Making an Exit, Coming Home: Israeli Television Creators in a Global-Aiming Industry
Hagai Levi on the cover of Haaretz weekly magazine, with the accompanying headline, “Curse of Success” (Leora Hadas’ translation).
Post by Leora Hadas, University of Nottingham
This post continues the ongoing “From Nottingham and Beyond” series, with contributions from faculty and alumni of the University of Nottingham’s Department of Culture, Film and Media. This week’s contributor is Leora Hadas, PhD candidate in Film and Television Studies in our department, a PhD candidate in Film and Television Studies in our department who begins teaching film and television in the Cheung Kong School of Journalism and Communication at Shantou University in China in January 2016.
The multiple-award-winning The Affair (Showtime, 2014–), now airing in the UK, has once again placed Israeli television on the global stage, although most viewers may never know it. The series was co-created by Israeli writer-director Hagai Levi, previously responsible for Be’Tipul/In Treatment (HBO, 2008-2010). The show’s purchase and adaptation by the major cable channel has since become a model for success to which creators throughout the Israeli television industry aspire. Israeli television shows and formats are enjoying a remarkable reception not only in the United States, but across the globe. Dramas such as In Treatment and Homeland (Showtime, 2011–), as well as successful reality television formats such as Rising Star (HaKokhav HaBa), have led to the New York Times calling Israel “a kind of global entrepôt for creative TV.”
The reach of the Israeli television industry is disproportionate to its tiny size and relative youth, but according to Georgia State University’s Sharon Shahaf, originates in just these qualities. Small budgets force a focus on storytelling and characterization, and an inexperienced industry has more leeway for personal and innovative creativity. Israeli dramas seldom employ a writing team, and are often written entirely by their creators. The convergence of creator and head writer, while fraying in the U.S., adds to the status of Israeli drama as essentially personal form of storytelling. As chief executive of Keshet Broadcasting Avi Nir says, “Israeli dramas are very much driven by auteurs, by people who have their own unique story and own unique voice to tell it.” Yet Levi left the Showtime production of The Affair, citing creative differences, telling Israeli news site Ynet that the show “started out as art, and there was a specific moment when I started to recognize that it was moving away from that.”
Title card from Israeli TV series Fauda. The show’s tagline is “In this war, everything’s personal.”
Levi’s experience in the transition between Tel Aviv and Hollywood reveals the contradictory position of scripted-series creators in Israeli television. Like their U.S. counterparts, creators in Israel are cultural legitimators, whose presence validates their shows as works of art and personal vision. Many of them work in multiple media, and enjoy a broad presence in more legitimate cultural spaces such as film, novels (Ron Leshem, Ta Gordin), theatre (Reshef Levi, HaBorer) or even political criticism (Sa’id Kashua, Avoda Arvit). Others are actors who star in semi-autobiographical shows, drawing on nationally specific experience – as IDF soldiers (Lior Raz, Fauda) or as minorities within Israel’s complex social mosaic (Maor Zegori, Zegori Imperia).
At the same time, the possibility of selling a show to Hollywood slots well into the “making an exit” narrative of the Israeli IT industry. The dream scenario pitched by Alon Dolev, founder of the TV Format Fund, is that of a start-up: an idea that is successfully sold on abroad, giving its originators “a regular, sometimes lifelong income” (my translation) while the buyer undertake the task of further management. To sell a show to the U.S. specifically is to “make it” in an industry that is increasingly oriented outwards, aiming for the international market from the get-go.
The reality behind the discourse is, naturally, more complex. Shows might “make an exit,” but creator seldom will. If episodes of HBO’s In Treatment were often taken verbatim from the original Be’Tipul, further Israel-drama adaptations usually borrow little but the initial idea, which loses much of its cultural identity in the process – as when Hatufim, or “Abductees,” was Americanized as Homeland. A growing focus on the selling of formats often means a complete dissociation between creator and show, even for the most reputedly personal of dramas. Distributors such as Keshet, Dori Media and Tedy Productions, though representing Israeli performers, do not deal in behind-the-scenes talent. Normally, their modus operandi is to get complete control over distribution rights and leave production companies out of the loop, a practice that continues to generate fierce public debate.
There results a paradox, in which the ultimate success is a personal Israeli story sold in Hollywood to an entirely new creative team. As Israeli television increasingly thinks in global terms, drama creators are in a curious split position between auteur and, in the uniquely Israeli term, “startupist.” They are expected to represent a locally and culturally grounded authenticity, yet end their role when the local goes global. Perhaps also as a result of its youth, Israeli television is not familiar with the figure of the showrunner: the writer-creator who also function as producer and as the main face of and power behind his or her show.
An Israeli-US co-production, Dig advertises Israeli producer Gideon Raff’s involvement. In Israel, creator names never feature in poster or trailer content.
For all their cultural presence, the discussion around format sales and resultant power struggles between producers and distributors almost entirely excludes creators. The fact is that the only means for an Israeli creator to receive either royalties on creative control over a show is to be directly hired into the adaptation’s writing team – a practice that remains very rare, going as it does against distributor interests. Essentially, while Israeli television drama is celebrated for its auteurial quality, Hagai Levi is but one among many creators who prefers to be, in the words of the Hebrew theme to Hatufim, “coming home.”
