000			01584cam a2200229 4500500
005			20250112043215.0
041			_afre
042			_adc
100	1	0	_aRichard, Thomas _eauthor
245	0	0	_aTzahal on screen: “The heroes are tired”
260			_c2019.
500			_a68
520			_aTzahal very early on imposed itself as something to be filmed. Presented as the embodiment of Israeli society and of the new Jew that Zionism sought to construct, its representations in film first of all built a virile, heroic model, both in Israel and abroad, which becomes brutality for its adversaries. However, the trauma of the 1973 war and this model’s loss of meaning in the face of the challenges that confronted Israeli society gradually led to a renewal of these representations. In tune with the evolution of Israeli cinema, there began to be representations of the army that highlighted the rifts and the violence of which the soldiers are the culprits or the victims, as well as a complex relationship between the filmmakers’ memories of the armed forces and their mistrust of militarism. The army remains an emblem of Israel, but its contrasting representations are an invitation to reflect on the influence of these images on the political imaginary.
690			_acinema
690			_atrauma
690			_aTzahal
690			_amilitarism
690			_arepresentation
690			_awar
786	0		_nMaghreb - Machrek | o 237-238 | 3 | 2019-02-14 | p. 147-167 | 1762-3162
856	4	1	_uhttps://shs.cairn.info/journal-maghreb-machrek-2018-3-page-147?lang=en
999			_c186103 _d186103