The International Space Station above the Temple Mount in Jerusalem

 

The International Space Station above the Temple Mount in Jerusalem 

The International Space Station above the Temple Mount in Jerusalem

Yayoi Kusama: A Retrospective \ Tel Aviv Museum of Art

 

Tel Aviv Museum of Art present the first-ever retrospective in Israel of renowned Japanese artist Yayoi Kusama. Ranked one of the ten biggest and best art exhibitions opening in 2021 around the world, an extensive retrospective of Kusama's work started in November.

Astronaut and Drone

The picture shows two known symbols facing each other, to illustrate the simple drone's rising power against the astronaut, as the dominant observation post on Earth.

 

Myth, formalism and semiotics

Myths are a universal and interesting cultural phenomenon. They have existed since the dawn of civilizations, and probably have the greatest perseverance, similar to the important of religions. Every culture has created mythical images, which suggests that myth is a fundamental component of human expression. Although Western culture is generally defined as scientific and secular, it also includes many active mythical contents. There are many archetypal symbols, which believers believe to have a divine origin. For example, a bird may be the "forerunner", a high place may be the "place of revelation", and a giant tree "the tree of life".

Mythological origins are central to semiotics, which is the professional field of sign language practice - the basis for brand design. In mythological legends anything is possible. This is also the feeling that a marketer of almost any product tries to instill. Marketing is a mix of products, services and ideas. The marketer seeks measurable results, as an answer to every consumer's search for meaning in modern life.

For the semiotician, any simple object may have a symbolic meaning. Such symbols are, for example, Sigmund Freud's cigar, Charlie Chaplin's walking stick, and Michael Jackson's glove. The symbols can be exchanged in the free market. Despite this, they are endowed with a multiplicity of meaning, and what for one person is in the nature of "reality", for the other is in the nature of "imagination". Barter is conducted according to clear rules of the game. The domain of symbols is never higher than the domain of products, and there is always a product attached to the symbol, otherwise the symbol is not valid. The airplane became by the propaganda artists an object of symbolic significance of the highest degree.

Humans live by the stories they hear and experience throughout their lives. These stories are steeped in common symbols and myths, and involve riddles and answers. They showcase the human ethos, and so do the commercials. The cinematic plot is an expression of this. The cinematic or advertising story is multidimensional, and is integrated into a system of matching symbols, resulting from behavior, myth, tradition, and the like, in the lives of viewers and consumers. The purpose is of creating an integrated narrative in all popular culture.

Because the myths express central cultural values, they appear in all media and cultural channels, both mass and elitist. Myths exist in the world of advertising, propaganda and also in the world of films. Cinema is a place where the use of myths is gaining ground, and incorporating myths into feature films is a major phenomenon. The Hollywood studio film is a product that many people share in the production process. Hence, similar to the myth, it turns to as broad a common denominator as possible.

In the twentieth century, as human society became more modern, technological, and complex, so did the need to use myths in popular culture to define the role of each person in the masses. Cinema is a connection between reality and imagination, and offers a space for transition between them. It is a total art, combining many fields of art, and many movie stars have also become role models. Movie heroes belong to the "superhero" category, which is one of the most important archetypes in human culture. They are at the top along with the archetype of the "family" in its extended definition, as a group of people with close ties.

The seismic change in the political structures of post-World War I Europe spawned the fascist movements and regimes, built on the principles of mythical modernity. Mythical modernity was based on an aspiration for advanced technology, using belief and archetypal conditioning for its application, rather than the enlightened mind. The desire for a mythical fascist order developed during the war. The events of the war, the fall of the dynasties and the political upheavals were the most visible result of a rupture in the old order, and gave rise to fascism.

An influential German thinker was Ernest Junger. Junger, the decorated combat soldier who became an influential philosopher of the Nazi movement, clearly recognized the shocks around him, and preached a new civilian reality, taking an example from the war. Junger described the war in hygienic terms: war is an end in itself, it is the ideal existential situation. The war created a new kind of human being, a new race of warriors who adopted an ethos of military masculinity, discipline, power and heroism, and a fusion of man and machine. Civilian life is a continuation of the war in other ways. Technological and political warfare continues in them and with it human forging intensifies.

