In Yoav Raban’s work Mamila (2008) he takes us on a journey through the ancient Muslim cemetery Mamila in Jerusalem, built around the reservoir from the time of the Second Temple. The dilapidated old cemetery is in a state of terrible disrepair, and the Palace Hotel, built in 1928 by the Mufti of Jerusalem Haj al-Amin Husseini, was recently demolished because of a huge realty deal, with only the façade of the building left intact. The movie outlines a dream or hallucination built of sequences of animation on the backdrop of a place that is crumbling down. The animation brings the place to life with use of a symbolic figure and the resurrection of its remains, along with mosaics and other local elements. The dream, a projection of the sub-conscious, reveals that erasing the historical and cultural memory of the “other” also erases the “selfs” subjective collective memory.
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