ABSTRACT The Israeli television drama Fauda (Arabic for ‘chaos’) has attracted wide and unprecedented interest in Israel and worldwide. It is an action series about Israeli undercover soldiers (mista’arvim) operating in the occupied territories that charts new ground by revealing the human dimensions of the men and women who grease the war machine in the Israeli-Palestinian conflict. In contrast to successful Israeli television dramas such as In Treatment (Betipul, Hagai Levy, 2005–2008) and Hostages (Bnei Aruba, Rotem Shamir and Omri Givon, 2010–2012), the plot of Fauda is set far from Israel’s recognizable landscapes, venturing into the territories known to Israeli audiences only from news coverage. Looking for ways to re-humanize the enemy, scriptwriters Lior Raz and Avi Issacharoff turn to melodrama. This article contends that although Fauda may be seen as radical because of its bold dramatic choices, the melodramatic infrastructure tones the show down and imposes a certain aura of conservativeness. As film historian Thomas Elsaesser has observed, ‘the persistence of melodrama might indicate the ways in which popular culture has not only taken note of social crises, but […] has also resolutely refused to understand social change in other than private contexts and emotional terms’.

中文翻译：

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Fauda：黄金时段电视连续剧中的以色列占领；或敌人的情节剧

摘要以色列电视剧《 Fauda》（阿拉伯语为“混乱”）引起了以色列和全世界的前所未有的广泛兴趣。这是一个关于在被占领土上活动的以色列秘密部队（mista'arvim）的动作系列，通过揭示在以巴冲突中为战争机器增油的男女的人文维度，开辟了新的天地。与成功的以色列电视剧《治疗中》（Betipul，Hagai Levy，2005-2008年）和人质（Bnei Aruba，Rotem Shamir和Omri Givon，2010-2012年）相比，Fauda的场景远离以色列可识别的风景，只能通过新闻报道进入以色列观众所熟悉的领土。为了寻找使敌人更加人性化的方法，编剧Lior Raz和Avi Issacharoff转向情节剧。本文认为，尽管Fauda因其大胆的戏剧性选择而可能被视为激进的，但多才多艺的基础设施却淡化了这场表演，并赋予了一定的保守气氛。正如电影历史学家托马斯·埃尔萨瑟（Thomas Elsaesser）所观察到的那样，“情节剧的持续存在可能表明流行文化不仅注意到社会危机的方式，而且[...]还坚决拒绝理解私人环境和情感条件之外的社会变革。 '。