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In 1991 he directed as well the film "Golem, the Spirit of Exile" (1991), which explores the contemporary meanings of the Book of Ruth in the Bible. |
In 1991 he directed as well the film "Golem, the Spirit of Exile" (1991), which explores the contemporary meanings of the Book of Ruth in the Bible. |
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“The Book of Ruth is based on a documentary story: a family in Bethlehem suffers from the famine there and goes to Moab, the 'new country of exile'. But the Biblical writer takes this event and transforms it into fictional material. And this then becomes eventually even more than fiction: it becomes a sanctified myth. We, in turn, place the Biblical story in the present and work with those ambiguities, but we strip away some of the sanctification, keeping the mythological echoes but placing them in the here and now. The issue of creation is the general framework of the film and, inside this framework, there is a permanent back and forth movement to the issue of exile. Through the Golem, I tried to deal with some of my own questions regarding the cinematic language. In Golem, the Spirit of Exile, the central spine of the story is the theme of being uprooted, which links the whole trilogy.” (A. Gitaï, in Les Films d’Amos Gitaï, Yann Lardeau, unpublished) <ref>http://www.amosgitai.com/html/film.asp?docid=48&lang=1</ref> |
“The Book of Ruth is based on a documentary story: a family in Bethlehem suffers from the famine there and goes to Moab, the 'new country of exile'. But the Biblical writer takes this event and transforms it into fictional material. And this then becomes eventually even more than fiction: it becomes a sanctified myth. We, in turn, place the Biblical story in the present and work with those ambiguities, but we strip away some of the sanctification, keeping the mythological echoes but placing them in the here and now. The issue of creation is the general framework of the film and, inside this framework, there is a permanent back and forth movement to the issue of exile. Through the Golem, I tried to deal with some of my own questions regarding the cinematic language. In Golem, the Spirit of Exile, the central spine of the story is the theme of being uprooted, which links the whole trilogy.” (A. Gitaï, in Les Films d’Amos Gitaï, Yann Lardeau, unpublished) <ref>http://www.amosgitai.com/html/film.asp?docid=48&lang=1</ref> |
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In 1992 Gitai creates and films "Metamorphosis of a Melody", a stage production performed at Gibellina in Sicily, with Samuel Fuller and Hanna Shygulla, and subsequently at the inaugu-ration of Venice Biennale (1993). "Metamorphosis of a Melody" is an adaptation of a text by Flavius Josephus, "The War of the Jews", and The Dead Sea Scrolls about the Massada mythology. |
In 1992 Gitai creates and films "Metamorphosis of a Melody", a stage production performed at Gibellina in Sicily, with Samuel Fuller and Hanna Shygulla, and subsequently at the inaugu-ration of Venice Biennale (1993). "Metamorphosis of a Melody" is an adaptation of a text by Flavius Josephus, "The War of the Jews", and The Dead Sea Scrolls about the Massada mythology. |
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In 1993, after [[Yitzhak Rabin]]'s victory in the elections and the [[Oslo Accords]], Gitati returned to Israel and continued his career. He makes the “city trilogy”: "Devarim" (1995) in Tel Aviv, "Yom Yom" (1997) in Haifa and "Kadosh" (1999) in Jerusalem, starring Yaël Abecassis and produced by Michel Propper, shown in competition at the 1999 Cannes Film Festival. "[…] Devarim is also the film of a generation that no longer respects the dead. And this disrespect, this derision, this nonchalance is also the political expression of disenchantment. It is as if the sons no longer believe in what passes for the essential values of the State of Israel, of its foundation: the respect for the pioneers, the feeling of affiliation with those who believed in the Zionist utopia.” (Serge Toubiana, Les Cahiers du cinéma, n. 523). "'Yom Yom' draws upon Haifa’s tradition of peaceful coexistence between Arab and Jewish neighbours to tell a dark comic tale of characters driven by divided loyalties and neurotic inhibitions. Gitaï’s genius is to show the conflict infiltrating every encounter, from the marketplace to the bedroom and beyond. The vivid portraits of Israeli social types, whether arrogant reservists or hapless nebbishes, stand in sharp contrast to images promoted in the media.” (Leslie Camhi, Village Voice, February 20th, 2001).''[[Kadosh]]'' was criticized in Israel for its [[antireligion|anti-religious]] themes and proved a success overseas; earning a score of 70/100 from review [[Review aggregator|aggregator]] [[Metacritic]], indicating "Generally favourable" reviews;<ref name="Metacritic">{{cite web|url=http://www.metacritic.com/person/amos-gitai |title=Amos Gitai Profile at |publisher=Metacritic.com |date= |accessdate=2 August 2011|archiveurl=http://web.archive.org/web/20121026023837/http://www.metacritic.com/person/amos-gitai|archivedate=26 October 2012}}</ref> and an 89% rating from [[Rotten Tomatoes]].<ref name="RottenTomatoes">{{cite web|url=http://www.rottentomatoes.com/celebrity/amos_gitai/ |title=Amos Gitai |publisher= [[Flixster]] | work = [[Rotten Tomatoes]] |accessdate=2 August 2011|archiveurl=http://web.archive.org/web/20140307072421/http://www.rottentomatoes.com/celebrity/amos_gitai/ |archivedate=7 March 2014 }}</ref> )."'Kadosh' - the title means “ sacred ” - addresses universal themes. Among them are the demands of ultra-orthodox religion, which confines as it sustains, and the suffering of men and women whose religion comes before love, but whose culture lacks a vocabulary for expressing personal pain. Yet Kadosh is also foreign in the extreme, an austere and shocking portrait of daily life in Mea Shearim, the Hasidic Jewish quarter of Jerusalem. […] Kadosh is a horror story, or rather two horror stories intertwined, about women tyrannised by men in the name of religious belief”. (The Wall Street Journal, March 17th, 2000). |
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In 1993, after [[Yitzhak Rabin]]'s victory in the elections and the [[Oslo Accords]], Gitati returned to Israel and continued his career. He filmed where he makes the “city trilogy”: Devarim (1995) in Tel Aviv, Yom Yom (1997) in Haifa and Kadosh (starring Yaël Abecassis and produced by Michel Propper, shown in competition at the 1999 Cannes Film Festival) in Jerusalem. |
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''[[Kadosh]]'' (2000) was criticized in Israel for its [[antireligion|anti-religious]] themes and proved a success overseas; earning a score of 70/100 from review [[Review aggregator|aggregator]] [[Metacritic]], indicating "Generally favourable" reviews;<ref name="Metacritic">{{cite web|url=http://www.metacritic.com/person/amos-gitai |title=Amos Gitai Profile at |publisher=Metacritic.com |date= |accessdate=2 August 2011|archiveurl=http://web.archive.org/web/20121026023837/http://www.metacritic.com/person/amos-gitai|archivedate=26 October 2012}}</ref> and an 89% rating from [[Rotten Tomatoes]].<ref name="RottenTomatoes">{{cite web|url=http://www.rottentomatoes.com/celebrity/amos_gitai/ |title=Amos Gitai |publisher= [[Flixster]] | work = [[Rotten Tomatoes]] |accessdate=2 August 2011|archiveurl=http://web.archive.org/web/20140307072421/http://www.rottentomatoes.com/celebrity/amos_gitai/ |archivedate=7 March 2014 }}</ref> |