The clear symbol of mythical totalitarian modernism in Nazi Germany and Fascist Italy was the airplane. The linguistic symbols and metaphors associated with aviation discourse, its perception and interpretation, are many, and the sources that can be relied on in this context are very numerous. They include important cultural events, artwork, books, magazines, propaganda products and more. It was not the aviation itself, but its connections, not the pilot himself, but the concepts involved, that were the focus of attention. They served as a means of revolutionary liberation from the burden of the past.

The social agenda, which has been the focus of attention in fascist regimes, is clarified through the narrative of aviation heroes, and through the vision of the new man that fascism has tried to make a reality through an anthropological revolution. The protagonists were models and prototypes that citizens were required to use in order to shape their lives. The norms and values ​​that the media published as embodied in those heroes permeated the social reality and the world was understood according to their register.

The airplane and the pilot were totems, in the fullest sense of the word of icons with archetypal characteristics. They reflected the desire for order, and they were the epitome of modernity. The spiritual reciprocity between fascism and aviation was unequivocal. It has created mythical modernity, as opposed to liberal modernity.

This worldview fits into the formalist film style, in which directors are interested in expressive and subjective re-creation of their experiences of reality, rather than the way others perceive it. In formalist films one can find a high degree of manipulation, a re-design of reality. Formalist cinema tends to emphasize form, technique, and style of expression.

There is a parallel between marketing characters with the goal of becoming celebrities and states marketing, with the goal of making them more attractive in the international community. Specifically, the image of political leaders is the result of intense professional investment, measured by the field of consumer product marketing as brands. Hitler was an icon in the international community, as was Nazi Germany, which became a brand. The state as a brand exists for the purposes of domestic and foreign policy.

Roland Barth, one of the forefathers of semiotics, examined images through the analysis of the messages they contain, in order to know to what extent visual images create an ideological worldview. Key concepts in the analysis are the "signifier" and the "marked". The "signifier" is what we see, hear, feel. "Marked" is the meaning we derive from the signifier. For example, photography is perceived by us as a reality, but it has an ideological and cultural construction. A photograph of a polished soldier of local descent, against the backdrop of the flag of his country's colonial power, reflects his loyalty and identity which may not actually exist.

UFA studios - the German Hollywood

The German film industry, originally a small part of entertainment shows, grew at a dizzying pace, producing 353 films in 1913, more than 10 times that of 1910. During World War I, imperial Germany created the need to concentrate cinematic resources to produce regime-compliant films. The acting commander-in-chief, Ludendorff, issued a letter on the subject in 1917, creating the UFA company, which united virtually the entire German film industry.

Post-World War I economic crisis gave UFA excellent conditions to continue to head the local industry. But the company was put under economic supervision, which dictated the production of commercial films and a partnership with Hollywood studios. Another step was the privatization of the company. In 1927 it was taken over by the right-wing industrialist Hogenberg. The invention of the soundtrack at the time put many companies in crisis and allowed for a further strengthening of UFA.

The huge company continued to exist during the Weimar Republic and during the Nazi regime, until the end of World War II. The Nazis nationalized UFA immediately after coming to power, banning Jews from working there. It was part of a move to nationalize all the media firms in Germany, such as the press, radio and cultural institutions.

Joseph Goebbels closely monitored what was going on UFA and it was actually his private yard. He personally supervised the works, from the selection of the script to the final approval of the finished film. During the Nazi period, about a thousand films were made in UFA and its subsidiaries. There were quality films among them, in parallel with commercial films. The works were in a variety of genres, and reflected the artistic, economic, and political tension that prevailed in Germany.

Cinema, which originally created a cultural revolution, gradually became a major means of directing observation of reality. As a result, the fear that it would become a tool in the hands of subversive elements increased. These conflicting elements prevailed in the productions. It was a constant competition between artistic creativity, connected with radical social factors, versus the commitment to financial stability, bestowed by the upper classes and their conservative taste. What gave UFA its shape was its contradictory nature, as society was a force field composed of capital, politics, cinema and the public.

