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WLIT 017 (16)
Lecture 16

WLIT 017 Lecture 16: Summer of Aviya
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Department
World Literature
Course
WLIT 017
Professor
Schreckenberger
Semester
Spring

Description
Summer of Aviya Tuesday, April 18, 201712:27 PM 4/6 Summer of Aviya Opening Scene • Agricultural boarding school - background music: popular Zionist youth song • Aviyadressedin Arab cloths,star of school performance prepares to sing "On the Shore of the Sea of Galilee" • Film begins in the Zionist past, the future of Zionist youth, and the sea of galilee, a landmark in the early films • Ironic touch: the banner topples to the ground Henya - threat to official Zionist ambience • Holocaustsurvivor • Identified w/ barrenness and wasteland • Repudiates motherhood (asks Aviyato move away from her) • Barrenness often associatedwith holocaust survivors inearlier films • Life in Zionism embodies fruitfulness and productivity • Henyaidentified with the world that Zionism of early statehood found an embarrassment Relationship between mother and daughter • Henyasubjects her daughter to something resembling the injustices done to her • Interrupts her performance- causesAviyatoloseher composure - stage fright • Is critical of her performance, berates her for making a fool of herself • Withdraws her from school when finding lice in her hair • Chops off her luxurious hair - deprives her of femininity • Givesher a name that brings attention to her missing father (Aviya=father is god, often read as Aviha=her father) • Will not give her festive clothes • Suggests that Henyaconsiders Aviyaas a song, a surrogate for her missing husband Max Gantz • Aviyafantasizes that he is her father • Thinks he got a new family after having been separated from Henyain Europe • Hopes he will return to them missing husband Max Gantz • Aviyafantasizes that he is her father • Thinks he got a new family after having been separated from Henyain Europe • Hopes he will return to them • One hand desperate attempt to find father she never had, on the other hand attempt to rehabilitate her relationship with her mother • (quest for father dominated plot of early Israeli cinema) • Aviya's searchfor her father and attempt to form a relationship with her mother actually seeks to rehabilitate femininity from amid the quest for a masculine presence • Society portrayed in the film is largely one without men • Max is only sane man among major characters but his masculinity and his position in society are quite shaky • Absenceof responsible adult males, max's pretension and Aviya's imaginative conjuring of the father she never had translates to old Zionist ideal of Hebrew manhood into a series of negation Aviya's name • … Aviya's transformation • Characterwith mostmobility - always seen running- moves b/t different spacesandbreaksdowntheir borders • Moves b/t light and shadow • Interior of buildings- darker, subdued/glaring sunlight of open spaces • Transition b/t inside and outside underscore transitions b/t outer and inner life • Most visible at the end, when Henya's psychosis returns: Henya complains about light andlocksherselfinthe house • Light=realm of public ridicule, darkness=her mother's illness • Aviyaneeds to find a way that is neither public conformity nor private family obsession Models of identification: Maya • Name is that of the roman goddess of spring • Serves as alternative model of female identity in contrast to the damaged one of Henya • Femininity is one of artifice, escapism, and class pretension • First approves of Aviyabc shegives the most original/imaginative interpretation of the painting • Refuses to admit her bc she doesn't wear"festive" clothing • Henyarefuses to give her the appropriate clothes • Aviyarepeatedly runs back and forth b/t Henya's and Maya's homes - journey b/t 2 worlds: • Working class cottageand finely furnished home • Dark impoverished troubled space of holocaust survivorand sunlit residence of high culture and European property and culture (Tchaikovsky/ballet) • Aviyarepeatedly runs back and forth b/t Henya's and
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