About Dorit Naaman
I am a film theorist and documentarist from Jerusalem, teaching at Queen’s University, Canada. My research focuses on Israeli cinema, primarily from post- colonialist and feminist perspectives, and I am currently working on a book on Israeli media representation of gender, militarism and nationalism. My documentary work is about the politics of representation and in 2003 I developed a format of short videos, DiaDocuMEntaRY. My videos have been screening in film festivals and curated screenings around the world. I am active in education about the Palestinian Israeli conflict and occasionally publish opinion pieces about current affairs.
The main research project I am working on right now is a multi-platform video installation (on an off line). Together with Dana Olwan and Livia Alexander, we are working in the neighborhood Qatamon. You can learn more about the project under the "news" section of this website.
On the back burner there is a book length manuscript on the visual representation of gender and militarism in Israeli film and media. I am looking at photography in newspapers, documentary film, TV news, and fiction films. The primary focus is women fighters, but masculinity, in its relation to militarism and nationalism is studied as well.
Out of this project came an interest in non-violent feminist forms of resistance to the Israeli occupation (see my article “The Silenced Outcry”) and the relationship between feminism and nationalism in documentary films by women (see “Unruly Daughters”). The bulk of my work in the past decade has been in the areas of feminist criticism of nationalism and militarism, as those intersect in media representations of women, and by women.
In addition I continue my work on Israeli cinema in general. I keep working on the representation of Otherness in recent Israeli cinema (2001 and 2010). In 2006 I published an article on liminality entitled "Elusive Frontiers: Borders in Palestinian and Israeli Cinema." In addition I have continued working on issues of memory, competing historical narratives and documentary films. To that effect I published the paper “Old Wine in New Bottles: Tekumakh, an Israeli Resurrection of Social Change?” and presented the paper "Whose Story is it Anyways? The Ethics of Representation in Documentary Film."
Since 2003 I have been producing a series of very short videos that hover between diary and documentary. The series provides a fresh view on the Palestinian Israeli impasse, and it attempts to also engage with new and old forms of documentary filmmaking. In particular, I am interested in abolishing the authoritative all knowing, (and generally Caucasian male) omnipotent narrator. However, I am also refraining from making autobiography, instead using my embodied perspective to shed light on social/political issues.