Schindler’s List (1993, Universal) is unprecedented as an expression of extremist nationalist Likud הסברה. We know that the story is fundamentally a nation creation narrative because the movie ends with the death of Schindler to show that the people he lead became capable of standing on the own. This movie proved to be a genuine blockbuster unlike earlier Zionist oriented films that were only moderately successful. Obviously, no one visits the cinemaplex for a lecture in Labor Zionist ideology.
This film is extremely problematic on several grounds. It is a consciously inverted film noir Wizard of Oz that markets its message subliminally. The evil of Nazism is reduced to psychopathology. Zionist ideologues prefer such an understanding of Nazism because genuine analysis of the phenomenon of Nazism would find too many similarities to Zionism. As history, the movie embodies the serious failures of Zionist historiography to which Hobsbawm referred. The movie describes the Holocaust of Zionist myth not the historical שואה (or catastrophe). The Soviet officer makes the pitch of a שליח (a Zionist emissary that recruits new immigrants).
One must wonder how a Palestinian would view the conclusion. It shows the Schindler Jews, who mostly did not migrate to Palestine, as they step into a rebirth of color and into Jerusalem to the sound in the background of זהב של ירושלים, a song that celebrates the culmination of a series of dispossession, tragedies and expulsions of the native population and that is generally associated now with the extreme right in Israeli politics.
Spielberg is indoctrinating the audience with the following propaganda.
a. The State of Israel is an appropriate monument to murdered European Jews even though the vast majority were either non-Zionist or anti-Zionist, and
b. making Palestine a Jewish state was proper recompense for persecution of European Jews despite the wishes of the majority native population (who in a sinister foreshadowing of planned expulsion or mass extermination are absent as the theme of the 1967 conquest is played).Schindler’s List (1993, Universal) is unprecedented as an expression of extremist nationalist Likud הסברה. We know that the story is ...all »Schindler’s List (1993, Universal) is unprecedented as an expression of extremist nationalist Likud הסברה. We know that the story is fundamentally a nation creation narrative because the movie ends with the death of Schindler to show that the people he lead became capable of standing on the own. This movie proved to be a genuine blockbuster unlike earlier Zionist oriented films that were only moderately successful. Obviously, no one visits the cinemaplex for a lecture in Labor Zionist ideology.
This film is extremely problematic on several grounds. It is a consciously inverted film noir Wizard of Oz that markets its message subliminally. The evil of Nazism is reduced to psychopathology. Zionist ideologues prefer such an understanding of Nazism because genuine analysis of the phenomenon of Nazism would find too many similarities to Zionism. As history, the movie embodies the serious failures of Zionist historiography to which Hobsbawm referred. The movie describes the Holocaust of Zionist myth not the historical שואה (or catastrophe). The Soviet officer makes the pitch of a שליח (a Zionist emissary that recruits new immigrants).
One must wonder how a Palestinian would view the conclusion. It shows the Schindler Jews, who mostly did not migrate to Palestine, as they step into a rebirth of color and into Jerusalem to the sound in the background of זהב של ירושלים, a song that celebrates the culmination of a series of dispossession, tragedies and expulsions of the native population and that is generally associated now with the extreme right in Israeli politics.
Spielberg is indoctrinating the audience with the following propaganda.
a. The State of Israel is an appropriate monument to murdered European Jews even though the vast majority were either non-Zionist or anti-Zionist, and
b. making Palestine a Jewish state was proper recompense for persecution of European Jews despite the wishes of the majority native population (who in a sinister foreshadowing of planned expulsion or mass extermination are absent as the theme of the 1967 conquest is played).«
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