Ethos of conflict, culture of conflict, and films about conflicts: The gap between theory and fictional reality.

Abstract

The article compares the definitions and components of an ethos of conflict to one case study of cultural texts produced in a society in an intractable conflict: Israeli films produced in the last 3 decades that deal with the Israeli-Lebanon conflict. These films criticize the national narrative and at the same time preserve and support it further. The findings show that an ethos of conflict can be retained even when the in-group manifests self-criticism, does not full-heartedly embrace and justify its own goals, does not de-legitimize or show negative attributions to the opponent, and is ambivalent on topics of patriotism and victimization. Because of the findings, it is claimed that an ethos of conflict—as it is produced and manifested in cultural texts—can exist without the majority of its components; therefore, its current definitions should be revised.

Encuadres mediáticos del Perdón y Reconciliación en el contexto del conflicto armado colombiano

“…Así, las etapas de escalamiento de la violencia propician un discurso mediático que reproduce el edc casi en su totalidad (Baden & Tenenboim-Weinblatt, 2018;Elbaz & Bar-Tal, 2016;Khan, 1998;Mandelzis, 2007;Oren, 2016;Tenenboim-Weinblatt, Hanitzsch, & Nagar, 2016). Por el contrario, etapas de desescalada del conflicto propician un cambio en el edc reproducido por los medios, lo que se ve reflejado en la gradual pérdida de prominencia de las creencias sociales que sostienen el conflicto (Benziman, 2014a;2014b;Lee, 2010;Oren, 2009;Tenenboim-Weinblatt et al, 2016).…”

Introduction to Peace and Conflict, Volume 20, Issue 3.

“…Israel has been involved in intractable conflict from the start of its history, and yet, there are multitudes of competing and often critical opinion groups active within Israeli society. The study by Yuval Benziman (2014) explores how this complex arrangement is maintained, by examining selected Israeli films produced in the last three decades. Although critical in voice, these films work within and help to sustain an "ethos of conflict," ultimately enabling the continuation of strong patriotism and a sense of victimhood among Israelis.…”