During World War I, UEFA military inspectors wanted to make a patriotic glow to the melodramatic tensions that cinema thrived on, and to allow viewers to enjoy visuality. The branding of the nation was the great ambition of the Nazis. Cinematic coverage has steadily corrected reality by allowing audiences to immerse themselves in larger collective destinies.  Cinematic setting was powerful. Through its credit strong emotional power was imparted to nationalism. War and cinema renewed the meanings of the modern nation-state and cultivated fantasies about it.

Because the UFA was an economic business, as well as a propaganda arm and a place of artistic and technical experimentation, in which Social Democrats and Jews played key roles, UFA films could not be reduced to a single influence. Neither Ludendorf, nor Hogenberg, nor even Goebbels, achieved complete command. Their empire was difficult to cover and control by its very nature.

At its peak, UFA competed against the major Hollywood studios and the German film industry was the second largest in the world. Its film studios covered vast areas of the Bubblesberg neighborhood of Berlin. The thousands of films made by the company, in all genres, were watched by hundreds of millions of viewers, for whom it was a symbol of the good life. 

During the Weimar Republic, in addition to entertainment films for the masses, experimental expressionist films were made in it. After the Nazis came to power, in 1933, they made it their main propaganda tool. Therefore the Allies eliminated it after World War II. Many of the professionals in Germany were Jews, and were banned from working for the company as soon as the Nazis came to power. They escaped, and some joined the rival Hollywood film industry. Enthusiastic Nazis took the place of the Jews.

The company became known for its designed productions. The rich scenery, and especially the lavish costumes, were a prominent hallmark of the films produced in it. As an added value to films, UFA studios have also dictated the entire popular culture, similar to the Hollywood film industry at its peak. UFA movie stars have shaped, through careful planning, the tastes, fashion and lifestyle in Germany. UFA has promoted itself, and the industry sectors close to it, through the intensive distribution of posters, advertisements, newsletters, magazines, movie diaries and of course a selection of the content in the movies.

UFA reflect the fate of the Nazi regime. The state-owned company initially created a production plant that ensured orderly productions, fixed salaries, and orderly film distribution. All the partners in the filmmaking, from Joseph Goebbels to the last crew members in the production, were dedicated film lovers. The productions were characterized by order and organization that were typical of the Nazi regime, compared to the relative disorder that was typical of the Weimar period productions. German order and discipline are immediately reflected to viewers in accurate scenes. Another value of the disciplined production was the ability to go out in cohesive outdoor filming teams in difficult conditions. Under crisis conditions, as during extensive military recruitment, manpower could be streamlined relatively easily. The production of any film was expensive, so it was important for the ability of the various studio managers to choose, through their centralized power, to create films according to artistic and national considerations, and not according to cheap commercial considerations.

The method has created a shortage of good scripts. The nationalized film industry has worked as a production line, and this is contrary to the original creative process, which does not succumb to the dictates of time. So when a pattern of success was identified, like aviation movies, it was repeated over and over again.

Important films made in UFA include:

During the Weimar Republic:

"Metropolis" (1927) - a film in the science fiction genre, with social significance, which was a prestigious production that almost brought UFA into bankruptcy. The plot of the film revolves around two groups of citizens in a futuristic society, the elite of the executives and the masses of workers, who live in two separate worlds, upper and lower. A robotic woman whips up a conflict between them, which ends in reconciliation.

films from the Nazi period:

"The Adventures of Baron Munchausen" (1943) - a fantastic, big budget and colorful comedy created by Goebbels, influenced by the Hollywood's "Wizard of Oz", about the Baron's imaginary stories known from children's books. The Baron has in the film the image of a superhero, who lives forever and possesses miraculous technologies. The festive premiere in Berlin took place during the announcement of the surrender in Stalingrad. The film thus reflects the illusion of victory through miracles and miracle weapons.

"Kohlberg" (1945) - a colorful, high-budget historical film, in the genre of Prussian war films, dozens of which were made at UFA studios. The film was made with the participation of tens of thousands of soldiers as extras. The plot of the film revolves around the resistance of the inhabitants of Kohlberg to the siege imposed on them by Napoleon's army. The protagonist of the film is a young officer, similar to Goebbels in appearance and speech, who shows decisiveness and leads the citizens to dig a defense system in preparation for the enemy attack, which crush the city by bombardment. The film is intended to prepare the German people for a long war on the home front.

