Seite - 122 - in JRFM - Journal Religion Film Media, Band 05/01

nities have different relationships with space, they also have conflicting points of view on issues that surround them in wider society, and thus there can be no simplistic reconciliation for the land and the various peoples that inhabit that land. He reframes each piece of the (fragmented) story by contrasting one nar- rative with another, one geo-political understanding of the land with another one, creating a never-ending circle, as the image of the carousel in his final se- quence suggests (fig. 10). Gitai highlights the significance of specificity and inclusivism within Israel if the political tendency towards exclusivism, an ideologically-coercive mech- anism that favours one group over the other, is to be avoided. The filmmak- ers reframe the changing socio-political reality of Israel by creating a cinemat- ic space from which specific individuals and communities can be heard and in which they themselves can renegotiate their relationship to one another and with their wider cultural and socio-political communities. Thus the cinematic space ultimately reveals itself as a space of reconciliation (through personal re- demption – Geula; and through dialogue – West of the Jordan River) and as a heterogenous space, for it involves the many spaces of different communities and their respective realities. Fig. 10: Jerusalem’s Carousel. Film still, West of the Jordan River (Amos Gitai, IL/FR 2017), 01:24:47. 122 | Milja Radovic www.jrfm.eu 2019, 5/1