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- Author: François Dubuisson x
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The Israeli-Palestinian conflict has inspired an abundant filmography, which traces the main events and addresses many aspects of the conflict. Based on a material composed of about eighty feature films and television series, the chapter studies the way international law with respect to the Israeli-Palestinian conflict is represented on screen. Three major themes emerged in this regard, which are analysed successively: the creation of the State of Israel and its consequences on the Palestinian people; the Israeli occupation; the peace process in the Middle East and the ways to achieve it. The chapter concludes with a broader reflection on the place occupied by cinema in the conflict, as a means of struggle, as the object of controversy or as a symbol.
The aim of this introductory chapter is to provide some reflections with regard to methodologies that are used when analysing films and TV series from an international law perspective. Different tendencies may be distinguished in the existing literature. Among them, critical studies focus on the connection between cinema and ideology, both from legal scholars already associated with critical schools of legal thought and from specialists in international relations or political science. This approach has been shared by all the authors of this book, with a double objective: first, to identify representations of international law in cinematographic productions; and, second, to try to determine some of the functions of these representations in the (international) society. In doing so, the authors will contrast the narratives of international law depicted in film and TV with the corresponding narratives advanced by legal scholars. This will lead to the identification of a cognitive dissonance between them and an assessment of its implications for general perceptions of international law.
Cinema has been an object of study for the social sciences for some time now. The relationship between law and cinema has been the subject of a certain number of reflections by jurists who work essentially within a national legal framework, and from the true genre that courtroom movies have become. One can point also to studies linking cinema and international relations. In short, the relationship between international law and cinema has never been the subject of a specific book. The objective of the present book is to show what image of international law and its norms is conveyed in films and series. Beyond a strictly legal analysis, the ambition is to take into account, in a broader perspective marked by interdisciplinarity, the relations between international law, cinema and ideology. The volume is aimed at a readership made of scholars, researchers as well as practitioners, in the field of international law, and related fields, all of whom will benefit from being introduced to a variety of perspectives on core international legal questions present in movies and TV series. Further, the volume can also be used with advanced undergraduate and postgraduate students studying international law, politics and international relations because it will provide the possibility of introducing students to a variety of perspectives on key issues in international law present in movies and TV series.