This year’s lineup at the Sixth Annual Other Israel Film Festival proves to be yet another thoughtful look into the marginalized community of Arab Israelis. The festival serves as a platform for Muslim Arab and Palestinian voices to express their complicated relationships to Israel.
Corinne Goldenberg has a B.A. in Women and Gender Studies with a concentration in Cultural and Ethnic Studies from Smith College and a M.A. in International Affairs from the New School, where she dually concentrated in Media and Cultural Studies and International Development. She has had the privilege of living and studying in some of the best film cities in the world—Paris, Bombay, New York. She explores the ways through which political forces interact with art and culture, particularly focusing on modes of intercultural communication, for better or for worse. She is most interested in how film industries represent national identity, particularly its process of ascribing "authenticity," and how the resulting signification affects international relations.
Corinne likes to think that, someday, she'll finish a screenplay or two. In the meantime, she enjoys studying languages and roaming the world in search of delicious vegetarian food.
To be honest, I was feeling a little disenchanted about the Oscars this year. I wasn’t incredibly impressed with the nominations for Best Picture, albeit there were a few gems amongst the crowd. I knew it just wouldn’t feel right if The Artist (2011) didn’t win, but—lo and behold—the Academy did not fully disappoint this year.
I didn’t want to read it. There’s something about yet another man writing about sexual violence towards women that brings shivers down my spine. I admit, I had been afraid of the Almodovar-esque female characters, strong yet always the victim; another series of women who fall in love with their oppressors and/or captors. The original Swedish title made me cringe, the direct translation into English being Men Who Hate Women (2005). I didn’t want anything to do with men who hate women, nor did I want to read about them for 600 plus pages.
I left the theatre feeling somewhat disappointed. After seeing Phyllida Lloyd’s new film, The Iron Lady (2011), I hadn’t really learned much about our protagonist, Margaret Thatcher. I had wondered how Lloyd would fit the long, significant life of the first female prime minister of the United Kingdom into a mere 105 minutes. Armed with Meryl Streep and Jim Broadbent as her leads, I was sure that the result would be spectacular.
The recent Occupy Wall Street protests have slowly grown to occupy our lives over the last couple months—from small media stories to full-blown visibility in pop culture. I thought it might be helpful to offer some documentary titles that show us how the banks succeeded in seizing power in the United States, and how their actions effectively created our current financial crisis. Now, it’s up to us to take it back.
The Help (2011) has been kicked off the number one slot at the box office. Finally. I thought it would never end. The buzz over The Help has been spreading, having made over $140 million and growing as I type these words. Everyone seems surprised about the success of the film, directed by Tate Taylor and adapted from Kathryn Stockett’s bestselling novel of the same name. Not only am I surprised, but appalled as well.
Adam Curtis produced The Power of Nightmares (2004), a three part BBC series, right smack in the middle of George W. Bush’s “war on terror.” I recently re-discovered the documentary series, and have been wondering whether its message is still relevant, or whether the neoconservative agenda will gently fade into the memory of the turn of the millennium.