פרופ' ענת זנגר

חוג לקולנוע וטלויזיה סגל אקדמי בכיר
פרופ' ענת זנגר
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מידע כללי

קורות חיים - CV

ענת זנגר היא פרופסור חבר וראשת לימודי התואר השני העיוני בחוג לקולנוע וטלווזיה באוניברסיטת תל אביב.

בין נושאי מחקרה: קולנוע ישראלי, מיתולוגיה ונשים, היסטוריוגרפיה וזיכרון קולקטיבי, אינטרטקסטואליות, פנומנולוגיה ומרחב. היא מחברת של הספרים: Film Remakes as Ritual and Disguises (Amsterdam University Press, 2006) ; Place, Memory and Myth in Contemporary Israeli Cinema (Valentine Mitchell, 2012).

הפרוייקט שלה בנושא המרחב בקולנוע ישראלי זכה למימון של הקרן הישראלית למדע (2012-2008) וכן פרוייקט המחקר בנושא ירושלים בקולנוע ובתרבות הישראלית (2017-2013). היא עורכת שותפה לאנתולוגיה על אתיקה וקולנוע Just Images: The Cinematic and the Ethics (Cambridge Scholar Publishing, 2012).

 

Anat Zanger is an associate professor at the Department of Film and Television and chair of the MA in Film Studies at Tel Aviv University.

Among her research subjects: Israeli cinema, mythology and women, history and collective memory, intertextuality, phenomenology, space and landscape. She is author of Film Remakes as Ritual and Disguises (Amsterdam University Press, 2006) and Place, Memory and Myth in Contemporary Israeli Cinema (Valentine Mitchell, 2012).

Her project on Israeli space and cinema has been granted by the Israeli Science Foundation (ISF, 2008-2012 and recently on Jerusalem in Films (ISF ,2013-2017). She is co editor of the book Just Images: The Cinematic and the Ethics” (Cambridge Scholar Publishing, 2012).

 

מבחר פרסומים - Selected Publications

BOOKS

Film Remakes as Ritual and Disguise: From Carmen to Ripley, Amsterdam: Amsterdam University Press, 2006. Series: Film Culture in Transition. (160 pp. & 12 pages of still pictures).

Place, Memory and Myth in Contemporary Israeli Cinema, London: Vallentine-Mitchell Publishers, (256 pp.), 2012.

 

REFEREED ARTICLES

“Next on Your Screen: The Double Identity of the Trailer”, Semiotica: Journal of the International Association for Semiotic Studies, Berlin & New York, vol. 120 (1-2), 1998, pp. 207-230.   * Reviewed in: Laurie E. Osborne, “Clip Art: Theorizing the Shakespeare Film Clip”, Shakespeare Quarterly, vol. 53 (2), 2002, pp. 227-240.

“The Cinematic Remake: Repetition, Serialization and Spectacle”, Assaph Kolnoa: Studies in Cinema & Television, Tel-Aviv University, Faculty of the Arts, Dept. of Film & Television, 2001, pp. 55-74.

So Far Away yet So Close: On Visions in SF Films Towards the End of the Millennium” [Hebrew], Motar: Visions and Visionary, Journal of the Faculty of the Arts, Tel-Aviv University & Zmora-Bittan, 2001, pp. 33-38.

Desire Ltd: Romanies, Women, and Other Smugglers in Carmen”, Framework: The Journal of Film and Media UK, special issue: The Roma (Gypsies) in International Cinema, vol. 44 (2), 2003, pp. 81-93.

“Periphery and Nostalgia in Contemporary Israeli Cinema” [Hebrew], Motar: Israeli Landscape, A Journal of the Faculty of the Arts, Tel-Aviv University & Zmora-Bittan, vol. 11, 2003, pp. 57-64. [also printed in: Between Sderot and Tel-Aviv: Centre-Periphery Relations in Israeli Culture [Hebrew], Oded Heilbronner and Michael Levin (eds.), Tel-Aviv: Resling, 2007, pp. 255-270. ; in English: “Rural Sunset: Periphery and Nostalgia in the Landscape of Contemporary Israeli Cinema”, Heksherim, Ben-Gurion University Journal, 2008.]

Hole in the Moon or Transformations of the Binding Myth (Ha’akeda) in Israeli Cinema”, Shofar: An Interdisciplinary Journal of Jewish Studies, special issue: Jewish Films, Lawrence Baron (ed.), vol. 22 (1), 2003, pp. 95-109.

Zionism and the Detective: Imaginary Territories in Israeli Popular Cinema”, Journal of Modern Jewish Studies, vol. 3, 2004, pp. 307-318.

Blind Space: Roadblock Movies in Contemporary Israeli Film”, Shofar: An Interdisciplinary Journal of Jewish Studies, special issue: Israeli Cinema, Nurith Gertz, Anat Zanger, Nitzan Ben Shaul and Yehuda (Judd) Ne’eman (eds.), vol. 24 (1), 2005, pp. 4-37.

 “Women, Border and Camera: Israeli Feminine Framing of War”, Feminist Media Studies, special issue: Women and War, Daphna Lemish (ed.), vol. 5 (3), 2005, pp. 341-357.

The Event and the Picture: Between My Stills and Memories of the Eichmann Trial by David Perlov” [Hebrew], Israel: Studies in Zionism and the State of Israel: History, Society, Culture, special issue: History and Memory in Israeli Cinema, vol. 14, 2008, pp. 89-105.

Between the Sea and the Mikveh: The Siren’s Voice in Contemporary Israeli Cinema” [Hebrew] in Iyunim Bitkumat Israel, A Journal for Israeli History, special issue: Gender in Israel: New Studies on Gender in the Yeshouv and State, Ben-Gurion University, 2011, pp. 521-542.

