Podcasts about Kedma

Nachum Segal presents Orit B. Seif, Director of Kedma, great Jewish music, the latest news from Israel and Morning Chizuk with Rabbi Dovid Goldwasser.

In this insightful episode, I sit down with Kedma Ough, a business mentor and author who has reinvented her life and career with resilience and authenticity. Dive into a deep conversation about merging personal values with business, the power of mindset, and the art of bringing innovative ideas to life. Kedma shares her unique approach to mental health through a cleaning company, the importance of protecting intellectual property, and her passion project, Leaders Love. Tune in to discover how imagination, gratitude, and perseverance can transform your entrepreneurial journey. If you're ready to learn from inspiring stories and gain practical advice for standing out in a noisy world, this episode is a must-listen!Kedma's Bio:Kedma is dubbed the “Small Business Superhero” after coaching more than 10,000 businesses to leverage $ 100 million in alternative financing. Ough is the bestselling author and expert on Target Funding and Innovation. She believes leaders need to love more and launched https://www.leadersloveco.com to share more love with the world. You can connect with Kedma at www.kedmaough.com or reach out to her on Linked In.

Tira'el Cohen founded Kedma over a decade ago to strengthen border communities around Israel's periphery and in Judea and Samaria. In her wildest nightmares she didn't imagine the literal trial by fire that her 3 Western Negev towns would face on October 7th and the murders and kidnappings of friends and colleagues. She spoke with Eve Harow on a One Israel Fund webinar regarding the uncertainty of their northern communities as well, evacuated with no hope of returning home in the near future. The resilience of the people is what will get us through this surreal time. This impressive young woman is an example of a generation whose spirit, leadership, vision and faith will rebuild Israeli society in the aftermath of this trauma. Join her project to empower those whose presence in difficult areas will be critical in determining the future of the Jewish state.

Eve Harow speaks with PhD candidate Tira'el Cohen about Kedma the organization she and other young women founded a decade ago. The goal is to build resilience in Israeli border communities, meaning those designated by the government as national priority, by bringing in young people aged 18-35. Some join on student stipends, others as young adults and young families who volunteer to strengthen the village. On October 6th Kedma worked in 96 towns including in Yehuda and Shomron; since then some of the northern and southern ones have been displaced or destroyed. Tira'el recounts the events of October 7th- the friends murdered, the devastation and the recommitment of the Kedma participants to the people whose lives were forever changed. Listen to a remarkable young woman who embodies the vision, faith and strength of so many Israelis, the unity of our people and the determination to not let our enemies define us and our destiny. Kedma: https://kedma-hityashvut.org/en/

Rdz. 25 (1) Abraham po raz kolejny pojął żonę. Miała na imię Ketura. (2) Urodziła mu ona Zimrana, Jokszana, Medana, Midiana, Jiszbaka i Szuacha. (3) Synami Jokszana byli Saba i Dedan. Synami Dedana byli: Aszurim, Letuszim i Leumim. (4) Synami Midiana byli natomiast: Efa, Efer, Henoch, Abida i Eldaa — ci wszyscy byli synami Ketury. (5) Abraham przekazał Izaakowi wszystko, co posiadał. (6) Natomiast synom swoich nałożnic Abraham rozdzielił dary i jeszcze za życia wyprawił ich na wschód, tak aby byli daleko od jego syna Izaaka. (7) Życie Abrahama trwało sto siedemdziesiąt pięć lat. (8) Zakończył je w pięknej starości, sędziwy i syty dni, i dołączył do swoich przodków. (9) Pochowali go jego synowie, Izaak i Ismael, w jaskini Makpela, na polu Chetyty Efrona, syna Sochara, naprzeciw Mamre, (10) na polu, które Abraham nabył od synów Cheta. Tam właśnie został pochowany Abraham i Sara, jego żona. (11) Po śmierci Abrahama Bóg błogosławił jego syna Izaaka. Zamieszkał on przy studni zwanej Studnią Żyjącego, który mnie widzi. (12) Oto dzieje rodów Ismaela, syna Abrahama, którego urodziła Abrahamowi Egipcjanka Hagar, służąca Sary. (13) To są imiona synów Ismaela, według nazw ich pokoleń. Pierworodnym Ismaela był Nebajot. Następnymi synami byli Kedar, Adbeel, Mibsam, (14) Miszma, Duma, Masa, (15) Chadad, Tema, Jetur, Nafisz i Kedma. (16) To są imiona synów Ismaela i od nich pochodzą nazwy ich zagród i obozowisk, zarządzanych przez dwunastu książąt ich plemion. (17) Ismael dożył stu trzydziestu siedmiu lat. Po śmierci dołączył do grona swoich przodków. (18) Zamieszkiwali oni obszar od Chawili po Szur, które leży na wschód od Egiptu, idąc w kierunku Asyrii. Rozmieszczali oni swoje siedziby na przekór swoim braciom. (19) To natomiast są dzieje rodu Izaaka, syna Abrahama: Otóż Abraham był ojcem Izaaka. (20) Gdy Izaak miał czterdzieści lat, pojął za żonę Rebekę, córkę Betuela, Aramejczyka z Padan-Aram, a siostrę Aramejczyka Labana. (21) Rebeka była niepłodna, lecz Izaak wstawiał się za swą żoną do PANA i PAN dał się ubłagać — jego żona, Rebeka, poczęła. (22) W czasie ciąży dzieci walczyły w jej wnętrzu. To ją zastanawiało: Skoro już jestem w ciąży, to dlaczego mnie to spotyka? I poszła zapytać PANA. (23) PAN jej odpowiedział: Dwa narody nosisz w swoim łonie, ludy już w twoim wnętrzu podzielone. Jeden nad drugim będzie miał przewagę — starszy będzie służył młodszemu. (24) Gdy nadszedł czas rozwiązania, Rebeka rzeczywiście urodziła bliźnięta. (25) Pierwszy wyszedł cały rudy, włochaty niczym płaszcz — i nadano mu imię Ezaw. (26) Za nim pojawił się brat. Ponieważ rączką trzymał Ezawa za piętę, nazwano go Jakub. Izaak miał sześćdziesiąt lat, kiedy został ich ojcem. (27) Gdy chłopcy wyrośli, Ezaw okazał się wspaniałym łowczym, był człowiekiem otwartych przestrzeni. Jakub był spokojnego usposobienia. Trzymał się namiotów. (28) Izaak wolał Ezawa, ponieważ lubił dziczyznę, Rebeka natomiast kochała Jakuba. (29) Pewnego razu Jakub przyrządził posiłek. Ezaw akurat przyszedł z pola zmęczony. (30) Poprosił Jakuba: Daj mi się najeść tej twojej czerwonej zupy, bo padam ze zmęczenia. Dlatego nazwano go Edom. (31) Najpierw sprzedaj mi pierworództwo — odpowiedział Jakub. (32) Posłuchaj — wyrzucił z siebie Ezaw — ja umieram! Co mi po pierworództwie?! (33) Jakub nie ustępował: Więc najpierw mi przysięgnij. I Ezaw przysiągł. Sprzedał swe pierworództwo Jakubowi! (34) Wtedy Jakub podał Ezawowi chleb oraz potrawę z soczewicy — ten zaś jadł i pił, i wstał, i poszedł. I tak pogardził Ezaw pierworództwem. Rdz. 26 (1) W kraju zaś nastał głód, inny niż ten pierwszy, za czasów Abrahama. Izaak udał się więc do Abimeleka, króla filistyńskiego, do Geraru. (2) Wtedy ukazał mu się PAN: Nie idź do Egiptu! Mieszkaj w ziemi, o której ci mówię. (3) Przebywaj w niej, a będę z tobą i będę ci błogosławił, ponieważ dam ją tobie i twojemu potomstwu i dochowam przysięgi, którą złożyłem twojemu ojcu Abrahamowi. (4) Twoje potomstwo rozmnożę jak gwiazdy na niebie, dam mu też wszystkie te ziemie i w twoim potomstwie będą sobie błogosławić wszystkie narody ziemi, (5) dlatego że Abraham słuchał mojego głosu i przestrzegał moich poleceń, przykazań, ustaw i pouczeń. (6) W ten sposób Izaak zamieszkał w Gerarze. (7) A gdy mieszkańcy tego miasta pytali o jego żonę, odpowiadał: Ona jest moją siostrą. Bał się mówić: To moja żona. Bo — myślał — jeszcze mnie tutejsi mężczyźni zabiją z powodu Rebeki, gdyż jest piękna z wyglądu. (8) A gdy przebywał tam dłuższy czas, zdarzyło się, że Abimelek, król filistyński, wyglądał przez okno i zobaczył, jak Izaak pieści swoją żonę, Rebekę. (9) Wezwał więc Abimelek Izaaka i wyrzucił mu: Przecież to twoja żona! Dlaczego utrzymywałeś, że to twoja siostra? Izaak wyznał: Rzeczywiście tak mówiłem, abym z jej powodu nie został zabity. (10) Wtedy Abimelek powiedział: Co też ty nam uczyniłeś? Niewiele brakowało, a ktoś z ludu przespałby się z twoją żoną i ściągnąłbyś na nas winę. (11) Następnie Abimelek przestrzegł cały lud: Ktokolwiek dotknąłby tego człowieka lub jego żonę, będzie musiał zginąć. (12) Tego roku Izaak obsiał pola w kraju swego pobytu i zebrał stokrotne plony — PAN mu błogosławił. (13) Dzięki temu wzbogacił się, był coraz zamożniejszy, aż stał się bardzo bogaty. (14) Posiadał stada owiec i bydła oraz liczną służbę. Filistyńczycy zaczęli mu zazdrościć. (15) Dlatego zasypali wszystkie studnie, które wykopali słudzy jego ojca za czasów Abrahama. (16) W końcu Abimelek zwrócił się do Izaaka: Odejdź od nas, bo stałeś się o wiele mocniejszy niż my. (17) Odszedł więc stamtąd Izaak i rozłożył się obozem w dolinie Geraru. (18) Po przybyciu na miejsce Izaak odkopał studnie z czasów jego ojca Abrahama, które po jego śmierci Filistyńczycy zasypali. Przywrócił im też nazwy nadane przez jego ojca. (19) Gdy pewnego razu słudzy Izaaka szukali wody w dolinie, wykopali studnię, z której woda płynęła jak ze źródła. (20) Wtedy pasterze Geraru zaczęli spierać się z pasterzami Izaaka. To nasza woda! — wołali. Dlatego Izaak nadał tej studni nazwę Sprzeczka. (21) O kolejną studnię, którą wykopali jego słudzy, też wybuchł spór, stąd Izaak nazwał ją Wrogość. (22) W końcu Izaak przeniósł się stamtąd i wykopał kolejną studnię. O tę już sporu nie było, nazwał ją więc Szeroka, mówiąc: Teraz PAN poszerzył nasze granice i zakwitniemy w tej ziemi. (23) Po pewnym czasie jednak wyruszył stamtąd Izaak w górę do Beer-Szeby. (24) Tej nocy ukazał mu się PAN: Ja jestem Bogiem Abrahama, twego ojca — powiedział. — Nie bój się, bo Ja jestem z tobą. Będę ci błogosławił i rozmnożę twoje potomstwo ze względu na Abrahama, mego sługę. (25) Izaak zbudował tam ołtarz, przy którym wzywał imienia PANA. Rozbił tam też swój namiot, a jego słudzy wykopali tam studnię. (26) Wówczas przybyli do niego z Geraru Abimelek, Achuzat, jego doradca, i Pikol, dowódca wojska. (27) Dlaczego do mnie przyszliście? — zapytał ich Izaak. — Przecież mnie nienawidzicie, wypędziliście mnie od siebie. (28) A oni wyjaśnili: Widzieliśmy wyraźnie, że jest z tobą PAN. Pomyśleliśmy zatem, by związać się z tobą przysięgą. Chcemy zawrzeć z tobą przymierze. (29) Chcielibyśmy być pewni, że nie uczynisz nam nic złego, tak jak i my nie skrzywdziliśmy ciebie, lecz świadczyliśmy ci tylko dobro i odprawiliśmy cię w pokoju. Ty więc teraz jesteś błogosławiony przez PANA. (30) Wtedy Izaak wyprawił dla nich ucztę. Jedli razem i pili. (31) Następnego dnia wstali wcześnie rano i złożyli sobie przysięgi, po czym Izaak odprawił ich i odeszli od niego w pokoju. (32) Tego samego dnia słudzy Izaaka przyszli i donieśli, że wykopali studnię: Znaleźliśmy wodę! — powiedzieli. (33) Izaak nazwał ją Przysięga. Dlatego nazwa miasta do dziś brzmi Beer-Szeba, czyli Studnia Przysięgi. (34) Gdy Ezaw miał czterdzieści lat, pojął za żonę Jehudit, córkę Chetyty Beeriego, oraz Basemat, córkę Chetyty Elona. (35) Były one dla Izaaka i dla Rebeki powodem wielu zmartwień. Nauczanie z dnia 14 stycznia 2024

