In the powerful SNOW TAPES, the Israeli visual artist MICH’AEL ZUPRANER offers a video camera to a Palestinian family living in the full of tensions Israeli-controlled sector of Hebron, in order to record the human rights abuses they are confronted with. Two parallel screens show simultaneously two points of view: on one of them, we follow a material shot by the Palestinians, capturing their violent clash with a group of Israeli neighbors; on the other, we see the same Palestinian family while they watch the material, their reactions and comments about the incident and the shooting, filmed by the artist.
Director: MICH'AEL ZUPRANER
With the support of:
Cast: AL-HADDAD FAMILY
Cinematography: MICH'AEL ZUPRANER, ABD ALKARIM AL-HADDAD, DIAA AL-HADDAD, TALAL AL-HADDAD, SHADA AL-HADDAD
Editing: MICH'AEL ZUPRANER
Sound: BINYA RECHES
Producer: MICH'AEL ZUPRANER AND ISSA AMRO
INTERNATIONAL SHORT FILM FESTIVAL OBERHAUSEN
CARSTEN SPICHER - ARCHIVE AND DISTRIBUTION
Director's contact: zupraner[at]gmail[dot]com
MICH'AEL ZUPRANER is a visual artist and a researcher at the Jan van Eyck Academy, Maastricht (NL). His work in recent years is focused on the divided city of Hebron, West Bank, approaching it as a laboratory for questions of power, identity, and transcultural exchange within the Jewish-Arab relationship. His art practice is more participatory than observational, establishing a community-based centre within the militarized Israeli zone of the city and making Hebron his place of residence for over two years. He's interested in the subjective interpretations of politics and history and how the latter two bear upon interpersonal relations. His work (The Policeman's House, 2012; Snow Tapes, 2011 and Archaeology is our Nation's Pastime, 2006) is documentary-based and employs various video techniques - filmmaking, live web streaming, installation, and archival work - as well as architectural interventions and graphic design.
Grand Prize of the City of Oberhausen - Oberhausen 2012 / Honorable Mention - Jerusalem Film Festival 2012
“In this work, with a strong sense of political urgency and complexity, the artist provided a camera to a Palestinian family in the highly charged city of Hebron. But instead of a one dimensional depiction of a political conflict, he complicates the viewer's life with a bifurcated screen. We are therefore confronted not only with the violent reality of the occupation, but also with the glee of the victim when he is able to be aggressive, with the ambivalence of throwing snow balls as both playful and violent, and with the Israeli director himself as someone who stand to gain from representing Palestinian suffering. The result, while raw and rough, is both subtle and evocative, and reconfigures cinema as an active agent beyond the subjective-objective division rather than settle for a passive political role.” (Oberhausen Jury Statement)