The recent emergence of horror-satires marks a new moment in cinematic representations of Israel/Palestine. Rather than violence of war, these films foreground structural violence within privileged segments of Israeli society through tropes of infectious diseases and solitary sociopaths. This essay examines two widely acclaimed films, Rabies and Big Bad Wolves, to argue that cynicism over Israel’s foundational myths and institutions has replaced heroism. A younger generation of filmmakers and audiences is willing to consider Israel’s role as both victim and victimizer; their horror-satires replace fears of outside dangers with fears of attacks inside individual and social bodies.
|Journal of Cinema and Media Studies
|Published - Sep 1 2019