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Visual Syntax of Race: Arab-Jews in Zionist Visual Culture
Noa Hazan
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Analyzing the visual syntax and display rhetoric applied in newspaper photos, national historical albums, and museum exhibitions, Noa Hazan shows that although racial thought was and still is verbally suppressed in Israel, it is vividly present in its nonverbal official and public visual sphere. The racist perspective of newspaper editors, book publishers, photographers, and museum curators were morally justified in its time by such patronizing ideals as realistic news coverage or the salvation of Jewish heritage assets. Although their perspectives played a dominant role in establishing a visual syntax of race in Israel, they were not seen as racially discriminating at the time. The racist motifs and actions are revealed here by colligating multiple cases into a coherent narrative in retrospect.
This book points to a direct influence of the anti-Semitic discourse in Europe toward Mizrahim in Israel, highlighting the shared visual stereotypes used in both Europe and the fledgling state of Israel. Engraved in their body, these cultural traits were depicted and understood as racial-biological qualities and were visually manipulated to silo Ashkenazim and Mizrahim in Israel as distinct racial types.
Cover
Title Page
Copyright Page
Dedication
Contents
Illustrations
Acknowledgments
Preface
Introduction
Chapter 1. Biologicization of the Jewish Body
Chapter 2. Tropes in Transition
Chapter 3. A Melting Pot or a Dividing Mechanism
Chapter 4. Off-Grain Fabric
Chapter 5. The Bride and the Whore
Chapter 6. Institutional Power
Chapter 7. From War to Protest—Photographs of Black Panther Demonstrations
Figure 4.2. Solomon Maxim, “Despite her 80 years, weaver Garsia Gueta was sent to the U.S. in order to Demonstrate the weaving craft abroad,” November 24, 1955, Devar Ha’Shavua, p. 7.
Figure 4.6. Unknown photographer, 1955, from Batia Donner, Maskit: A Local Fabric. Translated by Daria Kassovsky. Catalogue for the exhibition held at the Eretz Israel Museum, Tel-Aviv, Summer 2003. Tel-Aviv: Tel-Aviv Museum of Art, 2003.
Figure 5.1. Fritz Cohen, A Yemenite wedding dress exhibited in the Bezalel Collection of Jewish Cult Objects in the Israel Museum in Jerusalem. Government Press Office.
Figure 5.2. Yahiya Haiby, The photographer’s sister Miriam in her wedding ceremony circa 1930, The Ethnographic Archive, The Israel Museum in Jerusalem.
Figure 5.5. Noa Hazan, “Events under the subjects of ethnic communities,” the Ethnography Archive at the Israel Museum, was photographed during a visit to the archive.
Figure 6.1. Unknown photographer, “The troops take shelter behind a ridge in the ground, and the battle will then ensue among the sand dunes,” Bamahane (IDF weekly) memorial issue, June 12, 1967.
Figure 6.2. Unknown photographer, “Bracing Spirit and Steel Armored Corps,” IDF Battle Album, 1967. Photo collection of Beit Ariella-Shaar Zion Library, Tel Aviv.
Figure 6.3. Unknown photographer, “Navy hit Egyptian submarines and missile-carriers,” The War for Peace, 1967. Photo collection of Beit Ariella-Shaar Zion Library, Tel Aviv.
Figure 6.4. Unknown photographer, “A shower in the desert for the soldiers returning from ambush duty,” The Battle of the Suez Canal, 1969. Photo collection of Beit Ariella-Shaar Zion Library, Tel Aviv.
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