Anat Zanger
Biographic Data
| ID | 3920484 |
|---|---|
| NAME | Anat Zanger |
| GIVEN NAMES | Anat |
| FAMILY NAME | Zanger |
| SIGNATURE | ZANGER A |
| AFFILIATIONS | Tel Aviv University |
| VERIFIED | No |
| TOTAL WORKS | 7 |
| TOTAL CITATIONS | 8 |
| AUTHOR COUNT | 7 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1998 |
| LATEST PUBLICATION YEAR | 2015 |
| H-INDEX | 2 |
Between Homeland and Prisoners of War: Remaking terror
The Israeli series Prisoners of War (Hatufim, Keshet, Israel, Gideon Raff, 2009–2011) and Homeland (Showtime, US 2011–2013; developed by Howard Gordon and Alex Gansa based on the Israeli series with Gideon Raff as one of the producers) is a special case of hypertextuality (Genette 1982). Both serial dramas revolve around prisoners of war who have returned home and their families, intelligence agency operatives and terror organizations operating b…
Film Remakes as Ritual and Disguise: From Carmen to Ripley
The first book-length account of the symbolic chains that link remakes and explain their disguises, Film Remakes as Rituals and Disguise is also the first book to explore how and why these stories are told. Anat Zanger focuses on contemporary retellings of three particular tales-Joan of Arc, Carmen, and Psycho-to reveal what she calls the remake's "rituals of disguise." Joan of Arc, Zanger demonstrates, later appears as the tough, androgynous Rip…
Film Remakes as Ritual and Disguise: From Carmen to Ripley (Amsterdam University Press - Film Culture in Transition)
Psycho: Inside and Outside the FrameThe cinematic medium, by virtue of its technology, encapsulates versions of potential movement per second.Within the same shot, each frame is an earlier version of the frame about to be seen.Seriality is constitutive in the very material of the cinema, i.e., its film strip.The cinema's "self-differing" elements might be identified as its specificity (Krauss, : ) but its differences are countered in fav…
Film Remakes as Ritual and Disguise: From Carmen to Ripley
Psycho: Inside and Outside the FrameThe cinematic medium, by virtue of its technology, encapsulates versions of potential movement per second.Within the same shot, each frame is an earlier version of the frame about to be seen.Seriality is constitutive in the very material of the cinema, i.e., its film strip.The cinema's "self-differing" elements might be identified as its specificity (Krauss, : ) but its differences are countered in favor of con…
Women, Border, and Camera: Israeli feminine framing of war
A borderland is a vague and undetermined place created by the emotional residue of an unnatural boundary. It is in a constant state of transition. The prohibited and forbidden are its inhabitants. (Gloria Anzaldúa 1987 Anzaldúa, Gloria. 1987. Borderlands/La Frontera: The New Mestiza, San Francisco: Spinsters/Aunt Lute. [Google Scholar], p. 3
Zionism and the Detective: Imaginary territories in Israeli popular cinema of the 1960s
The films Moishe Ventilator and The Blaumilch Canal are the vehicles for an examination of the writing of the Israeli territory through the symbolic representation of that space: a map. At the centre of the plot of both films is a detective who pursues a missing map and, in doing so, reveals the dialectic between a territory and the writing of this territory, or between homeland and the "correct" map. All this is at the pivotal period of time in …
Next on your screen: The double identity of the trailer
L'A. examine les relations entre un film et sa bande annonce. Dans une premiere partie, il analyse les strategies de representation de la bande annonce (referentialite, exemplification, description verbale et description expressive) et identifie cinq types de bandes annonces. Dans une seconde partie, il examine le cas du film Les enfants du paradis (1943-1945) en se basant sur deux approches, l'approche semiologique et l'approche psychanalytique,…
Film Remakes as Ritual and Disguise: From Carmen to Ripley
Psycho: Inside and Outside the FrameThe cinematic medium, by virtue of its technology, encapsulates versions of potential movement per second.Within the same shot, each frame is an earlier version of the frame about to be seen.Seriality is constitutive in the very material of the cinema, i.e., its film strip.The cinema's "self-differing" elements might be identified as its specificity (Krauss, : ) but its differences are countered in favor of con…
Women, Border, and Camera: Israeli feminine framing of war