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''[[Kippur]]'' (2000) was Israel's first large-scale cinematic depiction of the considerably difficult and traumatic [[Yom Kippur War]] of 1973. Critics praised its absence of sensationalism and its unsentimental depiction of war.<ref>{{cite web|author= TV Guide Network New |url=http://movies.tvguide.com/kippur/review/134913 |title=Kippur Review |publisher=Movies.tvguide.com |date= |accessdate=2 August 2011|archiveurl=http://web.archive.org/web/20120528021917/http://movies.tvguide.com/kippur/review/134913|archivedate=28 May 2012}}</ref> Negative criticism was concentrated on such details as the absence burnt tanks in the battlefield, that the Syrian soldiers are not seen at all, and the repetition of a shot of a ruined mosque used throughout the film.<ref>{{cite web|url=http://www.ynet.co.il/articles/0,7340,L-164008,00.html |title=ynet "כיפור" - של מי המלחמה הזאת? - תרבות ובידור |publisher=Ynet.co.il |date=20 June 1995 |accessdate=1 August 2011|archiveurl=http://web.archive.org/web/20121023015357/http://www.ynet.co.il/articles/0,7340,L-164008,00.html |archivedate=23 October 2012 }}</ref><ref>{{cite web|url=http://www.fredcamper.com/Film/Gitai.html |title=Review of Kippur, a film directed by Amos Gitai, by Fred Camper, a ''Chicago Reader'' movie review with added frame enlargements and links |publisher=Fredcamper.com |date=5 January 2001 |accessdate=1 August 2011|archiveurl=http://web.archive.org/web/20131027154036/http://www.fredcamper.com:80/Film/Gitai.html |archivedate=27 October 2013 }}</ref> The film received positive acclaim, gaining a score of 75 on review aggregator [[Metacritic]] and a 79% "fresh" rating on [[Rotten Tomatoes]].<ref name="Metacritic"/><ref name="RottenTomatoes"/> |
''[[Kippur]]'' (2000) was Israel's first large-scale cinematic depiction of the considerably difficult and traumatic [[Yom Kippur War]] of 1973. Critics praised its absence of sensationalism and its unsentimental depiction of war.<ref>{{cite web|author= TV Guide Network New |url=http://movies.tvguide.com/kippur/review/134913 |title=Kippur Review |publisher=Movies.tvguide.com |date= |accessdate=2 August 2011|archiveurl=http://web.archive.org/web/20120528021917/http://movies.tvguide.com/kippur/review/134913|archivedate=28 May 2012}}</ref> Negative criticism was concentrated on such details as the absence burnt tanks in the battlefield, that the Syrian soldiers are not seen at all, and the repetition of a shot of a ruined mosque used throughout the film.<ref>{{cite web|url=http://www.ynet.co.il/articles/0,7340,L-164008,00.html |title=ynet "כיפור" - של מי המלחמה הזאת? - תרבות ובידור |publisher=Ynet.co.il |date=20 June 1995 |accessdate=1 August 2011|archiveurl=http://web.archive.org/web/20121023015357/http://www.ynet.co.il/articles/0,7340,L-164008,00.html |archivedate=23 October 2012 }}</ref><ref>{{cite web|url=http://www.fredcamper.com/Film/Gitai.html |title=Review of Kippur, a film directed by Amos Gitai, by Fred Camper, a ''Chicago Reader'' movie review with added frame enlargements and links |publisher=Fredcamper.com |date=5 January 2001 |accessdate=1 August 2011|archiveurl=http://web.archive.org/web/20131027154036/http://www.fredcamper.com:80/Film/Gitai.html |archivedate=27 October 2013 }}</ref> The film received positive acclaim, gaining a score of 75 on review aggregator [[Metacritic]] and a 79% "fresh" rating on [[Rotten Tomatoes]].<ref name="Metacritic"/><ref name="RottenTomatoes"/> |
Revision as of 11:50, 17 August 2015
Amos Gitai | |
---|---|
Born | |
Occupation(s) | Filmmaker, Author |
Spouse | Rivka Gitai (1980-present) |
Website | amosgitai |
Amos Gitai (Hebrew: עמוס גיתאי; born 11 October 1950) is an Israeli auteur filmmaker. He is mainly known for making documentaries and feature films, surrounding the Middle East and Jewish-Arab conflict. Between 1999 and 2011 seven of his films were entered in the Cannes Film Festival for the Palme d'Or as well as the Venice Film Festival for the Golden Lion award.[1]
Early life
Gitai was born in 1950 in Haifa to Munio Weinraub and Efratia Margalit.[2][3][4] His father was an architect of the pre-war Bauhaus movement in Germany.[5] His parents changed the family name to Gitai. Amos holds a degree in architecture from the Technion in Haifa and a PhD in Architecture from the University of California, Berkeley.