It was with a pioneering spirit that the Jewish people came back to re-establish Israel as their rightful 'land of promise' given to them by God. In this podcast episode, we focus on 'Hityashvut' or "settling the land" and one modern Israeli who understood the need to bring this spirit back to a new generation in Israel!

✅ Vamos juntas na academia hoje, amiga? ✅ Ou quem sabe podemos dar uma boa caminhada no parque? Como você responderia a estas perguntas? Não conheço sua realidade, e se você está em condições de responder positivamente a estes convites, mas algo eu sei: Cuidar do corpo para ter mais condições de servir é um dos insights preciosos do devocional de hoje. ❤️

Kedma Hityashvut is a unique border community on Israel's Jordan Border. Started by Tirael Cohen, Kedma Hityashvut is a distinctly different way of securing Israel's border with Jordan - not through military might and power, but through the power of community. Tirael believed that to have secure borders, you also need to create communities of people who are actually living on the border with a vested interest in their security. Jordan is a very unstable country where an unknown, but large, number of Palestinians reside, so it is an incredibly important border for Israel to maintain and protect. In this week's podcast, we feature a "Focus On Israel" episode that spotlights this unique community and the incredible work they are doing on the Jordan border and other border areas of Israel.

What can a founder do if their startup is considered not fundable or bankable?Kedma Ough, MBA is dubbed the Small Business Superhero. A nationally recognized business development and business funding expert, she loves breaking down the barriers to big capital for small businesses!As one of today's most respected authorities on Small Business Funding, Kedma has advised more than 10,000 businesses leveraging $100 million in funding access. For two decades, Kedma worked in SBA leadership roles with the Women's Business Center Program and Small Business Development Centers. Her best-selling book Target Funding® through McGraw-Hill is a navigation system to identify targeted grants and funds for business owners. From a credit score of 450 to 820, Kedma has helped thousands of business owners gamify the business funding path towards success. She's a proud fifth-generation entrepreneur and her great-great grandfather peddled various products throughout Ireland. You can learn more about Kedma here: https://kedmaough.com/Follow Kedma everywhere she glows on social media here:LinkedIn: https://www.linkedin.com/in/kedmaough/Instagram: https://www.instagram.com/kedmaoughpo...Twitter: https://twitter.com/kedmaoughThank you for carving out time to improve your Founder Game - when you do better, your business will do better - cheers!Ande ♥https://andelyons.com#targetfunding #bestyoutubechannelforstartups #smallbusinessfunding Psst: If you're thinking “Wow – that Andelicious Advice really helped me,” please feel free to buy me a cup of coffee – a breve cappuccino will make my heart and mind sing with joy and keep me powered to serve more founders – thank you! ♥https://www.buymeacoffee.com/andelyonsCONNECT WITH ME ONLINE: https://andelyons.com https://twitter.com/AndeLyonshttps://www.facebook.com/StartupLifew... https://www.linkedin.com/in/andelyons/ https://www.instagram.com/ande_lyons/ https://www.pinterest.com/andelyons/ https://angel.co/andelyons TikTok: @andelyonsANDELICIOUS ANNOUNCEMENTSArlan's Academy: https://arlansacademy.com/Scroobious - use Ande15 discount code: https://www.scroobious.com/Founder University: https://course.founder.universityhttps://bit.ly/AAElizabethYinTune in to Mia Voss' Shit We Don't Talk About podcast here: https://shitwedonttalkaboutpodcast.com/ANDELICIOUS RESOURCES:JOIN STARTUP LIFE LIVE MEETUP GROUPGet an alert whenever I post a new show!https://bit.ly/StartupLifeLIVEAGORAPULSEMy favorite digital marketing dashboard is AGORAPULSE – it's the best platform to manage your social media posts and presence! Learn more here: http://www.agorapulse.com?via=ande17STARTUP DOX Do you need attorney reviewed legal documents for your startup? I'm a proud community partner of Startup Dox, a new service provided by Selvarajah Law PC which helps you draw out all the essential paperwork needed to kickstart your business in a super cost-effective way. All the legal you're looking for… only without confusion or frustration. EVERY filing and document comes with an attorney review. You will never do it alone. Visit https://www.thestartupdox.com/ and use my discount code ANDE10 to receive 10% off your order.SPONSORSHIPIf you resonate with the show's mission of amplifying diverse founder voices while serving first-time founders around the world, please reach out to me to learn more about making an impact through sponsoring the Startup Life LIVE Show! ande@andelyons.com.STREAMYARD OVERLAYS AND GRAPHIC DESIGNNicky Pasquierhttps://www.virtuosoassistant.co.uk/

