“Mom, I'm Home”: Israeli Lebanon-War Films as Inadvertent Preservers of the National Narrative

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

“…To provide a full picture, all major films dealing with this subject have been included. Although done in 3 different decades and during increases and decreases in the ethos of conflict in Israeli society, all of them manifest similar traits and share a similar narrative and framing (Benziman, 2013).…”

“…However, it is only in this film that the self-perception as victims is also understood as a complete consequence of having an enemy that is a victimizer. In the other films, the enemy is not always present, and when it is, the accusations are mainly aimed at the “situation” and not the enemy (Benziman, 2013). For example, in Cup Final , although the protagonist justifies the need to go to war and feels as a victim, he blames the Israeli government for sending him to it, saying “that asshole starts a war,” referring to the Israeli Minister of Defense.…”

Corporate Social Responsibility in Multinational Companies Based in Lebanon: Exploring the Role of Managers’ Individual and Situational Factors in Institutionalizing CSR

“…In July 2006, a war between Hezbollah, a Lebanese party, and the military of Israel erupted for thirty-four days (Melki, 2014). The war started after Hezbollah kidnapped two Israeli militaries on the borders of Lebanon and Israel which gave rise again to the never ending conflict between Hezbollah and Israel (Benziman, 2013). The war ended with one thousand and one hundred Lebanese and one hundred and fifty-nine Israelis dead, thousands of people injured, approximately one million Lebanese and five hundred thousand Israelis relocated, tens of thousands of houses, plants, and bridges demolished, and a massive economic and environmental loss of billions of dollars (Melki, 2014).…”