feature film. It began with films made by Michel Khalifeh from
Nazareth, who produced both documentary and feature films dealing
with the Palestinian experience inside and outside Israel. Pages from
Ripe Memories told the story of two women, one of them the famous
Palestinian novelist Sahar Khalifeh and the other a villager from Yafat
al-Naserh. In 1987 he filmed A Wedding in the Galilee, the second-ever
Palestinian feature film and the first shot inside Palestine.
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Khalifeh belonged to a group of Palestinians from Israel, mainly from
Nazareth, who studied and worked abroad and then came back and
produced films on the Palestinian reality in Israel. Others included
Rashid Masharawi, Eliah Suleiman and Hani Abu-Assad. The boom in
cinematic production was important because, apart from individual
Palestinians in exile, the communities of refugees and those under occu-
pation were too preoccupied with the existential struggle to bother with
this crucial medium. The PLO while in Beirut had put some effort and
money into making documentaries about the Palestinian condition, but
since it moved to Tunis, and then during the Oslo days, partly to
Ramallah, its cultural production had subsided. Whether it was
Masharawi in his film The Shelter or Khalifeh in his various films, their
depiction of life reflected the Palestinian existence inside and outside the
homeland. The films moved between the personal and the national
experience as sharing the same features of safety, danger and aspirations.
While such contributions to the cinema were crucial, the input as far
as other aspects of general Palestinian culture were concerned was also
much less marginal than it used to be. An Islamic or rather a neo-
Islamic take on culture developed in Israel as it did in the rest of the
Muslim world. When the Salman Rushdie affair exploded all over the
Muslim world, it had a faint echo in the Palestinian community as no
one thought of publishing the book in Arabic. It appeared in Hebrew
despite a single protest letter send by Adil Zaydan, the secretary of the
religious scholars in Israel. But in Israel at least in those days you could
ridicule any religion in a novel, including Judaism. Later on, the
Islamic movement, unlike the established Islamic bodies, would have
an impact on culture in certain spaces where it was politically powerful.
This was manifested in events where women were separated from men
during musical performances but, all in all, Islam in the public sphere
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