A borderland is a vague and undetermined place created by the emotional residue of an unnatural boundary. It is in a constant state of transition. The prohibited and forbidden are its inhabitants. (Gloria Anzaldúa 1987 Anzaldúa, Gloria. 1987. Borderlands/La Frontera: The New Mestiza, San Francisco: Spinsters/Aunt Lute. [Google Scholar], p. 3
Between Homeland and Prisoners of War: Remaking terror
The Israeli series Prisoners of War (Hatufim, Keshet, Israel, Gideon Raff, 2009–2011) and Homeland (Showtime, US 2011–2013; developed by Howard Gordon and Alex Gansa based on the Israeli series with Gideon Raff as one of the producers) is a special case of hypertextuality (Genette 1982). Both serial dramas revolve around prisoners of war who have returned home and their families, intelligence agency operatives and terror organizations operating b…
Next on your screen: The double identity of the trailer
L'A. examine les relations entre un film et sa bande annonce. Dans une premiere partie, il analyse les strategies de representation de la bande annonce (referentialite, exemplification, description verbale et description expressive) et identifie cinq types de bandes annonces. Dans une seconde partie, il examine le cas du film Les enfants du paradis (1943-1945) en se basant sur deux approches, l'approche semiologique et l'approche psychanalytique,…
Zionism and the Detective: Imaginary territories in Israeli popular cinema of the 1960s
The films Moishe Ventilator and The Blaumilch Canal are the vehicles for an examination of the writing of the Israeli territory through the symbolic representation of that space: a map. At the centre of the plot of both films is a detective who pursues a missing map and, in doing so, reveals the dialectic between a territory and the writing of this territory, or between homeland and the "correct" map. All this is at the pivotal period of time in …
Women, Border, and Camera: Israeli feminine framing of war
A borderland is a vague and undetermined place created by the emotional residue of an unnatural boundary. It is in a constant state of transition. The prohibited and forbidden are its inhabitants. (Gloria Anzaldúa 1987 Anzaldúa, Gloria. 1987. Borderlands/La Frontera: The New Mestiza, San Francisco: Spinsters/Aunt Lute. [Google Scholar], p. 3
Film Remakes as Ritual and Disguise: From Carmen to Ripley (Amsterdam University Press - Film Culture in Transition)
Psycho: Inside and Outside the FrameThe cinematic medium, by virtue of its technology, encapsulates versions of potential movement per second.Within the same shot, each frame is an earlier version of the frame about to be seen.Seriality is constitutive in the very material of the cinema, i.e., its film strip.The cinema's "self-differing" elements might be identified as its specificity (Krauss, : ) but its differences are countered in fav…
Film Remakes as Ritual and Disguise: From Carmen to Ripley
Psycho: Inside and Outside the FrameThe cinematic medium, by virtue of its technology, encapsulates versions of potential movement per second.Within the same shot, each frame is an earlier version of the frame about to be seen.Seriality is constitutive in the very material of the cinema, i.e., its film strip.The cinema's "self-differing" elements might be identified as its specificity (Krauss, : ) but its differences are countered in favor of con…
Film Remakes as Ritual and Disguise: From Carmen to Ripley
The first book-length account of the symbolic chains that link remakes and explain their disguises, Film Remakes as Rituals and Disguise is also the first book to explore how and why these stories are told. Anat Zanger focuses on contemporary retellings of three particular tales-Joan of Arc, Carmen, and Psycho-to reveal what she calls the remake's "rituals of disguise." Joan of Arc, Zanger demonstrates, later appears as the tough, androgynous Rip…
Between Homeland and Prisoners of War: Remaking terror
The Israeli series Prisoners of War (Hatufim, Keshet, Israel, Gideon Raff, 2009–2011) and Homeland (Showtime, US 2011–2013; developed by Howard Gordon and Alex Gansa based on the Israeli series with Gideon Raff as one of the producers) is a special case of hypertextuality (Genette 1982). Both serial dramas revolve around prisoners of war who have returned home and their families, intelligence agency operatives and terror organizations operating b…
Art (4 works) · Cinema and Media Studies (4 works) · History (4 works) · Film remakes (3 works) · Film, TV & radio (3 works) · History (3 works) · History and criticism (3 works) · History and criticism (3 works) · Motion pictures (3 works) · Motion pictures, production and direction (3 works)