| Publication |
2011.
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| Summary/Abstract |
As a film about "terror" spilling over from its local context (the struggle over Palestine) into the global arena, Munich transcends the specificity of the so-called "Palestinian question" to become a contemporary allegory of the Western construct of "the war on terror." The essay explores the boundaries and contradictions of the "moral universe" constructed and mediated by the film, interpreted by some as a dovish critique of Israeli (and post-9/11 U.S.) policy. Along the way, the author probes whether this "Hollywood Eastern" continues the long Zionist tradition seen in popular films from Exodus onwards, or signals a rupture (or even latent subversion) of it.
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