Today's show is a little of everything; how to set yourself up to make money, and how to get the capital necessary to do that. You have got to have it all set foundationally in order to do what my guest Kedma Ough does. Kedma is a superstar; she's a mother of 3, an MBA, and author who helps people find the money they need to succeed both in the financial world and real life. Give her your variables, your State, your passion and your mission and she will find you, the money. So if you are ready to move up to the next level in your financial world this is the episode for you. Meet Kedma Ough SAs one of today's most respected authorities on Small Business Funding, Ough has advised more than 10,000 businesses leveraging $100 million in funding access. Ough filed bankruptcy due to a crisis and went from a credit score of 450 to 820. Her mission is to help business owners gamify the business funding landscape. Kedma on TV/Webcast Sampling • Growth Hacks. New Series sponsored by Oracle NetSuite https://mail.google.com/mail/u/1/#inbox?projector=1 (https://mail.google.com/mail/u/1/#inbox?projector=1) • Kedma Ough Day Time TV https://www.youtube.com/watch?v=veR7-QobkTA (https://www.youtube.com/watch?v=veR7-QobkTA) • Kedma Ough Good Day Sacramento https://www.youtube.com/watch?v=BgXtwGfX0iY (https://www.youtube.com/watch?v=BgXtwGfX0iY) Connect with Kedma: LinkedIn: https://www.linkedin.com/in/kedmaough/ (https://www.linkedin.com/in/kedmaough/) Email: kedma@targetfunding.com Visit: https://makeyourkidsmillionaires.com/ (https://makeyourkidsmillionaires.com/) GET ON THE WAITLIST FOR GRAVY STACK: https://gravystack.com/ (https://gravystack.com/) iflip Invest App: https://iflipinvest.com/ (https://iflipinvest.com/) Meet Loral Langemeier: Loral Langemeier is a money expert, sought-after speaker, entrepreneurial thought leader, and best-selling author of five books. Her goal: to change the conversations people have about money worldwide and empower people to become millionaires. The CEO and Founder of Live Out Loud, Inc. – a multinational organization — Loral relentlessly and candidly shares her best advice without hesitation or apology. What sets her apart from other wealth experts is her innate ability to recognize and acknowledge the skills & talents of people, inspiring them to generate wealth. She has created, nurtured, and perfected a 3-5 year strategy to make millions for the “Average Jill and Joe.” To date, she and her team have served thousands of individuals worldwide and created hundreds of millionaires through wealth-building education keynotes, workshops, products, events, programs, and coaching services. Loral is truly dedicated to helping men and women, from all walks of life, to become millionaires AND be able to enjoy time with their families. She is living proof that anyone can have the life of their dreams through hard work, persistence, and getting things done in the face of opposition. As a single mother of two children, she is redefining the possibility for women to have it all and raise their children in an entrepreneurial and financially literate environment.   Links and Resources: Ask Loral App:https://apple.co/3eIgGcX ( https://apple.co/3eIgGcX) Loral on Facebook:https://www.facebook.com/askloral/ ( https://www.facebook.com/askloral/) Loral on YouTube:https://www.youtube.com/user/lorallive/videos ( https://www.youtube.com/user/lorallive/videos) Loral on LinkedIn:https://www.linkedin.com/in/lorallangemeier/ ( https://www.linkedin.com/in/lorallangemeier/) Money Rules:https://integratedwealthsystems.com/money-rules/ ( https://integratedwealthsystems.com/money-rules/) Millionaire Maker Store:https://millionairemakerstore.com/ ( https://millionairemakerstore.com/) Real Money Talks Podcast:https://integratedwealthsystems.com/podcast/ ( https://integratedwealthsystems.com/podcast/) Integrated Wealth...

Israel hosts an historic summit with four foreign ministers of Arab countries, plus the US, at which the nuclear deal with Iran will be discussed; what now stands in the way of agreement? Also in the programme: the US Secretary of State denies the United States has plans to bring about regime change in Moscow. And does Russia have plans to split Ukraine in half "like North and South Korea"? (Photo: a general view of the Kedma hotel ahead of "The Negev Summit" to be hosted by Israel"s Foreign Minister Yair Lapid and attended by U.S. Secretary of State Antony Blinken, and the foreign ministers of the UAE, Bahrain, Morocco and Egypt, in Sde Boker, Israel, March 27, 2022 / Credit: REUTERS/Amir Cohen)

We are excited to bring back Kedma Ough to the Podcast. She joined us early in the Podcast's history during our Beginning with the End in Mind Series where Kedma discussed funding your startup. Now, we interview Kedma the Entrepreneur. Kedma has over three decades of experience as an entrepreneur, as a business coach, is an international Author, a negotiation expert and a funding expert. She is also always on the move and begins filming on a TV show in April called America's Real Deal. Enjoy!

In this episode, I'm really excited to have as my guest, Kedma Ough, who is a nationally recognized business development and business funding expert, innovation and entrepreneurship thought leader, award-winning champion of small business, and business advisor for independent inventors. She is also a proud fifth-generation entrepreneur, whose great-great-grandfather peddled various products across Ireland. She is also the author of Target Funding - a proven system to get the money and resources you need to start or grow your business. In our discussion, Kedma talked to me about: Unpacked my DISC profile and what that means in dealing with me Shared her DISC profile and what that means in dealing with her We talked about sales versus business development Listen to the podcast to learn more. https://innovabiz.co/kedmaough (Show Notes and Blog) https://innovabiz.com.au/innovabuzz/ (The Podcasts)

