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dc.contributor.authorKossoff, Adam
dc.date.accessioned2017-12-12T10:01:36Z
dc.date.available2017-12-12T10:01:36Z
dc.date.issued2016-07
dc.identifier.urihttp://hdl.handle.net/2436/620984
dc.description.abstractIn 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.sponsorshipSelf-funded
dc.language.isoen
dc.publisherMontreal World Film Festival
dc.relation.urlhttps://www.youtube.com/watch?v=lIAfrDlR2PM
dc.subjectKafka
dc.subjectPalestine
dc.subjectIsrael
dc.subjectTel Aviv
dc.subjectlong take
dc.subjectMohammad Bakri
dc.subjectJackal and Arabs
dc.subjectZionism
dc.subjectpolitics of space
dc.titleHow They Hate Us... (2016, 26')
dc.typeMedia
dc.identifier.journalMontreal World Film Festival
html.description.abstractIn 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’.


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