How They Hate Us... (2016, 26')
dc.contributor.author | Kossoff, Adam | |
dc.date.accessioned | 2017-12-12T10:01:36Z | |
dc.date.available | 2017-12-12T10:01:36Z | |
dc.date.issued | 2016-07 | |
dc.identifier.uri | http://hdl.handle.net/2436/620984 | |
dc.description.abstract | In How They Hate Us (2016, 26’) Mohammad Bakri reads Kafka’s short story, Jackals and Arabs written in 1917. The film was made in response to the decision by the Israeli courts that Franz Kafka’s manuscripts had been left to the Israeli National Library and the claim that his work naturally belonged to the state of Israel. The film uses the long take as a reflexive and political aesthetic: the long take exposes and ‘deterritorialises’ the interior of cinematic language, and at its best, or maybe at its longest, the long take works through “a continuum of reversible intensities” (1975, Deleuze and Guattari), and as a form of ‘demontage’ or ‘remontage’. | |
dc.description.sponsorship | Self-funded | |
dc.language.iso | en | |
dc.publisher | Montreal World Film Festival | |
dc.relation.url | https://www.youtube.com/watch?v=lIAfrDlR2PM | |
dc.subject | Kafka | |
dc.subject | Palestine | |
dc.subject | Israel | |
dc.subject | Tel Aviv | |
dc.subject | long take | |
dc.subject | Mohammad Bakri | |
dc.subject | Jackal and Arabs | |
dc.subject | Zionism | |
dc.subject | politics of space | |
dc.title | How They Hate Us... (2016, 26') | |
dc.type | Digital or visual media | |
dc.identifier.journal | Montreal World Film Festival | |
html.description.abstract | In How They Hate Us (2016, 26’) Mohammad Bakri reads Kafka’s short story, Jackals and Arabs written in 1917. The film was made in response to the decision by the Israeli courts that Franz Kafka’s manuscripts had been left to the Israeli National Library and the claim that his work naturally belonged to the state of Israel. The film uses the long take as a reflexive and political aesthetic: the long take exposes and ‘deterritorialises’ the interior of cinematic language, and at its best, or maybe at its longest, the long take works through “a continuum of reversible intensities” (1975, Deleuze and Guattari), and as a form of ‘demontage’ or ‘remontage’. |