Series: Be'erot, Love & Relationship with God. Synopsis: The beginning of Yitzchak's love is in binah, Yaakov's love is in the experience of G-d through Shema Yisrael and Baruch Shem K'vod, etc.   Episode Transcript: …[Thanks to] a great convergence of events, that we can meet on Yud Tet Kislev, I'm very happy about that, in the context of where we were holding last time, I guess thanks to your question, we continued farther than the class had actually ended… [I want] to touch some of what the Admor HaZakeyn offered as a teaching on two experiences of longing for G-d, which are reflected in two aspects of being a bride, being the kallah of Hakadosh Baruch Hu. The word itself means two different things. It means both longing, as in kaltah nafshi, and also it means a absolving, as in kilayon. These are two movements of the soul in pining for G-d, and those are the two meanings of the word, kallah, which is being reflected in the way Knesset Yisrael is living the love of G-d throughout Shir Hashirim. And if I recall correctly, we saw that the movement between these two kallot actually creates a song in the vibration and the oscillation of these two movements. Like if I begin to move my hand quickly enough to begin to produce a sound—like when you hit a guitar string—this vibration produces sound and song, so the song that's produced is the Song of Songs, and the root of all song, is this oscillation between the complete abnegation of the soul and G-d, the ratzo, and the shov, coming back here to live in this world, with the consciousness of the longing for G-d, which is the other aspect of kallah. We primarily have been talking about Yitzchak, and I wanted to go back to that to briefly remind us of how Yitzchak's experience of how all is G-d was a very profound reflection of something which is called the aspect of the yechid, “no other than.” He is the only one. “He is the only one” led Yitzchak to be able to, so to speak, insist upon G-d's forgiving us. Because G-d, you know, we're just a pile of ashes. You are our life. And when Your life is removed from us, we're still a pile of ashes, and even that is generous. Giving us even that level of reality in which G-d has, so to speak, removed Himself from us. And so Yitzchak pointed at the end of time to HaKadosh Baruch Hu and says to Him, “Of course you must give them mechilah.” That was something that we try to take into an avodah for ourselves, and we a little bit jumped the gun on it because really Yitzchak is the bechinah of mechila that HaKadosh Baruch Hu is mochel us, and looking at us as being the chalal that he has so-to-speak vacated, but hasn't really vacated. Yitzchak, though, in his return to the experience of human reality, becomes the greatest lover, ironically, and this we spoke about in a previous segment of these teachings, that Yitzchak is the first appearance of love between people, whereas Avraham Avinu is the love of G-d, and has apparently very little to do with love between people. He has to do with chesed between people, but that's something else. Yitzchak is the first appearance in the Chumash of love for his wife. And the Chumash describes that he loves his wife. Now it's crucial to realize that in Parshat Chaya Sarah, the profound story about him going to get his wife, is that…when Yitzchak is out in conversation, “v… besadeh…” He takes Rivka into the tent of his mother, Sarah, vayikach et Rivka, and he takes Rivkah, vayikach, that very first word that G-d used when G-d acted upon man in that primordial moment, when G-d had to take man with kind words and temptation. Vayikach. Et Rivka vtehilo l'ishah. Note, first it says Vayeviehah… he brought her into his mother's tent, Sarah's tent, then Vayikach… what's new? What's changed? Now he's in the kichah and all that means, her heart being there also, not just her having come there. Vatehih lo l'ishah, a third level, she's now become his woman, v'yiahvehah, and he loved her. V'nachem… that he is consoled over the loss of this mother. So there is much to say about these verses, but I just want to point out that in our context, that really what's happened is Yitzchak's return to this worldly consciousness comes through binah. That binah is the aspect of differentiated and separated-out thinking. Whereas chochmah is the whole picture, so to speak, binah is separated out and progressive thought. So hear this: When Yitzchak returns from the experience of there's nothing but G-d, so ironically, the one who it's hard to identify the love of G-d with, because we also saw that his experience of G-d is of deveikut, is a full and utter communion in which there's nothing other than G-d, when he is in his shov of coming back, passing through as we'll explain momentarily how that works, so then he's just totally astounded at the fact that there's people here, there's separate realities here, there's a mamashut, a substance to all of this, and he lives with complete reverence for each individual expression of life and material in this world. It's so marvelous. It's such a pele, and he knows that as G-d's great love. Because there's absolutely no reason why there would be anything here at all. Only G-d's ahavah, that there should be here a materialized reality in which people would experience their lives as separate and disparate and other, so to speak, than G-d. And so he has ultimate and complete respect for that. It's ironic: with G-d, it was complete deveikut, and the love there, it's barely present because for there to be love, there needs to be a lover, but he's complete mitateha, yachid, but in his shor he comes back and sees every person as a yachid, as an absolutely and utter uniqueness, like with G-d, his experience of G-d is yachid, so his experience of every other human being is yachid, of uniqueness, and that's why Yitzchak is called “yechidecha” at the opening of the Akeidah. Because he knows ultimate uniqueness, because he's touched ultimate uniqueness in G-d, who is the ultimate unique One, there is no other like Him, for there is no other reality like him at all. So you hear this? How the same word has the power to be nothing but Him, and there's nothing but you. I'm sure that the most loving words a person can say are, There's no one but you. Do you hear that? So Yitzchak lives that and embodies that and actually becomes entitled, yechidecha, it's the third (first?) time that word appears in the Torah. And therefore when he meets his wife, he can say to her, you're my only one. And he takes her into the tent, which is the tent of binah, because now rather it being the vision of chochmah, in which the all, in which Avraham Avinu, on the right side of the chart, the expansiveness, the gedulah. On the left side, is where love appears in the aspect of yachid. The mother love. Mothers far more than fathers have this connection with the child in which every child experiences the mother like being toward him as you're my only one. This is a real aspect of mother love. It's an aspect of specificity that comes from the left side, so to speak, the gevurah side of the chart. That's why binah is the place of the hamtkah of din. Din can be separated into dividing, but when it goes up into binah, as we saw in hanotain lsechvey binah, it becomes connective. You're my only one, and we live as a connective tissue between us. Because mother have the experience of child as having been yereh imah. Chazal say that a child in embryo is like a limb of the mother. She has had the experience of the connective tissue, so to speak, and now when she expels him in contraction, and that is what it's called in English, the translation of the tzimtzum, and that's what they should have called it, instead of hitkabtzuyot, the should have called it tzimtzum. Then the contractions, then she expels him, and forces him out to take his place in the world, and continues to see him as you're my only one. You know those moments after birth, the mother's looking at the child, she says you're my only one. I don't think that there's any moment that can compare to that. And it's a good thing that B”H most of you shouldn't have to be drugged after giving birth. To be aware and conscious and look into that child's eyes when he has that experience of I'm the only one. It really is, and that Chazal really say, make sure that your child nurses from the left side first. Why? Because it's the place of binah, (It's also where your heart is) So that binah, comes down through gevurah and ends in hod. All that side ends in hod. And this is very clear to those of you who have been enjoying these explorations since last year, but I can include everyone, and that is that Aharon is hod because he is the ultimate lover of the briot. Aharon ohev et habriot. So that the Zohar asks a deep question, and the mefarshei Hazohar wonder. Some places in the Zohar it says that the root of love is chesed. And in other places in the Zohar it says that the root of love is binah. So the mefarshim wonder, hmmm, where is the root of love? So I want to claim that the root of love of G-d is in chesed. And that the experience of the oneness of reality is all in kinship with Him, but the root of love of man is in binah, because that's where the expelling of an other into standing on his her own two feet happens, and it comes down into individuation in gevurah, and the appreciation and gratitude and ability to be makir tov, which is in hod, which is why we [incomprehensible–Aharon as so much the man who is called in English he's] ---people, he empowers them, and that's how he brings people to forgiveness is that he empowers them… When Yitzchak meets Rivkah, so the place he takes her, so that it not be just the place of din, which is the place of her on the camel, if you remember… Now he takes her into the place of his mother, which is binah, and there he loves her. So the Zohar actually states mefarshim in the Chumash, that the place of the beginning of love is in binah. That's the love of another person. So Yitzchak finds consolation for the love that he had with his mother, in which in her eyes, of course, he was the only one, and in fact he was the only one, he gets consolation by being the only one in her eyes, and can give her the only one being in his eyes. In fact, he is the unique among the avot, never marries anyone else, never sleeps with anyone else. Only Rivkah. Only her. That's the bechinah of yechidcha. And in terms of the divine experience, it comes from the experiencing G-d as yechido shel olam. Even the shel olam is stating too much. Yechid. Even very dear things about Yitzchak which I want to return to the Baal Hatanya for guidance in, for the rather odd phenomenon of “from yachid we go to echad”, meaning from Yitzchak, we go to Yaakov Avinu. And we want to come to know more of Yaakov Avinu's experience in his relation to G-d which is different from that of Avraham Avinu, and different from that of Yitzchak, and it has to do with something which the Torah describes as when he's leaving Israel, and he has to go into galut but he's still in Israel, and it's called vayifgah bamakom. That he hits the place. And the rabbis say, boy did he ever hit the place! M'komo shel olam. He hit the place of the world which is G-d. (Getting a text) It continues in the passage we have been reading about the two kallot. And these two madrigot, and it tells us that the first bechinah, of kallah, is limsor nafsho l'echad, which means, shma lashon havanah, to understand, which is contemplating the greatness of G-d, how He is one, before, after, what he's talking about is what we've been calling yachid, in which that something is there is no change in G-d, there is only Him. Atah hu ad she …. Halom… etc. ayn elokim, there is no elokim who hides me. So, don't ever (book Him? ) be mechalael name, don't ever empty out the world from My Presence. The second bechina is kalta nafshi she hi lashon tchukah v' ahava. The second aspect of kallah—I'm just reviewing what I said at the beginning of the shiur--is the longing and the loving, which is called bitul hayesh. There is a yesh, there is a reality, and it's completely given over eleh she mevatel et atzmo…it seeks to come into deveikut with G-d, but it still continues to maintain its own entity. V'lachen, And therefore we find, in reading Kriyat Shema, we stop after the mesirut nefesh of Shema Yisrael in which there's nothing other than You, G-d, and V'ahavta, in which we say, V'ahavta Hashem elokecha, with Baruch Shem Kevod Malchuto L'olam Vaed, which is called yechid atatah, the lower unificiation. That is to say, because there is still a reality of separate entity, which is now completely devoting itself to Him in love. And know that G-d is the Source of all life which is here in the world of all the creatures. Then He points out that it says on the one hand, Biladai, ein elokim, outside of Me there is no multiplicity of forces, havayah…I am the Source of all of those apparently different forces which hide me away like the shell on the snail hides the snail in his house, which is part of him, so they're no different from one another. And Baruch Shem Kevod Malchuto L'olam Vaed is the experience of there being other and separateness but which is is always being given its life by G-d. Then the love comes from yesh mi she ohev, there is one who loves. Whether you follow that or not is fine, with or without. The point is that we have a depiction here of a process which is complete bitul of in love, in Shema Yisrael, and then Baruch Shem, there is a drawing down of His name, which means that there is someone outside Him who can call Him, that's the Shem and that's the malchut. A speaking, malchut actually means the cutting out of the twenty-six letters, or the twenty-six which is the name of G-d, havayah, mal means to cut. Malchut is to cut (inaudible) to enunciate the name of G-d as one who stands outside of Him, Baruch Shem…Vaed. It's down here in this world forever—as long as this world is—and then Vahavta et…and then you come to love Him. Now the first one who said, Baruch Shem Kevod Malchuto L'olam Vaed was Yaakov Avinu. And it happened when his children were in Egypt, he was going to tell them about how it would be at the end of time, and he was about to start prophesying about how it would be at the end of time, and the prophesy disappeared from him. All of a sudden it went black. And so he looks at his kids and he says, wow, maybe there's something about you that's stopping me from being able to describe the end of time. So you know what they say to him? They say, Shema Yisrael, listen Yisrael, Hashem Elokeinu Hashem Echad, we know there's only one G-d, so he says, Baruch Hashem. But he doesn't only say Baruch Hashem, he says Baruch Shem Kevod Malchuto L'olam Vaed. That's the first time those words were spoken according to chazal. And that means that Yaakov Avinu is the realization of Baruch Shem Kevod Malchuto L'olam Vaed…. Then what he's allowing for is v'ahavta… he's the one that's going to allow now for the love of G-d, because yesh she ohev. There's someone here who says Baruch Hashem, and who can call G-d by his name, and celebrate His name, and His malchut, the enunciation of different realities, and long for Him and love him. So Yaakov Avinu is the one who allows for that type of love to appear which is the love of the experience of G-d…. So how does that come about? Let's go back to a story we hear from the Chumash and start from there. Are you wondering something? (What kind of love exactly?) The longing for G-d. That is the kallah that is the kallah of longing. Yaakov Avinu introduces that into the world with the words Baruch Shem Kvod…Vaed, creating a separation between us and one and it results from this passage from binah and gevurah now coming into tiferet. The point is that we now will have introduced into reality compassion and rachamim because we can now ask G-d to have mercy on us, compassion on us in our distance from You. I have compassion on myself in my --- and now this experience of the gap and the distance becomes a source and root for the experience of compassion and the compassion of love. A love of caring, a love of responsiveness, a love which includes within it the overall connection of oneness of Avraham Avinu and the separate existence that Yitzchak introduces into the world from the perspective of human beings, but also the experience that there's nothing other than G-d, which is the experience of Yitzchak, and now that's going to produced by now merging and separating, an opening to rachamim. Now before I explain this, I'll just give you a very abstracted model right now. I want to point out to you a most fascinating thing: When we say Ashrei, we're actually following through a certain process which is being described there, of the coming of the connection of G-d to the worlds through the sefirot. You may or may not have noticed that there are ten times during Ashrei that the name “Havayah” is spoken. Do people know this? This is a good thing to know. And the Arizal reveals that those ten times are k'neged those sefirot. Count them and watch. (This next part is amazing!—DG) Ashrei yoshveh….Kachah lo—that's just the way it is, keter, that's the way reality is, as G-d meets His world. Thilah David…I'm drawing some of your name down into the world. Every day I'm bringing down bracha, now we're starting to open up. Gadol Hashem… I can't know You except by complete surrender to You. It's completely overwhelming, Your greatness, that's chochmah. …eiyn choeker…I can't be choeker at all. Dor l'dor… but what happens is all the generations, each one adding praises to G-d, eventually I suppose we'll have a lot of them, but in the context of infinity you can't have enough generations for the praise to Him to be spoken, but nevertheless we're going to open up generations, we're moving out towards binah. Hadar k'vod….and then we get to Chanun v'rachum, that's binah, meaning that You, G-d are chanun v'rachum, You're full of mercy, we've spoken already about tiferet, and we'll see how that's so, but she's is the origin of it, as having a rechem, as being an imah and binah, as being very patient as things work themselves out. Then Tov Hashem.. that's chesed. Yoduchah… everyone bows before Him and gives thanks to Him, and is m'vatel themselves before Him, that's gevurah. And then finally, as we continue to go down, so we get to the next time that the word of G-d's name is spoken, is Somech…. That is tiferet. Somech…k'fufim. Those who might have fallen as a result of the intense demand of gevruah, I'm raising you back up, I have mercy on you, I'm connecting you back to mother, and I'm raising you back up. That's tiferet, and that's the middle line. And that's when the mercy of the mother becomes revealed and the child who has fallen, she picks him up. You've fallen down from the overwhelming demand of gevruah; mother comes and picks him up. It's the hamtakah of gevurah that can knock you down, it's just too overwhelming, like the accountability, the demands, the expectation on me that gevurah can be, then the sweet mother of binah raises the child up, that's the rachamim that begins in binah, then it comes to expression in tiferet which is going to becomes embodied by Yaakov Avinu. So Yaakov Avinu's experience of G-d, is one in which his awareness of G-d is the one who is the unified and energizing life force that it within all things. And now I want to give a little about how we see this. It's quite amazing. You know, Chazal talk about Yaakov Avinu's whole process of his leaving Eretz Yisrael. And the truth is, Yaakov Avinu's leaving introduces something new into the world, and that is going to sleep. Yaakov is the first one who the Chumash describes as going to sleep. He goes to sleep on his way out of Israel, and he begins to dream. Now, when he begins to sleep (Question: Doesn't Avraham and Adam go to sleep?) There are other people, like Avraham and Adam, who have been put to sleep, but Yaakov Avinu is the first one who actually lies down and goes to sleep, of his so to speak own choosing, and chazal describe that as something which G-d wanted to happen. The Gemara describes how Yaakov Avinu went to Haran, and he says, Wow, I passed the place where my ancestors prayed. I'm going back there. So he turns around and he starts to go back, but it's getting late, so Hakadosh Baruch Hu does a miracle and he makes space shift and snap!, before you know it, he's at Har Hamoriah, he's at the place of the Akeidah, he's at Yerushalayim, so he gets there and he prays, and then he want to leave. So the Gemara goes on and G-d says, Wait a minute, this person has come to my hotel, and he's not going to sleep here? And so about that it says, Ki va hashemesh…He actually extinguished the sun, and Yaakov Avinu went to sleep, so he didn't mapil alehem tardeymah like Adam and Avraham, but it was really important to G-d that Yaakov Avinu go to sleep. And we find that Yaakov Avinu actually achieved a madrega in being about to walk. Vyisah et raglav. In the morning he picks up his legs and begins to walk as a result of his having gone to sleep there. And there's even a midrash that says, ki telech…that when you walk assuredly, that's az telech… that's Yaakov Avinu. Why? Because “vshachavtah…” when you went to sleep, you had a really sweet sleep. As the pasuk says in Tehillim, keyn yitein…sheyna, he gives the one He loves sleep. There's this G-d, like, sleep, sleep, sleep. He loves it, that you should sleep. And then, they say an amazing thing. That G-d speaks to Yaakov Avinu, and He said, Haretz asher.. the land you're lying down on –he's the first one to do that—I'm going to give this to do and to all of your progeny. So, there's a kashiah in the verse: What? That's all? Just the land you're lying down on? That's pretty chintzy, I mean Avraham Avinu was getting as far as he can walk, and Yitzchak