New Sensibility

The social and cultural framework for the movement began to emerge in mid-1950s Israeli society. The cinematic origins of the movement can be traced back to two films, beginning with David Perlov's lyrical documentary, In Jerusalem (1963). and Israel's first Modernist film. The movement is commonly understood to begin in 1967, after the Israeli victory in the Six-Day War. New Sensibility was the smaller of the two genres and less commercially successful. However, films from this genre often received critical acclaim. Furthermore, the global influences, particularly European modern film, reflected the changing economic conditions in those countries. Post-Second World War had been marked by three decades of prosperity in Western Europe. These robust national economies could then support non-commercial art films. In this context, influential filmmaker emerged such as Jean-Luc Godard, Federico Fellini and Ingmar Bergman. In this context too, Israel's burgeoning middle class was becoming increasingly attracted to the consumerism and individualism of Western Europe in contrast to the collective, national commitment depicted in earlier cinema. ==Development of the movement==

Uri Zohar is credited as the initiator of the movement and the most influential and prolific filmmaker of the genre. Other significant directors that worked in this movement included Moshé Mizrahi, Avraham Heffner, Dan Wolman, Jacques Katmor, Yaky Yosha and David Perlov. New Sensibility films were mostly made by Israeli Jewish men of an Ashkenazi background. Most of the films were set and filmed in Tel Aviv, a modern, secular and cosmopolitan city aligned with the cultural identity of the New Sensitivity movement. According to filmmaker and scholar, Judd Ne'eman, "New Sensibility films were characterized by low-budget production, black-and-white film, shots done on location using live urban scenery, debutant actors and non-actors playing principal roles, improvised scripts, fragmentary plots with open endings, the use of vernacular language and slang, experimental cinema rhetoric, existential malaise and so on." Scholarly interpretations have drawn on the movement's European influence: Zohar's contemporaries depicted the Israeli character in a European light, whereas Zohar reinforced provincial lifestyle and the glare of the Israeli sun. He saw these elements, even vulgarity as authentic. Some of Zohar's most notable films from the movement include the critically acclaimed, Metzitzim (1972) and Big Eyes (1974). According to scholar, Ari Ofendengden:"Zohar was inspired by the style of East European art films while dealing with private concerns of sexual desire in defiance of collective state ideology." ==Notable New Sensibility films==

• Hole in the Moon, Dir. Uri Zohar (1964; considered to be a precursor of the movement) • Three Days and a Child, Dir. Uri Zohar (1967) • ''A Woman's Case'', Dir. Jacques Katmor (1969) • The Dress, Dir. Judd Ne'eman (1969) • The Dreamer, Dir. Dan Wolman • Shablul (Snail) (1970), Dir. Boaz Davidson • I Love You Rosa, Dir. Moshé Mizrahi (1972) • '''', Dir. Avraham Heffner (1972) • Haglula (The Pill), Dir. David Perlov (1972) • Or Min Hahefker (Light Out of Nowhere), Dir. Nissim Dayan • The House on Chelouche Street, Dir. Moshé Mizrahi (1973) • My Michael, Dir. Dan Wolman (1974) • '''', Dir. Assi Dayan (1975) • ''Hagiga La'einayim (Saint Cohen''), Dir. Assi Dayan (1975) • Habanana Hashchora (The Black Banana), Dir. Benjamin Hayeem (1976) • Uri Zohar's Tel Aviv Trilogy • Metzitzim (1972) • Big Eyes (1974) • '''' (, 1977) == References ==