The 1973 Yom Kippur War interrupted his architecture studies as he was called up to reserve service as part of a helicopter rescue crew.[6] While serving, he shot 8mm footage of the fighting, claiming this served as his entry into the world of film making.[7] On his birthday, Gitai's helicopter was shot down by a Syrian missile on the Golan Heights.[8] This experience had a great effect on his life and forms the basis of his film Kippur, an autobiographical depiction of his war service.[9]
Film career
Gitai began his career directing documentaries. In 1980 he directed his first full-length Israeli film, Home (1980). The film describes the attachment of Palestinians to their land and is the first of a trilogy of works on the same house in West Jerusalem (A House in Jerusalem (1998), News from Home / News from House (2005)). The film was rejected by the only television channel in Israel, however, it was screened at the Berlin and the Rotterdam International Film Festivals.[10] “Gitaï wants this house to be both a symbol and something very concrete; he wants it to become a character in a film. He achieves one of the most beautiful things a camera can register 'live', as it were; people who look at the same thing but see different things - and who are moved by that vision. In this crumbling shell of a house, real hallucinations begin to take shape. The film's central idea is simple and the film has simply the force of that idea, no more, no less.” (Serge Daney, Libération, March 1st 1982) His next film, "Wadi" (1981),is the first part of a trilogy about the valley located in east of Hafia (Wadi 1981, Wadi Ten Years After 1981-1991, Wadi Grand Canyon 2001). In the film Gitai examines the complex relationships between the residents of the former stone quarry, Eastern European immigrants, survivors of the camps and Arabs who have also been expelled from their homes. Gitai turns the valley into a specific place, into a symbol of a possible coexistence. [11]. In 1982 he directed Field Diary (1982). A film-diary shot in the occupied territories before and during the invasion of Lebanon. The film was rejected as well and led to Gitai's leaving Israel for France, where he would continue his career for the next decade.[12] "'Field Diary' offers a civilian image of war, […] setting it apart from the rest of audio-visual production by its content as much as by its mode of operation, by the solution it offers to a problem that pertains to the ethics of the filmmaker as much as to the aesthetics of cinema”(Yann Lardeau, “ Une éthique du travelling ”, Cahiers du cinéma, n°344, February 1983.
While in France, Gitai directed a series of fiction films such as Esther (1985), his first full-length non-documentary film, presented at the International Critics’ Week of the Cannes Film Festival and the first part of the “exile trilogy”, followed by "Berlin-Jerusalem" (1989), based on the biographies of the German expressionist poet, Else Lasker-Schüler, and the Russian Zionist, Mania Shohat, and their respective itineraries towards the mythical Jerusalem of the 1930s.[13][14] The film represented Israel in Venice Festival Film and won first prize at the Istanbul Festival. [15]
In 1991 he directed as well the film "Golem, the Spirit of Exile" (1991), which explores the contemporary meanings of the Book of Ruth in the Bible. “The Book of Ruth is based on a documentary story: a family in Bethlehem suffers from the famine there and goes to Moab, the 'new country of exile'. But the Biblical writer takes this event and transforms it into fictional material. And this then becomes eventually even more than fiction: it becomes a sanctified myth. We, in turn, place the Biblical story in the present and work with those ambiguities, but we strip away some of the sanctification, keeping the mythological echoes but placing them in the here and now. The issue of creation is the general framework of the film and, inside this framework, there is a permanent back and forth movement to the issue of exile. Through the Golem, I tried to deal with some of my own questions regarding the cinematic language. In Golem, the Spirit of Exile, the central spine of the story is the theme of being uprooted, which links the whole trilogy.” (A. Gitaï, in Les Films d’Amos Gitaï, Yann Lardeau, unpublished) [16] In 1992 Gitai creates and films "Metamorphosis of a Melody", a stage production performed at Gibellina in Sicily, with Samuel Fuller and Hanna Shygulla, and subsequently at the inaugu-ration of Venice Biennale (1993). "Metamorphosis of a Melody" is an adaptation of a text by Flavius Josephus, "The War of the Jews", and The Dead Sea Scrolls about the Massada mythology.
In 1993, after Yitzhak Rabin's victory in the elections and the Oslo Accords, Gitati returned to Israel and continued his career. He makes the “city trilogy”: "Devarim" (1995) in Tel Aviv, "Yom Yom" (1997) in Haifa and "Kadosh" (1999) in Jerusalem, starring Yaël Abecassis and produced by Michel Propper, shown in competition at the 1999 Cannes Film Festival. "[…] Devarim is also the film of a generation that no longer respects the dead. And this disrespect, this derision, this nonchalance is also the political expression of disenchantment. It is as if the sons no longer believe in what passes for the essential values of the State of Israel, of its foundation: the respect for the pioneers, the feeling of affiliation with those who believed in the Zionist utopia.” (Serge Toubiana, Les Cahiers du cinéma, n. 523). "'Yom Yom' draws upon Haifa’s tradition of peaceful coexistence between Arab and Jewish neighbours to tell a dark comic tale of characters driven by divided loyalties and neurotic inhibitions. Gitaï’s genius is to show the conflict infiltrating every encounter, from the marketplace to the bedroom and beyond. The vivid portraits of Israeli social types, whether arrogant reservists or hapless nebbishes, stand in sharp contrast to images promoted in the media.” (Leslie Camhi, Village Voice, February 20th, 2001).Kadosh was criticized in Israel for its anti-religious themes and proved a success overseas; earning a score of 70/100 from review aggregator Metacritic, indicating "Generally favourable" reviews;[17] and an 89% rating from Rotten Tomatoes.[18] )."'Kadosh' - the title means “ sacred ” - addresses universal themes. Among them are the demands of ultra-orthodox religion, which confines as it sustains, and the suffering of men and women whose religion comes before love, but whose culture lacks a vocabulary for expressing personal pain. Yet Kadosh is also foreign in the extreme, an austere and shocking portrait of daily life in Mea Shearim, the Hasidic Jewish quarter of Jerusalem. […] Kadosh is a horror story, or rather two horror stories intertwined, about women tyrannised by men in the name of religious belief”. (The Wall Street Journal, March 17th, 2000).