was getting as far as he can see. And Yaakov Avinu is going to get the land that he lies down on (laughing). So Rashi says, No, G-d actually condensed the entire land of Israel right underneath him. This is why, the Rabbis say, Avraham Avinu, he gets a limited heritance as far as he can walk, as the verses indicate it's a Gemara in Shabbos, and Yitzchak gets a limited inheritance, but Yaakov Avinu? He gets an inheritance without boundaries. How does Yaakov Avinu get an inheritance without boundaries? Because he's touching it all. It all condenses right under him. It becomes one place, which is what happens when he puts his head down to rest. All the rocks are saying, “Oh, he's putting his head down to rest! I want to be the one, I want to be the one…” Until they all just merge into just one rock. Same thing. He's touched the place. Vyifka b'makom. which is how the pasuk describes his arriving there. He's “hit the spot”—that's Yaakov Avinu. So that Yaakov Avinu is the one who most intensely relates to the inner core of reality, I'm explaining, in which the externalities of it are there, but he's relating to is unity aspect. So he'll see the place. He hits the place, it has substance, it hasn't lost substance like by Yitzchak. But, nor is it like Avraham Avinu, in like, “it's all substance,” but it's one substance. In Yaakov Avinu, it's all one substance, but there's one underlying reality which is maintaining it all in its presence. And so when he touches that he touches all places. He hasn't lost distinction or delineation, but nor is he experiencing distinction or delineation as dividing things in a way which is they're not all one. So I'll try to give you a clearer sense of things. You have a body. And it's got a lot of stuff going on inside of it right now. You have billions of cells that are taking, giving, moving, dying, being born. All kinds of organs and processes. Unbelievable what's going on inside of you right now. And it's impossible for you to relate to all of those details, except by a unity consciousness, which is I'm one organism, then you're relating to them all. And you know, on some level, you know every single thing going on inside your body right now, not consciously, because that would be completely overwhelming. On some level of awareness your brain knows every single thing that's going on inside your body right now. It's got to, because it's running the show and we know that. If there's any brain damage, chas v'shalom, so different functions inside the brain will cease to function. Or you can excite them by touching different parts of the brain, or giving the brain different kinds of sounds. Now they do things things, trying to imitate different types of brain waves inside your head, and different things start happening to you. What is that? So that means, you mean everything going on inside your body, but you don't know it, that's because there's a unity consciousness which is holding it all. Now get this, folks, and that is that the whole world is one man. (Here you begin channeling real magical moments—DG) This is the teaching of the kabbalah from the idra, of Rashi. The first thing that G-d made is— and making is already too material a language—the first thing that G-d made is Adam Kadmon, the primordial man. Which unfortunately, since Darwin, sometimes conjures up images of someone with a bat and a rock, swinging someone by her hair. But let's get that picture out of our heads right now. Adam Hakadmon is the first realization of the beginnings of a reality which will be outside of G-d, so to speak, and that is tzelem elokim. Everything that is in the universe on spiritual levels or physical levels is Adam HaKadmon. Everything is as one man. And you can see this, just look outside the window, and my gosh, once you get into a consciousness of Adam, the world is Adam, so then just seeing the sky as the skull and the clouds are like brain matter, and the trees, if you look at the prime form of a tree, it's like branching lungs, it's really what trees are doing—how the vegetable kingdom functions— and the animals are like the slinking digestive tracts that are processing all the stuff, and the Rabbis say, it's a midrash in Kohelet Rabah, the world has eyes, and ears, and a mouth, and hands, and arms, and a chest, and a heart, and legs…it's all a human being. (Amazing insights! –DG) And it is, folks, it is—it's just a matter of vibrating the right frequency. Just look at a tree and let your lungs connect to that, look at the sky and the stars as those bright points of insight and understanding. And look at the clouds, and you'll see it looks just like brain matter, it really does. You don't have to be that imaginative. You just have to shift into that consciousness of the unity of it all. Now, how do you experience that? Is it one place in which all has been abnegated and lost into a perfect unity of things? We're way out of Yitzchak because there's nothing there. But even with Avraham Avinu, in which everything is one and the same, so to speak, there's an experience of all that, in which you see the tree and you see the clouds, and you see it all and it's all one. And therefore there wouldn't be nothing that you would touch in that reality which wouldn't in some sense be everything all at once because it's all one organism. Are you touching me when you touch me here? Are you also touching my toenail? Well, in one sense, no, you're just touching me on my wrist. But in another sense you're also touching me on my toenail. I mean, everyone knows that. Try start spinning a little needle here or putting a little pressure on, and all of a sudden things will start happening in my body because it's all one. And that's the way it is. All of reality is that way. You press that table, and something's going on in Timbuktu because you're doing that. Vyifga b'makom, you're touching the place. And those are the only people who really touch the place. But they touch m'komo shel olam because they're touching the place of the world, so they're touching everything when they're touching the place. That's Yaakov. So a guy can say to him, You know where you're lying down? That's the place, because now you're sleeping. What does it mean to be sleeping? It means you've left ego-consciousness in which all you are able to see are different parts of things as separate entities. But when you sleep, you're not losing the experience of the different aspects, you're just entering into them from a different access point. It could be equivalent to your subconscious, whatever that means on whatever level, knowing everything going on inside your body right now. Imagine tapping into that. By the way, this is the best way for you to access and know something of what it means for G-d to know everything. You mean He knows all of us? He knows all of us, and what's in our thoughts, and in our minds, and in our hearts, and digestive systems, each one of us, and but not just the people in the room, but everyone in the community here, and everyone in Gush Etzion, and everyone miles and miles around, everyone on the globe, billions of people right now, and everyone who's ever been in time, and that's just this one speck of a planet, talk about all the constellations, and he knows all that at once. Come on, how do you know all that at once? You can't follow all that at once, can you? Well, you're doing it right now, with every single thing that's happening in your body. That's why Yaakov Avinu is also the source of hashkafah. Of the divine providence and the divine knowing. So, this is something new. Yaakov Avinu is on the place, and it's all there. And so G-d says, ufaratzata. That's how G-d tells Yaakov Avinu, You will have it all. Ufaratza…. Kedma. Not like Avraham Avinu, and not like Yitzchak, who had very specific inheritances. By the way, of course, there's no other place where this could be happening but Jerusalem, where he is lying down, (The belly-button of creation, the only place—DG) which is why Rabbi Shimon Bar Yochai says, you know, what it says later in the Chumash, ki lo vatem…you haven't come to the resting place, and you haven't come to the inheritance place, hahamenucha, the resting place, that's Yerushalayim. The nachalach, that's Shilo…Ah, you can rest there, you can really rest. The truth is, the only way you can be in that place is by resting. Because as soon as you start moving around, okay, welcome back, start moving around, come out of the sleep. There's actually a mitzvah when you bring a korban to Yerushalayim, there's a mitzvah linah, the Gemara Rosh HaShanah, daf tet, You can't come to Yerushalayim and not go to sleep, you'll miss the whole thing! That's why no one ever said, When he came to Yerushalyim, Makom tzar mi lalun. There's not enough place here to sleep. Of course there's enough place for everyone to sleep in Yerushalayim. If you go to sleep. That's the only condition, of course. Mamash, it's a halachah. (Long reflective silence). So, a most interesting thing happens in Yaakov Avinu. If you look at the mitzvah of loving G-d, it says, V'ahavta et Hashem elokecha…m'odecha. b'chal lvavcha, the sefarim say, that's Avraham, he's given over his heart to G-d, and his love for others is really non-existent. He does chesed with others out of his love for G-d. B'chal l'vavcha. Out of his love for G-d. That's Avraham. Yitzchak, b'chal nefshecha, dies for G-d, gives up his life for G-d, b'chal nafshecha… even notel et nafshecha. even if he takes your life away, so there won't be a lover left, I'll be dead. That's Yitzchak. But Yaakov Avinu is b'chol m'odeach, What does b'chol meodecha mean? So the Rabbis teach, that's with all of your mammon, your money, your possessions. So they ask, What? After you've given up your life, now you're telling me about giving up my possessions? I mean, what's more important, my life or my possessions? Right, your money or your life? What was this guy's name, this old Jewish comedian --Jack Benny, who probably none of you ever heard of -- he had almost every show, this self-deprecating Jew thing, so a mugger would come to him, and say, “Your money or your life!” and he would go, “Hmmm, let me think about that.” So the Rabbis actually say, So what's going on here? So there are some people who actually love their lives more than their money, and there are some people who love their money more than their lives. So the people who love their money more than their lives, they have to be told also, you have to give up your possessions for G-d. Okay, that's good, but still the order of the verse has this as being the ultimate. Seems wrong, right? It shouldn't have been the ultimate, it should have been becausehol m'edodecha ub'chol nefshacha. (How is it the ultimate?) Because it's the end of the verse. You're asking the same question the Admor HaZakeyn asked, after you've been in yachid, and there's nothing other than Him, I'm back, here I am! and I love you, and I long for you. But you were just completely at one with him. What are you coming back for? What's going on here? But that's exactly what the verse says, B'chol nafshecha uvchol meodecha. All of a sudden you've got a meod. You know what meod is? It's the same letters as Adam. (Sounds of amazement) Here I am, with all my possessions, with all my self-hood, with all my creativity, my meod. The more than what you gave me, so to speak, the creativity that I've generated. Like the Rabbis said, tov meod, G-d saw and said, Hm, the Yetzer Harah's pretty good, it's very good, meaning it's beyond the givens, it's when you make yourself into something, that's the meod, that's when Adam becomes the meod, it's really a lot, and that is Yaakov Avinu. You know how I know it's Yaakov Avinu? Because in last week's parshah, Yaakov Avinu is about to meet Esav in VaYishlach, and he says, Just wait a second, I'm going back to pick up these pachim k'tanim, these little vessels that I left behind. So the Rabbis say that in the thick of night, at the risk of his life, he goes back to get his pachim ketanim and he starts wrestling with the angel of Esav. That's the scene when he's left alone. Vayivater 'yAvraham Avinukov l'vado. Why was he left alone? Because he went back to get these little flasks. So you know what Rashi says about that? The tzaddikim, they love their money more than they love their bodies. Oh man, really? Yeah. Because his creative investment in creation, his personal realization of what he worked for and what he made out of all the givens of life, he's not going to give that up. That's his mammon. That's his meod. It's both a real thing and a symbol. You might be willing to appreciate this more if you imagine a painter. (Whispering) He painted this most glorious painting. It's beautiful. This is mamash his eternity in this. This is what he's brought to the world. This is what he's gifted the planet with. It's marvelous. And everyone who looks at it just realizes that there's been someone who's walked this planet who's this glorious creature. What a creation that person is! And then becomes aroused to know the beauty of G-d and the one who has created it. And now, imagine that person being told, “Either we will slash you or the painting.” Where does that go? It's not so pashut. And imagine someone who loves the Creator so much as sees the embodiment of the Creator in what he has done being asked that question, what should he give up? Okay. That at least touched something of what that would be in the meod, but thank G-d we're not asked to do that by G-d. But what we are asked is to devote all of that to Him—that's meodecha, In other words, to be real, creative, unique, separate people of substance, and to love G-d through that, that's not loss of self of Yitzchak, or “we're all one” of Avraham Avinu, it's my piece, my little piece in this reality I have now embedded into the organism of all of creation. My little piece, my little, little piece, I'm devoting it to the organism of Adam HaKadmon. I'm not viewing it as some separate particle just flowing free-style into space; it's got the makom of the world that it's part of. I'm devoting it to G-d. I'm devoted it to the totality. I'm not losing it. It's like my real and specific and different entity connected to the all. That's bechol meodecha. In full and real love in which it's all connected. This is why the Ramchal teaches that the triangle is the form of the sefirot when they're in their perfection because there's a third that binds them together, that's Yaakov Avinu. As opposed to when they're one on top of each other, which is Esav, which is hierarchy in which one is seeking to overcome the other. But this consciousness of “we're all one organism”, it's all one reality, that's the consciousness of Baruch Shem Kvod Malchuto L'olam Vaed, which is is echad, as opposed to yachid. It relies on yachid, it relies on seeing each as a different independent creature. But it ends with echad, we're all one interconnected and forming one human being, which is Adam Kadmon, who is the image of G-d. (Sounds of someone weeping in the background.) And this is why I want to tell you something very beautiful. And that is the statement, bishveil li nivrah haolam the world is created for me, whereas by Adam HaRishon, it's all created for me, but by Yaakov Avinu, it will come through as a shvil, a path, bishvil li nivrah haolam. I once had this experience. I taught once the mishnah in Sanhedrin, about bishvili..olam. The Mishnah asks, Why was Adam created alone? And the answer was, so that everyone could say, Bishvili..olam, that's what the mishnah says. Then the mishnah goes on and says, so every time you kill a person you've killed the whole world. So it looks like we said the same thing again, it's just that one is positive and one is negative. But I think there's a deeper thing here. The only way I intuited that it needs to be taught is, for everyone in the room to say bishvili…olam at once, because everyone was bothered by that. That sounds egotistical, the whole world was created for me? So you're to serve me, and all of this is just to serve me? But you're saying the same thing, right? So who's this cup for? (Grabbing cup) “Bishvili nivrah haolam--No, bishvili nivrah haolam, No, bishvili—“ That's the way most of the world walks around. Until everyone is saying bishvili and then they becomes one organism saying bishvili nivrah haolam in which I have my particular path which is being expressed through my specific expression of it in which I am embedded in the overall reality of echad. So Yaakov Avinu's love of G-d comes from his realization of his selfhood in a way in which he is enthralled with G-d as being the life force which unifies all of this together into one organism. That's his experience. And therefore he'll always have deep compassion on every part of creation that it should find its right place in that organism. That'll be his prayer. And that's why his prayer is called in the Chumash vayifka bamakom, that's when Yaakov Avinu was m'taken maariv, the Gemara says. Vyifka bamakom. Everything should have its place. When things are in their right place, the organism functions right. But they need to know what they're there for. Like, if my eye undoes its being an eye—Hey, I don't want to just be an eye, man, that's too little for me just to be an eye. I want to be a nose and a mouth too. Then we start running into trouble. This is a compassionate stance in the sense of I'm seeking for you that you should have your place. Do you understand a compassionate stance? If there's a poor person, to be compassionate toward him is saying, I just want you to live. This is zokaf k'fufim, that we saw in Ashrei, that's tiferet. You're beautiful just as you are, which is Yaakov Avinu. But the real beauty of you is in your embedded context. Ah, then you're really beautiful. One note is very beautiful. But it's far more beautiful when there's a symphony playing and there's a harmony to it, and there's whole reality that it's a part of. That's the real perception of beauty. A kind of connectivity to G-d in which G-d is making it all beautiful. Because he's the makom, allowing everything to be itself. By being in the embedded context of all. It's a balance. I know I live this very much. I'll make it really pragmatic. I don't want to do anything if it's not going to be everything. To do this particular thing, to teach Chassidut on a Tuesday morning in Berot, I mean there's a big world out there. I mean, what is this? Nothing compared to everything. So why bother getting up to do it? Why bother? So that the picture of the all can be completely debilitating. So I'm going to stay in my room, I'm just going to do my own thing. I can't do anything. So I'm just going to stay in my own room, and do my own thing. Well, what's that? And we wobble between these spaces. I do. And the ability to say bishvili, derives from binah, and I'll teach you something really deep from Kabbalah, that nativ is from chochmah, which is the vision of it all, and shvil is in binah, the Arizal teaches, but suffice it to know that shem havayah in all of its permutations adds up to the word nativ. And all of the permutations of shem ekyeh, which is shem binah, add up to shvil. Ehyeh, that's in the first person, me speaking. I am experiencing G-d as saying, ehyeh, I will be. That connection up, which then produces later rachamim, But they all becomes shvil, so that creation can say bishivil…But we have everyone else in the room saying, bishvili…olam ,too, Baruch shem.. vaed. Your great malchut, how beautiful it is, how blessed it is. And that's the higher place, that's what the Baal Hatanya, wants to say, that's the one that G-d really wants, is when we're souls in bodies and connected to His life flowing through it all, uniting it all and being one organism. That's after the experience of Yitzchak, of yachid, is the experience of echad. It's all one and I love you, G-d And I'm devoting all of my uniqueness, all my possessions, all the things I've made to the participation in the one organism which is ki vyachol, You. A person who lives that, everything he touches is part of the all, it is the all. And that is exactly what the Ramchal teaches at the end of in the Mesilat Yesharim when he says, the kadosh, which is Yaakov Avinu, everything he eats, touches, sees, becomes part of the sanctifies reality of G-d. But he's not not seeing it, He's seeing it. He's seeing it and having the deepest connection with it that could be. (Long silence). The Rabbis say that Yaakov Avinu had the beauty of Adam Harishon before he sinned. When Adam HaRishon was Adam ha Kadmon, he extended from the ends of the universe to the ends of the universe. Yaakov Avinu had that. Beauty. Now you can get a taste of what it means to be a taam also. Perfection, I'm not trying to manipulate anything. Not trying to distort any reality so that it comes out how I want it to. Taam with what it is. But something I do want to tell you, and it leads to where I hope it will introduce something in a workshop-type orientation. Yitzchak is the one who can demand, so to speak, mechila from G-d, so Yaakov Avinu will introduce compassion that we'll have on one another. And I believe that it works something like…and that is, by virtue of my knowing that we're all part of this one organism, so you've come into my life, and you did something really annoying, you like, walk by my car, scratched it, and didn't even give a hoot. Al tidag, yiheh b'seder. Don't worry about it. Let's say. I'm dealing with my car right now, it's the first time I have like a nice car, already smashed it twice. So where will the forgiveness come from? Where will the mechila come from? Not G-d giving me mechila, but my mechila for the person who just walked by, it will come from the consciousness of our one organism. You are there for a reason, and it's all part of the picture.

