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awards, including Best
Feature Documentary at the International Documentary Film Festival Amsterdam, Best International Documentary at the Hot Docs Canadian International Documentary Festival and the Golden Gate Award for Documentary Feature at the San Francisco International Film Festival.
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full of children pass several times at South Jenin. The bus driver says that every day the bus is emptied and told that it cannot proceed. In another instance, a family is separated at the checkpoint because a border guard does not see the need for the father to accompany his family to the
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case, the director Shamir replaced the antagonist with the subject, who in turn served as the antagonist. While the director may have omitted narration or any stated point of view, he adheres to the vérité technique of hammering home a focused point.
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during the turn of the 19th century. According to
Falzone, a specific kind of documentary was forged by filmmakers looking to challenge mainstream media's interpretation of events. She observed that this new batch of films tended to replace the
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because he is not sick. Several similar situations are portrayed in this film. Although sometimes it seems the soldiers are obviously taunting the people they are monitoring, it often seems that they are following
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in 2004, Shamir says, “Everybody is like a victim; the soldiers, the
Palestinians. I want to show what effects the occupation has on the Palestinians but even more what the effects are on society.”
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orders that are outside their control. The situation is only worsened by the fact that only rarely does either party speak the same language. The entire film is spoken in patches of
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370:“From this conflict emerges a generation of muckraking filmmakers and a new style of documenting filmmaking,” wrote Falzone. Maxine Baker in her book,
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is a part of the independent digital documentary movement in the early 2000s, in part due to the introduction of relatively inexpensive
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without incident, but much of what Shamir has chosen to include are the more confrontational incidences. The viewer sees a
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follows the looming sense of futility from shutting down access between two groups of people. In an interview with
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to the
Pennebaker films of the 1960s. This approach is evident in the popular documentaries in the 2000s such as
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crossing, there are hundreds of people crowded and waiting to get through. At other checkpoints, such as South
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and very little context. Shamir himself is absent from the film except for one scene in which a
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The film was produced with the support of The New
Israeli Foundation for Cinema and Television.
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Falzone, Paul, "Documentary For Change" Dissertation, University of
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at various checkpoints. At some checkpoints, such as the high-tech fortress at the
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asks him to try to make him "look good," and Shamir asks how he should do that.
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Documentary film
Quarterly, Issue 52, 2004 14-15, "Purposeful Film Making"
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461:"HASHMATSA / DEFAMATION (2009): Interview With Yoav Shamir | Twitch"
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Zanger, Anat. "Blind Space: Roadblock Movies in the
Contemporary Film."
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Baker, Maxin, Documenting In the
Digital Age, 2006, Oxford, Focal Press
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Documentary films about the
Israeli–Palestinian conflict
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24.1 (2005): 37–48. American University Library. Web.
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Shofar: An Interdisciplinary Journal of Jewish Studies
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Hot Docs Canadian International Documentary Festival
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459:Nausicaä of the Valley of the Wind (2009-11-03).
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374:goes a bit further. She refers to the
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213:civilians at several of the region's
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203:Yoav Shamir
116:Yoav Shamir
103:Amit Breuer
99:Produced by
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89:Directed by
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636:Defamation
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425:References
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393:antagonist
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276:school bus
264:Gaza Strip
241:Checkpoint
201:filmmaker
190:Machssomim
184:Checkpoint
160:80 minutes
141:2003-11-23
84:Checkpoint
56:March 2010
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173:Languages
124:Era Lapid
121:Edited by
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38:Please
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