Paris Domes - Essay on the Binaric Space in the Parisian Sphere

Paris Domes

 

We were born and raised in cities

in them we breathe and travel

there is nothing inhuman in the city

except for the two of us sometimes

In the heart of the city flows the river Seine

like a silver snake twist and plain

It is a pair in cities everywhere

the full circle and the line of fair

Dialectics takes place

between station and road as circle and line

the square or dome are for peace of mind

and a plot unfold in the alley and boulevard

This design is a key

for everything that exists in the city

a circle or line dominate the space

as in the letters of the alphabet

A central urban circle is the dome

built on top public and state buildings

an important question for the tourist is

which dome to first visit

By the river you can see glass domes

of a huge structure in metal frame

it host important exhibitions

of art, fashion, cars and fairs

The dome most striking of them all

is the cathedral in white color

at the top of Montmartre the mount of arts 

where people for their portraits drawing lust

This dome seems to float in the sky

hovering over the greater city sphere

inside there is a huge fresco of Jesus 

spreading his arms as an airplane

The decorated dome is reminiscent

of invention older then two centuries

which gave Paris premiere

and the hot air balloon is its name

The dome express a view

of the sky is a core 

an inspiration for all mankind

regardless of religion or roots

Another magnificent and large dome

is that of the Opera Hall 

decorated with soul paintings

of people for compassion longing

In Lafayette Gallery department store

there is a huge and colorful dome

it is like in a palace or church 

and give inspiration to the place

Napoleon’s tomb dome

tower on top of all with pride 

It became a symbol 

for France in the first class

On the left bank of the River Seine

is the  impressive Pantheon Hall

with abstract dome and decorations

a shrine for French spiritual giants

Chatelet is a huge metro station

with a transparent glass ceiling

the amount of people passing through

is enormous inconceivably

Paris like any metropolis 

grow on major traffic arteries

the museums are designed the same

for tours along long hallways

The avenues are long and wide

the whole metropolis they glorify

champs Elysees sing in chord

between the Victory Gate and Concord 

Near the historic Bastille Square

there is a long and ancient aqueduct

which has become a green promenade

symbol of how modern France revitalize

Arriving to Paris is through endless tunnel

starting at the airport

it includes many parts

of terminals and transportation passages

The building which symbolize this tunnel 

is the municipal library with the tubes 

in them you ascend in escalators

to the reading halls on all floors

Once you exit the tunnel

Paris unfold in all its glory

with occupants of coffee shops

all along every vacant sidewalk

The square is like macaroon cookie

complicated and difficult to prepare

the bread baguette is like the street

popular and simple to treat and eat

Many Africans live in Paris

who are looking for original content

a reality of a futuristic experiment

based on their digital orientation

Paris is in need for urban renewal

which will contain its suburban sprawl

without it its center is decaying

and the suburbs become negative

Like photography the modern city does not 

reflect human reality correctly

visual appearance is a cheap attitude

insulting the magnitude of history

The colorful Pride Parade is an example

of how human spirit in the city prevail

a world of people participate in it

enriching presence of Paris

Paris preserve its uniqueness

with punctuation in every corner

people are striving to reach it

and it will stay in the peak

The art of local street paintings

is an excellent demonstration of creation

original expressions on the walls

are imaginary treasure maps for all

From its start the city has been personified

as expression of planning and medicine

created for a healthy environment

to embody sights and mind

Chief destination for the tourists

are the great museums

in which many walls are decorated

with Impressionist masterpieces

 

The modern city is a broad subject

foundation of society and creativity

but it is experienced as an image

and is hooked to its bright lights

Man lives in his spatial world 

far more than in his time 

and In-Out are like Yes-No

to define all that is alive

Moon shines over Haifa Bay

Moon shines over Haifa Bay

The HeartMath Experience

The HeartMath Experience is a 90-minute video program that is divided into 9-chapters. HeartMath Experts and Master Trainers teach you 5 time-relevant and scientifically validated techniques. The program combines stunning visuals with valuable lessons to help you gain new insights. 