Kedma Ough is a small business superhero, keynote speaker, bestselling author, and business funding expert. After rebuilding her credit score from 420 to 820 through obscured grants and free resources, she now applies her knowledge to help others. Kedma has helped thousands of businesses and entrepreneurs find business funding and level up their dream. In 2019, she published her book, Target Funding, as a guide to help others find resources and funds to build their small business ideas. Today, Kedma shares tips on finding business funding if your credit score is low and the discrepancies in funding for minorities and female entrepreneurs. She reveals the benefits of target funding and debt management strategies for businesses. She provides frameworks for better cash flow management and divulges the best places to apply for business funding. She also identifies common financial mistakes business owners make and points to the business grant everyone should apply for now. “If you want to play the game right, stop thinking about one asset and think of twelve.” - Kedma Ough This week on SmallBizChat Podcast: Resources Mentioned: Connect with Kedma Ough: Become Your Own Boss Book GIVEAWAY! The 2020 pandemic has been so hard on America's small businesses - and America in general. If you're ready to start your dream business, then look no further! I'm currently giving away 1,000 free copies of my best-selling book: Become Your Own Boss in 12 Months. This book has helped over 100,000 people like you to start, build, and grow their small businesses… and now it's your time to shine. All you have to do to get your hands on a free copy is head over to www.beginmybiz.com/freeoffer to sign up for your free offer. You only pay shipping. Let's End Small Business Failure - Together! Thanks for tuning into this week's episode of the SmallBizChat Podcast - the show on a mission to improve small business success. If you enjoyed this episode, head over to Apple Podcasts, subscribe to the show, and leave us a rating and review. Help us spread the word and end small business failure by sharing your favorite episodes with your friends and colleagues on social media. Visit our website or follow us on Facebook, Twitter, LinkedIn, Instagram, or YouTube for more great content, tips, and strategies to improve your small business.See omnystudio.com/listener for privacy information.

