true but inconceivable reality that they bear witness to. The cinematic deception was forgotten and the black and white images remained etched in memory as historical truth.A Film Unfinished shakes our naive trust in photographic images and the way we perceive the historical past.

              Untitled