Just Look at Yourselves: The Face and the Ethical Event in Israeli Cinema”, Studies in Documentary Film, vol. 6 (3), September 2012, pp. 291-306.

Parallel Images: The ‘Real’, the Ghost and the Cinema”, International Journal of the Image, vol. 3 (1), 2013, pp.1-11.

Between Homeland and Prisoners of War: Remaking Terror”, Continuum: Journal of Media & Cultural Studies, special issue: Transnational Television Remakes, edited by Claire Perkins & Constantine Verevis, vol. 29 (5), October 2015, pp. 731-742.

City and Memory: Jerusalem in Israeli Cinema”, Israel Studies, Special Issue: Jerusalem: Visions & Designs, vol. 21 (3), Fall 2016, pp. 206-220.

 

CHAPTERS IN BOOKS

“The Dark Side of the Moon: Women in Israeli Cinema” [Hebrew], Fictive Looks: On Israeli Cinema, Nurith Gertz, Orly Lubin and Yehuda (Judd) Ne’eman (eds.), Tel Aviv: The Open University of Israel, 1998. pp. 205-214.

“Filming National Identity: War and Woman in Israeli Cinema”, The Military & Militarism in Israeli Society, Edna Lomsky-Feder and Eyal Ben Ari (eds.), Albany: State University of New York Press (SUNY), 1999, pp. 261-279.

“On the Writing of a Cultural Trauma” [Hebrew], An Overcoat for Benjamin (Part II), Literature, Meaning, Culture, vol. 24, Ziva Ben-Porat (ed.), The Porter Institute for Poetics and Semiotics, Tel- Aviv University, 2001, pp. 308-327.

“The Face of Joan of Arc Masked in Historical Realism” [Hebrew], History in Cinema, Cinema in History, Shlomo Zand, Moshe Zimmerman and Haim Bereshit (eds.), The Zalman Shazar Center and The Israeli Society for History, 2004, pp. 273-292.

Sweet Einat Strikes Back: Feminine Camera Positions in Wartime”, Palestiniens, Israéliens, que peut le cinéma? Janine Halbreich-Euvrard (ed.), Paris: Michalon, 2005. pp. 121-127.

From the Other Side: On Borders in the Films of Chantal Akerman” [English & Hebrew], Chantal Akerman: Spiral Autobiography, Tel-Aviv: Tel-Aviv Museum, July 2006, pp. 36-52 [English]; pp.47-64 [Hebrew].

Roadblocks or Who Controls the Checkpoint?”, Documentaly [Hebrew], Mayan Amir (ed.), Tel-Aviv: Am Oved, 2007, pp. 46-56.

“The Art of the Feminine in Contemporary Israeli Cinema”, Il cinema israeliano contemporaneo [Italian],Giovanni Spagnoletti, Ariel Schweitzer and Maurizio De Bonis (eds.), Pisaro and Venice, Italy: Marsilio, 2009, pp. 120-134.

The Event and the Responsibility of the Image”, Just Images: Ethics and the Cinematic, Boaz Hagin, Sandra Meiri, Raz Yosef and Anat Zanger (eds.), Cambridge: Cambridge Scholar Publishers, June 2011, pp. 130-141.

Beaufort and My Father, My Lord: Traces of the Binding Myth and the Mother’s Voice”, Israeli Cinema: Identities in Motion, Miriam Talmon-Bohm and Yaron Peleg (eds.), Austin: Texas University Press, 2011, pp. 225-238.                     

Red Eleynu Aviron: On the Binding (Akeda) in Contemporary Israeli Cinema “ [Hebrew], Identities in Transition in Israeli Culture, Adia Menndelson-Maoz, Sandra Meiri, Yael Munk, and Liat Steir-Livni (eds.), Tel-Aviv: The Open University, 2013, pp. 193-204.

“The Event and the Picture: David Perlov's My Stills and Memories of the Eichmann Trial”, Deeper than Oblivion: Trauma and Memory in Israeli Cinema, Raz Yosef and Boaz Hagin (eds.), New York & London: Continuum, 2013, pp. 73-92.

'A ram butts his broad horns again and again against the wall of the house': The Binding Myth in Israeli Film”, The Bible in Motion: A Handbook of the Bible and Its Reception in Film, vol. 2, Rhonda Burnette-Bletsch (ed.), Berlin & Boston: De Gruyter, 2016.

 

EDITING

Books:

Just Images: The Ethics and the Cinematic, Cambridge Scholar Publishers, co-editors with Boaz Hagin, Raz Yosef and Sandra Meiri, June 2011.

Introduction to Film Theories, a Reader [Hebrew] editor and scientific consultant. Raanana: Open University Press (218 pp.), 2015.

Journals:

Editor of the Film Section, Pro’zza: A Magazine for Literature and Culture [Hebrew], vol. 75-78, 1985.

Co-editor, Shofar, special issue: Israeli Cinema, with Nurith Gertz, Nitzan Ben-Shaul, Yehuda (Judd) Ne’eman, vol. 24 (5), 2005.

 

ENCYCLOPEDIC ENTRIES

”Joan Arc: Martyr, Saint, and Legend”, Encyclopedia of Women in World History, vol. 2, Bonnie G. Smith (ed.), Oxford: Oxford University Press, 2007, pp. 1175-1177.

“Giv’at Halfon Eina Ona” [Hebrew], Israeli Film Lexicon, Raya Morag and Shmulik Duvdevani (eds.), Tel Aviv: Keter and Rabinovich Foundation, due 2015.

The Band’s Visit” [Hebrew], Israeli Film Lexicon, Raya Morag and Shmulik Duvdevani (eds.), Tel Aviv: Keter and Rabinovich Foundation, 2015.

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