Ethical Problems with Representations of the Holocaust and the Israeli-Palestinian Conflict in the Film "Forgiveness"
In our postmodern era in which “truth” splits into interest groups and is partial, relative, and good for the present moment, Udi Aloni’s film Forgiveness had its premiere. It was an era of the “politically correct,” which gave falsehood its honored place so as not to hurt the “other’s” feelings, an age of repression of thought instead of pluralism and multiplicity of opinion. This is the age that continued and apparently will perpetuate the narrative of its predecessors—the shared hatred of Jews and its new form, hatred of Zionism and Zionists, as well as the critical and dissonant self-hatred of Jews who despise the concept of the “Chosen People” yet use this term each time they want to define themselves as human peace seekers.
The current article focuses on several allegorical and structural dimensions of Aloni’s film: on the allegorical level, the tension, which as the director stated, motivates people along the path of reconciliation to forgiveness; the struggle between memory and oblivion through the stages of deconstruction in the protagonist’s overt and repressed memory; and Aloni’s cinematic formulation of the narrative underlying the Israeli-Palestinian conflict.
Keywords: anti-Zionism, ethics, Forgiveness, Holocaust inversion, post-Zionism, Udi Aloni
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