Learn to access your heart’s intuitive intelligence so you can respond to day-to-day challenges with more ease and composure. UPDATE June 23, 2020 - We are currently giving this online video program away, no cost to you - yes it is absolutely free through the end of August 2020. The world events this year has caused a tremendous amount of fear, anxiety and stress for people. We felt it vital to get these tools to as many people as possible. Please share this information with your family, friends and network. 

*****. GET ACCESS TO PROGRAM FREE AT THIS LINK: hmath.me/hmexpfree 

Connect with the power and intelligence of your heart. Introducing a new online video program to help you connect with the intelligence of your heart. Learn 5 essential techniques to help you respond to day-to-day challenges with more clarity and composure. Learn more at HeartMath.com

Magneto

Magneto (Max Eisenhardt) is a fictional character appearing in Americancomic books published by Marvel Comics, commonly in association with the X-Men. Created by writer Stan Lee and artist/co-writer Jack Kirby, the character first appears in The X-Men #1 (cover-dated September 1963) as an adversary of the X-Men.

The character is a powerful mutant, one of a fictional subspecies of humanity born with superhuman abilities, who has the ability to generate and control magnetic fields. Magneto regards mutants as evolutionarily superior to humans and rejects the possibility of peaceful human-mutant coexistence; he initially aimed to conquer the world to enable mutants, whom he refers to as homo superior, to replace humans as the dominant species. Writers have since fleshed out his origins and motivations, revealing him to be a Holocaust survivor whose extreme methods and cynical philosophy derive from his determination to protect mutants from suffering a similar fate at the hands of a world that fears and persecutes mutants. He is a friend of Professor X, the leader of the X-Men, but their different philosophies cause a rift in their friendship at times. Magneto's role in comics has varied from supervillain to antihero to superhero, having served as an occasional ally and even a member of the X-Men at times.

His character's early history has been compared with the civil rights leader Malcolm X and Jewish Defense League founder Meir Kahane. Magneto opposes the pacifist attitude of Professor X and pushes for a more aggressive approach to achieving civil rights. Magneto was ranked by IGN as the Greatest Comic Book Villain of All Time.

Ian McKellen portrayed Magneto in a majority of the X-Men film series, while Michael Fassbender portrayed a younger version of the character.

source: Wikipedia

Superheroes, Star Wars movies and aviation culture in the 20th century

The fighters have been a focal point of admiration for every generation, in their lives and deaths. Their qualities were focused on a single character who was exemplary to the public and the savior, and received a mythical character. A particularly revered hero is a super-omnipotent superhero with superhuman powers. The superheroes have undergone a transformation process throughout history, created because they belonged to the popular culture of their time, which had a characteristic emphasis, and used the technological means at its disposal. The characters of ancient superheroes, from the Bible and Greek mythology, became knights on horses in medieval societies. The early heroes of the early twentieth century were aviation pioneers and fighter pilots. Superheroes in the colorful comic booklets were very popular in the United States during the interwar period. After World War II, with the development of space flights, and at the same time as television viewing, the superheroes were identified with the first spacecraft pilots, such as Gagarin and Armstrong. In the early 2000s, the superheroes underwent another transformation, with the development of computing technologies, and now appear mainly in Marvel films. As reality became more complex, the need for archetypes became more important. Cinema, as a multidisciplinary and multidimensional medium, is a place where most of the myth appears, as both cinema and myth appeal to as broad a common denominator as possible.

The periodic transition between different types of characters is not sharp, and there is an overlap between them, as well as sub-genres that are characteristic of the interim periods and situations where no clear superhero characterization has taken place, or when a different characterization is needed. For example, in the 1930s, dictatorial political leaders, such as Hitler and Stalin, enjoyed a superhero image. Following the political crises in the 1960s in the United States, during and after the Vietnam War, superheroes such as Rambo, who were more human and represented personal and social protest, appeared on the movie screen. At the other end of the arc of superheroes are the simple real men who survived unbelievable hardships, led by Holocaust survivors. The survival motif is central to popular culture, but only dozens of films have been made about real survival journeys, as opposed to the countless works of fiction. Much research has been done on Holocaust survivors, but their image has not yet been created as superheroes. Their personal stories blended into the overall myth of Holocaust and Revival of Israel.

