![\"\u7b2c43\u56de\uff1a\u307c\u304f\u305f\u3061\u306f\u898b\u305f](\"https:\/\/saijo.net\/blog\/wp-content\/uploads\/2024\/04\/240410photo.png\")
<\/a><\/p>\n\u5b9f\u306b4\u5e74\u3076\u308a\u306e\u7b2c43\u56de\u3055\u3044\u304f\u308a\u30b7\u30cd\u30de\u30c6\u30fc\u30af\u306f\u3001\u6b74\u53f2\u306b\u6b8b\u308b\u3001\u6b8b\u3057\u3066\u3044\u304b\u306a\u3051\u308c\u3070\u306a\u3089\u306a\u3044\u540d\u4f5c\u3067\u3057\u305f\u3002
\n\u4eca\u56de\u306f\u3053\u306e\u6620\u753b\u3092\u3054\u7d39\u4ecb\u304f\u3060\u3055\u3063\u305f\u7be0\ufa11\u3055\u3093\u306b\u3001\u7d75\u3068\u6587\u7ae0\u3092\u5fa1\u9858\u3044\u3057\u307e\u3057\u305f\u3002<\/p>\n
\u307c\u304f\u305f\u3061\u306f\u898b\u306a\u3044<\/p>\n
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\n\u3000\u5b50\u4f9b\u305f\u3061\u306f\u30c8\u30e9\u30a6\u30de\u72b6\u614b\u306b\u3042\u308b\u3002\u30c8\u30e9\u30a6\u30de\u72b6\u614b\u3068\u3044\u3046\u306e\u304c\u7cbe\u795e\u79d1\u7684\u306b\u6b63\u3057\u3044\u8a9e\u306a\u306e\u304b\u306f\u308f\u304b\u3089\u306a\u3044\u304c\u3001\u3068\u306b\u304b\u304f\u7d20\u4eba\u304c\u89b3\u3066\u3082\u3046\u3064\u72b6\u614b\u3067\u30a4\u30e9\u30a4\u30e9\u3057\u3066\u3044\u3066\u4e0d\u5b89\u5b9a\u3060\u3002\u5f7c\u3089\u306f\u30a4\u30f3\u30bf\u30d3\u30e5\u30fc\u306e\u7bc0\u3005\u3067\u306b\u3063\u3068\u53e3\u89d2\u3092\u4e0a\u3052\u3066\u898b\u305b\u308b\u3002\u305d\u308c\u306f\u7b11\u3046\u306e\u3068\u306f\u5c11\u3057\u9055\u3063\u3066\u3001\u4f55\u304c\u9055\u3046\u306e\u304b\u306f\u8aac\u660e\u51fa\u6765\u306a\u3044\u306e\u3060\u304c\u3001\u3068\u3066\u3082\u60b2\u3057\u3044\u3002<\/p>\n
\u300c\u5bb6\u65cf\u304c\u4ea1\u304f\u306a\u3063\u305f\u5834\u6240\u3060\u304b\u3089\u3001\u3053\u306e\u5bb6\u306b\u6765\u308b\u306e\u304c\u597d\u304d\u306a\u306e\u3002\u4f4f\u307f\u305f\u3044\u304f\u3089\u3044\u300d<\/p>\n
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Screening 10 April 2014<\/p>\n
The 43rd Saijo Clinic Cinematheque, held for the last time in four years, screened a masterpiece that has left its mark on history and must be preserved.
\nThis time, we asked Ms. Shinozaki, who introduced this film to us, to draw pictures and write an essay for us.
\n\u3000<\/p>\n
We Don’t See It<\/p>\n
\u3000For my first screening in a while, I was asked to feature “Bokutachi wa Mita (What we saw): The Children of the Gaza Samouni Family” at my strong request. I had been wanting to see the film ever since I heard the director, Mizue Furui, give a lecture on the subject.<\/p>\n
\u3000The film is set in 2008-2009, and although the horrific massacre after last year’s October 7 has not yet begun, the Israeli occupation and blockade existed with considerable influence even before then, and sometimes the carnage and violence left deep scars (with a great deal of fresh blood) on people’s lives, as the children’s stories and The piles of rubble and half-destroyed dwellings behind the children’s stories are a reminder of the traumatic state of these children.
\n\u3000The children are in a traumatized state. I am not sure if “traumatized” is the correct psychiatric term, but even to a layman, they seem depressed, irritable, and unstable. They smirk at the corners of their mouths at various points in the interview. It’s a little different from laughing, and I can’t explain what the difference is, but it makes me feel very sad. <\/p>\n
\u201cI like coming to this house because it’s where my family died. I want to live here so much,” <\/p>\n
says Zainab, a bright girl, and the corners of her mouth turn up a little.<\/p>\n
\u3000There is a children’s care center where all the children play and draw together. I thought the adults in the city of Zeitoun were making an effort, too. As well as mental health care for children, relatives take in children whose parents have been killed and take care of them. Even without gas, they are cooking with firewood, repairing water tanks, and keeping their days together. I cook every day, so I watched their cooking scene with great interest, but with limited equipment, they bake a lot of bread (attractive round bread!) ) and preparing a large plate of side dishes with limited facilities, I felt a sense of strength from Zainab’s aunt. The film shows the accumulation of daily activities, the gradual path of recovery shown by the children, and the precious hope for life. Zainab’s wrapping around the Eid snack, kataif is also powerful, showing recovery and growth.<\/p>\n
\u3000But as is well known, there is an ongoing, unprecedented slaughter by Israel. The glimmer of hope that filled the symbolic scene of planting olive trees has likely been crushed. The children are probably in their 20s or 30s now. Are they still alive? The film covered the southern Gaza town of Zeitoun, but now the southernmost town of Rafah is under attack. Where have the people fled to? Are there places to escape to?
\n\u3000<\/p>\n
There is a scene early in the film where children sing a song at school. <\/p>\n
\u201cThe world has forgotten us\u201d.<\/p>\n
\u3000We cannot turn our eyes away from the bloody Palestinian people. We must not look away from the barbarism of the Israeli soldiers. Neither of these should be unrelated to us. It is painful to stare. But the truth is, this is not the time to show our children how their precious family members and relatives’ brains come out, eyeballs fall out, and bodies fall apart. Adults around the world must stop the genocide by Israel. First and foremost, I want you to gently open your eyes. I think this film is good enough to trigger your knowledge of Palestine.<\/p>\n","protected":false},"excerpt":{"rendered":"
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