Kedma Ough is a small business superhero, keynote speaker, bestselling author, and business funding expert. After rebuilding her credit score from 420 to 820 through obscured grants and free resources, she now applies her knowledge to help others. Kedma has helped thousands of businesses and entrepreneurs find business funding and level up their dream. In 2019, she published her book, Target Funding, as a guide to help others find resources and funds to build their small business ideas.Today, Kedma shares tips on finding business funding if your credit score is low and the discrepancies in funding for minorities and female entrepreneurs. She reveals the benefits of target funding and debt management strategies for businesses. She provides frameworks for better cash flow management and divulges the best places to apply for business funding. She also identifies common financial mistakes business owners make and points to the business grant everyone should apply for now.“If you want to play the game right, stop thinking about one asset and think of twelve.” - Kedma OughThis week on SmallBizChat Podcast:Where to find business financial support if your credit score is lowThe discrepancies for women and minorities looking for business fundingThe benefits of target fundingStrategies for debt managementWhere to apply for business fundingHow to get better at cash flow managementThe biggest financial mistakes many business owners makeThe number one grant that Kedma recommendsResources Mentioned:Individual Development AccountMy Fitness PalBook: Four Hour Work Week by Tim FerrisConnect with Kedma Ough:Kedma Ough WebsiteBook: Target Funding: A Proven System to Get the Money and Resources You Need to Start or Grow Your BusinessKedma Ough on LinkedInKedma Ough on InstagramKedma Ough on FacebookKedma Ough on TwitterBecome Your Own Boss Book GIVEAWAY!The 2020 pandemic has been so hard on America's small businesses - and America in general. If you're ready to start your dream business, then look no further!I'm currently giving away 1,000 free copies of my best-selling book: Become Your Own Boss in 12 Months. This book has helped over 100,000 people like you to start, build, and grow their small businesses… and now it's your time to shine.All you have to do to get your hands on a free copy is head over to www.beginmybiz.com/freeoffer to sign up for your free offer. You only pay shipping.Let's End Small Business Failure - Together!Thanks for tuning into this week's episode of the SmallBizChat Podcast - the show on a mission to improve small business success. If you enjoyed this episode, head over to Apple Podcasts, subscribe to the show, and leave us a rating and review. Help us spread the word and end small business failure by sharing your favorite episodes with your friends and colleagues on social media. Visit our website or follow us on Facebook, Twitter, LinkedIn, Instagram, or YouTube for more great content, tips, and strategies to improve your small business.