The "Star Wars" film series is based on the pattern of superheroes in the stories of mythology, as developed by Professor Campbell, the renowned expert on myth theory. "Star Wars" may be his most well-known legacy left behind. Within this film series, nine sequels have emerged, which are the canon of the series as a feature epic. The first movie in the series came out in 1977, and the last one in the end of 2019. It's about 40 years, then. The series gained unprecedented popularity. It was defined as redefining cinema, as it created an imaginary universe full of details. It has acquired millions of fans on the level of religious believers, and is recognized in almost every home across the globe. Some claim it have changed the world. It is an escapist replacement for the complexity of the race to space, which is one of the characteristics of modern life and central in every country.

The nine-movie canon consists of three trilogies, which represent the parts of the human soul and its evolution, according to Id, Ego, Super Ego. The Disney-owned franchise company also develops it through spin-off films, unique complexes at Disneyworld sites, and as a merchandise that includes computer games, books, comic books, clothing and toys. In this way, the brand reaches every soul in the way that is most appropriate, according to the latest branding and marketing approaches.

Professor Joseph Campbell has been a major source of inspiration for the series creator, George Lucas, and they also formed a personal friendship. Campbell's main book is "The Hero with Thousand Faces ." This book presents the defining characteristics of the superhero figure, who are kept behind many embodiments in different cultures and eras. The Star Wars movie series is entirely based on this theory. The films include a gallery of typical archetypal mythological characters, such as the superhero character, the mentor, the distressed maid, the trickster, the evil hero, the omnipotent magician, and the like. At the same time, the superhero in the series is going on a journey, known in terminology as "The Hero's Journey". This journey includes many stages of development, which are well characterized by the stories of superheroes of all cultures.

Because in much of the twentieth century, the superhero character was identified with pioneer pilots of airplanes and spaceships, two of the star heroes of "Star Wars," Han Solo; the trickster who is Luke Skywalker's faithful friend, and his son Ben, who became an evil hero by the name of Kylo Ran and the successor of Darth and Wader, are of central importance. The importance of the transformations undergone by Han and Ben Solo is also linked to the importance of the dream of flying to the development of the soul. Aviation ability has been identified, from the dawn of humanity, as a characteristic of gods. Han's "Millenium Falcon" spacecraft is the fastest in the galaxy, and it is the object most identified with the series, with the exception of Luke Skywalker's Light Sword. Harrison Ford, who plays Han Solo in the series, is a superstar of Hollywood, and portrayed another superhero character created by George Lucas, Indiana Jones.

Filmmaker Hans Bertram created several aviation films in Nazi Germany. During World War I, some of the most successful fighter pilots were soon promoted to become communicated icons of valor, warriors who donned the national spirit of the war. This was particularly evident in Germany, in the form of the Flying Circus pilots and their commander Richthofen. They became national icons, with a prominent presence in film and print, and in all circles of society. Between the two world wars, aviation films were constantly reinforced, helping to shape contemporary thinking about aviation development. Aviation achievements envisioned a new, stronger and more disciplined German Reich capable of dealing with multiple industrial claims and joining the twentieth-century imperial competition. The memory of World War I was built through the myth of the war experience, which legitimized it by changing the real-life picture. The main image engraved in the collective memory of this war, to this day, is that of the gallant fighter pilot. The distinct symbol of totalitarian and mythical modernism in Nazi Germany was the airplane. Not the airplane per se, but its connections, not the pilot per se but the concepts it entails, were the focus of attention. They served as a means of liberating revolutionary burdens of the past.

In Nazi Germany, the superheroes of American comic booklets were not popular, nor were other superheroes of this style. The Nazis saw themselves as a supreme race, according to the "Superman" model designed by Nietzsche, their official philosopher. The popular superheroes were characters from German folklore and history, such as in Richard Wagner's operas, and from the aviation world, whose heroes were considered to embody the "Suprmman". Bertram was among them. He was part of the famous Pilots Gallery, with Charles Lindberg at the top, who became superheroes in the world media. In 1927, Lindberg crossed the Atlantic alone by airplane. On his return he was honored as king, and millions came to a parade in his honor in New York.