Kippur (2000) was Israel's first large-scale cinematic depiction of the considerably difficult and traumatic Yom Kippur War of 1973. Critics praised its absence of sensationalism and its unsentimental depiction of war.[19] Negative criticism was concentrated on such details as the absence burnt tanks in the battlefield, that the Syrian soldiers are not seen at all, and the repetition of a shot of a ruined mosque used throughout the film.[20][21] The film received positive acclaim, gaining a score of 75 on review aggregator Metacritic and a 79% "fresh" rating on Rotten Tomatoes.[17][18]
Kedma (2001) was a retelling of Israel's War of Independence, in which Gitai sought to revise what he saw as many of the myths surrounding Israel's creation. It received mostly negative reviews: earning a score of 36 on Metacritic and a 31% "rotten" rating on Rotten Tomatoes.[17][18] It went largely ignored in his native country.[22]
Alila (2002) is a tragicomedy set in a Tel Aviv apartment house, featuring an Altman-esque array of characters and an all-star Israeli cast. It received mixed to negative reviews, with a score of 57 on Metacritic and a 41% "rotten" rating on Rotten Tomatoes.[17][18]
In recent years, Gitai has directed Promised Land (2004) about the trafficking of women in Israel and Free Zone (2005) with Israeli-American star Natalie Portman. Although the latter won the Best Actress Award at the 2005 Cannes Film Festival for Israeli actress Hanna Laslo,[23][24] it was not well received critically. The film was given a score of 51 on Metacritic and a Rotten Tomatoes rating of 26% "rotten."[17][18]
In his film Disengagement (2007), Gitai brings together a young Israeli man (Liron Levo) and his sister (Juliette Binoche) who lives in France with their father; they rediscover each other at the same time Israel is disengaging from Gush Katif. The cast includes Jeanne Moreau, Barbara Hendricks, Dana Ivgy, Uri Klausner, Israel Katorza and others. The film completes the Border Trilogy, with Promised Land and Free Zone.
One day you'll understand (Plus tard tu comprendras, 2008) is the story of a French writer tracing the story of his Jewish mother (Jeanne Moreau) and her family during World War II. The film is based on an autobiographical book by Jerome Clement, president of the Arte television channel and one of the leading figures of French culture. The film was relatively well received, receiving a score of 65% "fresh" from Rotten Tomatoes.[18]
Carmel (2009) was based on Gitai's personal memories and combines extracts from the diary and letters of Gitai's mother, Efratia (1909–2004), with interviews of family members.[25] All the Gitai family members (Efratia, Keren, Ben, Rivka and Amos) participated in the film as well as actors Keren Mor, Makram Khoury and Hillel Lusky. Rotten Tomatoes gave the film a weighted average score of 40% "rotten," indicating an unfavourable reception.[18]
Roses à crédit (2010) is an adaptation of the novel by Elsa Triolet and takes a look at the materialist, post-war world of the French lower middle-class.[26] The film shot entirely in France.