In May 1932 Hans Bertram set out with a friend from Germany to a flight around the world. They had a forced landing in a desert in Australia, and undergone a two-month survival journey, with extensive media coverage on the search for them. He returned to Germany in April 1933, after a year of great upheaval in Germany as well, during which the Nazis came to power. He wrote his story in a book, which became a bestseller with seven million copies in Nazi Germany. He then moved on to writing screenplays and directing films. The story of his survival journey in Australia overlaps with the mythical ''Hero Journey'' that NAzi Germany needed at that time. This is in light of its plot, its exposure in the media, and its connection to the motifs of ''survival'' "superman" adopted by the Nazi regime. Bertram is probably the only pilot in Nazi Germany to have completed a "Hero's Journey," and who has written a non war-propaganda book on the subject. His most famous film is "The Baptism of Fire," a full-length documentary from 1940 about the campaign in Poland, which was characterized by devastating German bombings from the air.

The images of aviation and pilots on television and cinema in the State of Israel involve the military dependence on the air force, which created here the myth of the "best air force in the world". This myth is also rooted in Israel's relations with the United States, which include American popular culture. Therefore, it is interesting to see how major television events, such as the first flight to the moon or the crash of the Columbia Space Shuttle, and ''Star War'' movies, have affected Israeli society. At the same time, it is interesting to review the films that deal with the Israeli Air Force and their impact.

Air transport has become central today. The issue is complicated, in part because, unlike maritime and land transportation, which are the cradle of civilization, aviation is a new dimension. Important, capital-intensive development projects in aviation may shape the fate of a nation. But they are largely startups, which have a very high percentage of failure. Two examples of this are the attempt to land the Israeli spacecraft "Genesis" on the moon, and the development of the "Lavi" aircraft.

The need for heroes in the aviation field is motivated, besides the race for space and the race to develop new aircraft, also by the need to develop the infrastructure of airports, which have become civilization centers due to the airports cities around them. The airports of cities have replaced the maritime port cities, which until recently were the centers of the human race.The "Terminal" theme is well-developed in the Star Wars series. Its many forms, together with the gallery of figures appearing in it, present an alternative order to the constant chaos experienced by passengers today. This chaos, resulting from the routine of the experience, runs counter to the flight aura that existed until World War II.

Another important connection between superhero films and modern-day reality is that these films, in many cases, show sections of a world on the verge of destruction, usually as a result of the invention of new weapons by the forces of evil. The Holocaust worldview in these films overlaps with the  Jewish Holocaust survivors worldview, whose world was also destroyed. The good ending in these films, when usually the good people beat the bad guys, is a therapeutic move. The general destruction worldview is also close to everyday reality, as politicians regularly warn of a disaster that could result from enemy attacks, usually from the air. That is why every citizen takes to himself the images of the imminent destruction, as seen in the superhero films, for the promotion of his personal affairs. Those who have experienced the devastation to the truth, such as the Holocaust survivors, are usually left behind in the race to fulfill their dreams.

The main negative aspect of the development of air power is the many wars that have been decided by it, such as the Vietnam War and the Yom Kippur War. In addition, airborne terrorism has become an integral part of daily life. Its climax was in the attack on the Twin Towers in New York in September 2001. We are witnessing it today in cyber threats, the incessant rocket launches toward Israel, and the passengers and baggage checks before flights. Serious aerial accidents are an integral part of reality, from the era of early aviation to the present.

One of the results of the importance of aviation to human existence in all strata is that the discourse on aviation has become an unconscious part of everyday discourse and is difficult to isolate. Therefore, it is important to see if the awareness to the issue in Israel does not diminish the understanding of the relationship between the Holocaust and aviation. This connection was expressed by the fact that senior Nazi pilots, who were crowned superheroes, played a major part in the final solution planning. A multifaceted aviation culture is evolving nowadays, in the face of the reality imposed on us like a mountain. The Star Wars series does not provide a complete set of tools for understanding the world of flying and aviation, but the complexity it presents is certainly a progression, as opposed to the stalwart approach to the topic so far in popular culture.