Gitai's films are not always popular with Israeli audiences; Kadosh and Kippur were well received, but his other films have not always found an audience.[27] Some Israeli critics see Gitai's style as too "European" for Israel, and Village Voice critics called him "the Israeli nouvelle vague."[28] Indeed, Gitai's films are considerably more popular in Europe whereas he is still somewhat of an outsider on the Israeli scene. Some Israeli critics also claim that Gitai's presentation of Israeli reality is often too simplistic for the Israeli audience and that it is an aspect of his films that non-Israeli audiences might take at face value.[citation needed]
To date Amos Gitai has created over 80 titles throughout 38 years. In 2008 Amos Gitai receives the Leopard of Honor at Locarno International Film Festival. This life-achievement award is offered in recognition of the work of renowned directors whose creativity has had an unquestionable impact on contemporary cinema.[29]
Filmography
- My Mother at the Seashore (1973)
- Bayit (1980)
- Yoman Sadeh (1982)
- Ananas (1984)
- Esther (1986)
- Berlin-Jerusalem (1989)
- Birth of a Golem (1991)
- Golem, the Spirit of the Exile (1992)
- Zihron Devarim (1995)
- Zirat Ha'Rezach (1996)
- Metamorphosis of a Melody (1996)
- War and Peace in Vesoul (1997)
- A House in Jerusalem (1998)
- Tapuz (1998)
- Zion, Auto-Emancipation (1998)
- Yom Yom (1998)
- Kadosh (1999)
- Kippur (2000)
- Eden (2001)
- Kedma (2002)
- 11'09"01 September 11 (2002)
- Alila (2003)
- Promised Land (2004)
- Free Zone (2005)
- Disengagement (2007)
- One day you'll understand (2008)
- Carmel (2009)
- The War of the Sons of Light Against the Sons of Darkness (2009)
- Roses à crédit (2010)
- Lullaby to My Father (2012)
- Ana Arabia (2013)
- Words With Gods (2014)
- Tsili (2014)
- Rabin, the Last Day (2015)
Exhibitions, performances
- Correspondence, Efrati Gitai – Letters, Museum of Art, Ein Harod, Israel, 2011
- Traces - Munio Gitai – Weinraub, Museum of Art, Ein Harod, Israel, 2011
- Traces, an installation at the Palais de Tokyo, Paris, 2011[30]
- Lullaby for my father, a video presentation in Kibbutz Kfar Masaryk, Israel, 2010
- The War of the Sons of Light Against the Sons of Darkness, (with Jeanne Moreau), Festival d'Avignon, France, 2009
- Traces - Evento, Bordeaux, 2009
- Munio Weinraub / Amos Gitai - Architecture und Film in Israel, Pinakothek der Moderne, ArchitekturMuseum, Munich, 2008-2009[31]
- Munio Weinraub / Amos Gitai - Architecture and Film in Israel, Tel Aviv Museum, Tel Aviv Museum of Art 2008-2009
- Amos Gitai: Non-Fiction, MoMA (Museum of Modern Art) New York, 2008[32]
- Exhibition in memory of his father Munia Gitai – Weinraub - Amos Gitai, Olivier Cinqualbre and Lionel Richard, Centre Pompidou, Paris 2006
- Public Housing - long video presentation screens, Ein Harod Museum, Herzliya Museum, Saitama Museum of Modern Art, Saitama, Japan, 2000
- Open Shen Zen - Performance, Helena Rubinstein Pavilion, Tel - Aviv 1998
- Exhibition in memory to his father - Munio Gitai – Weinraub, Jerusalem Museum, Israel, 1994
Books
- Efratia Gitai – letters, Yediot books, Israel, 2011
- Efratia Gitai, Correspondence (1929–1994), Gallimard, Paris, 2010
- Genèses, Jean-Michel Frodon, Amos Gitai, Marie-José Sanselme, Gallimard, Paris, 2009
- Monte Carmelo, Amos Gitai, Bompiani, Milano, 2004
- Parcours, Amos Gitai, Centre Pompidou, Paris, 2003
- Mont Carmel, Amos Gitai, Gallimard, 2003
- Munio Gitai Weinraub, Bauhaus architect in Israel, Richard Ingersoll, Electa, Milano, 1994
- The War of the Sons of Light Against the Sons of Darkness, Amos Gitai, Mazzotta, Milano, 1993
Books on Amos Gitai's work
- Cinema di Amos Gitai: Frontiere e territori (Il), Serge Toubiana, Bruno Mondadori, Torino, 2006
- Amos Gitai: News from Home, Walther König, Köln, 2006
- The Cinema of Amos Gitai,Serge Toubiana, Baptiste Piégay, Lincoln Center / Cahiers du cinéma, Paris, 2005
- Amos Gitai, Serge Toubiana, Mostra internacional de cinema / Cosac Naify, São Paulo, 2004
- Exilios y territories, el cine de Amos Gitai, Serge Toubiana, Baptiste Piégay, Semana Internacional de Cine, Valladolid, 2004
- Exils et territoires: le cinéma d'Amos Gitai, Serge Toubiana, Baptiste Piégay, Arte Editions / Cahiers du cinéma, Paris, 2003
- Amos Gitai, Cinema, Politics, Aesthetics,Irma Klein, KM, Tel Aviv, 2003
- Amos Gitai, Cinema forza di pace, Edited by Daniela Turco, Le Mani, Genova, 2002
- The Films of Amos Gitai, a Montage, Edited by Paul Willemen, BFI Publishing, London, 1993
- Amos Gitai, Edited by Alberto Farassino, Mostra Internazionale Riminicinema, Rimini, 1989
References
- ^ "IMDb Awards list". IMDb. Archived from the original on 1 August 2013. Retrieved 2 August 2011.
- ^ "Film Festival : Cannes 99". Filmfestivals.com. Archived from the original on 29 June 2011. Retrieved 29 July 2011.
{{cite web}}
: Unknown parameter|deadurl=
ignored (|url-status=
suggested) (help) - ^ "Conversation Amos Gitai / Peter Cowie". Amos Gitai official homepage. Archived from the original on 15 February 2012. Retrieved 26 June 2011.
- ^ Amos Gitai at IMDb
- ^ "Munio Weinraub Gitai Architect (1909-1970) | The Films of Amos Gitai". Amosgitai.com. Archived from the original on 15 October 2009. Retrieved 29 July 2011.
- ^ "The Films of Amos Gitai". Amosgitai.com. Archived from the original on 16 July 2011. Retrieved 29 July 2011.
{{cite web}}
: Unknown parameter|deadurl=
ignored (|url-status=
suggested) (help) - ^ "Biography | The Films of Amos Gitai". Amosgitai.com. Archived from the original on 7 July 2011. Retrieved 29 July 2011.
{{cite web}}
: Unknown parameter|deadurl=
ignored (|url-status=
suggested) (help) - ^ "Kippur | The Films of Amos Gitai". Amosgitai.com. Archived from the original on 16 July 2011. Retrieved 29 July 2011.
{{cite web}}
: Unknown parameter|deadurl=
ignored (|url-status=
suggested) (help) - ^ "Conversation Amos Gitai / Peter Cowie | The Films of Amos Gitai". Amosgitai.com. 2 December 2007. Archived from the original on 15 February 2012. Retrieved 1 August 2011.
- ^ "House / La Maison | The Films of Amos Gitai". Amosgitai.com. Archived from the original on 28 March 2012. Retrieved 1 August 2011.
- ^ http://www.amosgitai.com/html/film.asp?docid=39&lang=1
- ^ Ramesh Jaura (1 June 2011). "IDN-InDepthNews | Analysis That Matters". Indepthnews.net. Archived from the original on 31 March 2012. Retrieved 15 March 2012.
- ^ Fred Camper, "Face to Face With History", Chicago Reader, 1989
- ^ Mansel Stimpson, "Amos Gitai Branches Out", What's on in London, 6 March 1991
- ^ "Berlin-Jerusalem | The Films of Amos Gitai". Amosgitai.com. Archived from the original on 28 March 2012. Retrieved 29 July 2011.
- ^ http://www.amosgitai.com/html/film.asp?docid=48&lang=1
- ^ a b c d e "Amos Gitai Profile at". Metacritic.com. Archived from the original on 26 October 2012. Retrieved 2 August 2011.
- ^ a b c d e f g "Amos Gitai". Rotten Tomatoes. Flixster. Archived from the original on 7 March 2014. Retrieved 2 August 2011.
- ^ TV Guide Network New. "Kippur Review". Movies.tvguide.com. Archived from the original on 28 May 2012. Retrieved 2 August 2011.
- ^ "ynet "כיפור" - של מי המלחמה הזאת? - תרבות ובידור". Ynet.co.il. 20 June 1995. Archived from the original on 23 October 2012. Retrieved 1 August 2011.
- ^ "Review of Kippur, a film directed by Amos Gitai, by Fred Camper, a Chicago Reader movie review with added frame enlargements and links". Fredcamper.com. 5 January 2001. Archived from the original on 27 October 2013. Retrieved 1 August 2011.
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Amos Gitai: Exile and Atonement, Ray Privett, Cinema Purgatorio, 2008.
External links
- The Films of Amos Gitai, Amosgitai.com
- Amos Gitai at IMDb
- Amos Gitai - Biography, NYTimes.com
- Amos Gitai, Hollywood.com