In this episode, Melinda Emerson chats with Kedma Ough about small business funding. They delve into finding money during tough times, target funding, and debt management. They discuss cash flow management, common financial mistakes, and the IDA grant opportunity. Kedma also shares her favorite app, business book, and advice she's received.

Meet Kedma Ough:  Kedma is literally known as a small business superhero. She is a nationally recognized business development and business funding expert, innovation and entrepreneurship thought leader, award-winning champion of small business, and business advisor for independent inventors. She has helped more than 10,000 individuals fund, launch, and grow their businesses Her best-selling book Target Funding is a navigation system to identify targeted grants and funds for business owners. She is a past recipient of the SBA Women in Business Champion of the Year, SBA Small Business State Champion, and National Small Business Influencer Leadership awards, among others. Kedma has also been recognized by the Huffington Post for fueling innovation and by Inc. Magazine for her work in creative financing for minority-owned businesses. She is a regular contributor to Entrepreneur.com and a highly sought after keynote speaker What I love about Kedma is her authenticity.. her raw, open, “fully in” approach to not only to business.. but to life in general. Just a few minutes in her presence will have you not only feeling like you can go after the life you want, but KNOWING that you can CREATE it. Today we are going to hear a little more about her story and some of the secrets she's learned along the way to not only being successful in business but to create success in every area of your life. So buckle up.. This is going to be a good one!    Connect with Kedma:  https://www.linkedin.com/in/kedmaough/ www.kedmaough.com www.targetfunding.com ... If you're interested in learning more about challenges and how you can use them to maximize your reach, increase your impact and grow your coaching business just click here: http://mychallengecreator.com/

In this episode, I speak with a Superhero! Kedma Ough even wears a cape as her everyday uniform! Kedma's life began with trauma and abuse and after she lost everything she made a promise to God in exchange for a chance to have a better life. For 30 years she has been fulfilling that promise to help others find ways to acquire funding for their small businesses and inventions. 5th generation entrepreneur, best selling author, and SBA champion. Kedma Ough spends her life helping businesses navigate funding. However she wears the cape because of her moment of darkness that pushed her to be a powerful light impacting thousands of souls. Find Kedma Ough: www.kedmaough.com bit.ly/targetfunds Link to Books by Kedma Ough: bit.ly/targetfundingbook Items mentioned in this podcast: Hip Camp: https://www.hipcamp.com/en-US Harvest Hosts: https://harvesthosts.com/ Pipeline Angels: https://pipelineangels.com/ TBD Angels: https://tbdangels.com/ Dave Ramsey: https://www.ramseysolutions.com/ Find more about Amy Stark and her courses: https://www.starktransformation.com/

In the Building a Business Line Of Credit networking event, green industry professional https://www.facebook.com/Currivangreenlandscaping/ (Josh Currivan of Currivan Green Co, Inc), https://www.frankbourque.com/ (Landscape and Hardscape Consultant Frank Bourque), https://kedmaough.com/ (Consultant and Author Kedma Ough), and https://www.linkedin.com/in/ryan-rothwell-54781164 (Ryan Rothwell of Eastern Bank) break down when and how you should establish business credit, if at all. The topics on the show today include: When should you get a business line of credit? What are some tips for people who are searching/looking for funding? What is a starting point for people who have an average or below average credit score? How do banks look at people with different credit scores? How to apply for an IDA? What grants are available to people who are just starting their businesses? How should you structure your business? Connect with us online: https://echomeansbusiness.com/ (Visit us at ECHO Means Business) https://www.echomeansbusiness.com/pages/emb-mobile-app (Download our mobile app) https://www.instagram.com/echo.meansbusiness/ (Follow us on Instagram) https://www.youtube.com/channel/UC3_dtdhrJqS1thoH5WhK07Q (Watch us on YouTube) https://www.facebook.com/echomeansbusiness/ (Like us on Facebook) Connect with Josh: https://anchor.fm/thewescapepodcast (The WeScape Podcast) https://www.instagram.com/currivan_green_landscaping/ (Instagram) https://www.youtube.com/channel/UC4cpy1Z5wz2IvgYY35Qd75g (YouTube) https://www.facebook.com/Currivangreenlandscaping/ (Facebook) Connect with Frank: https://www.instagram.com/frank_bourque/?utm_medium=copy_link (Instagram ) https://www.facebook.com/FrankBourqueConsultant (Facebook ) Connect with Kedma: https://www.instagram.com/smallbusinesssuperhero/ (Instagram ) https://www.facebook.com/automategrowsell/?ref=page_internal (Facebook ) Connect with Ryan: https://www.linkedin.com/in/ryan-rothwell-54781164 (LinkedIn)

Are you a small business owner wondering what funding types may be available to you? Look no further! Meet Kedma Ough, self-proclaimed Small Biz Superhero, Business Funding Expert, and Best-Selling Author of Target Funding.  Kedma shares so much gold in this episode it is a must-listen! Starting and growing a business means money talk. Set up a consultation with Kedma and buy her book! Reach out to Kedma here: https://www.linkedin.com/in/kedmaough/  https://www.automategrowsell.com  Get the book here: https://amzn.to/3cnnCuj   

Voltamos a nossa Parada Cultural das Nações, série especial do podcast do site NERVOS que imagina um desfile de delegações artísticas inspirado nas Olimpíadas, que estão prestes a começar no dia 23 de julho de 2021. E neste nono episódio, o destaque vai para Israel – já esclarecendo que, conforme a ordem de apresentação da Parada das Nações que se realizará em Tóquio, a Palestina será destacada bem mais a frente nesta série – e a Itália, com os principais representantes culturais atuais destes países. Ouça no lugar que você quiser: SoundCloud | Spotify | Deezer | iTunes | Google Podcasts | Orelo | Feed | Download Parada Cultural das Nações #9 > A partir de 9s Israel > A partir de 1min04s - Porta-bandeira: o duo indie Lola Marsh - Destaques: os filmes Synonymes (2019), de Navad Lapid; o drama Foxtrot (2017), de Samuel Maoz; a sátira Tel Aviv em Chamas (2018), de Sameh Zoabi; o documentário Na Cabine de Exibição (2019), de Ra'anan Alexandrowicz; o curta White Eye (2019), de Tomer Shushan; as séries A Princesa e o Padeiro (2013-), de Assi Azar; e Shtisel (2013-21), de Ori Elon e Yehonatan Indursky; a cantora pop Eden Ben Zaken, o DJ Itay Galo e o cantor de mizrahi Omer Adam - Citados: os cineastas Menahem Golan, Efraim Kishon e Uri Zohar; os filmes O Dia do Perdão (2000) e Kedma (2002), de Amos Gitaï; Lemon Tree (2008) e Os Árabes Também Dançam (2014), de Eran Riklis; Valsa com Bashir (2008), de Ari Folman; A Professora do Jardim de Infância (2014), de Navad Lapid; as séries Be’tipul (2005-08), de Hagai Levi, Ori Sivan e Nir Bergman; de Prisoners of War (2010-12), de Gideon Raff; e da minissérie Euphoria (2012-13), de Ron Leshem e Daphna Levin; a cantora Yael Naïm e a banda Men of North Country Itália > A partir de 7min04s - Porta-bandeira: a série A Amiga Genial (2018-), de Saverio Costanzo - Destaques: os filmes Belos Sonhos (2016), de Marco Bellocchio; Uma Questão Pessoal (2017), de Paolo e Vittorio Taviani; Dogman (2018), de Matteo Garrone; Martin Eden (2019), de Pietro Marcello; o documentário Notturno (2020), de Gianfranco Rosi; Rosa e Momo (2020), de Edoardo Ponti; o curta Four Roads (2020) e o longa Lazzaro Felice (2018), de Alice Rohrwacher; a cantora Laura Pausini; a música "Zitti e Buoni", da banda de rock Måneskin, que venceu o Eurovisão 2021 - Citados: neorrealismo italiano e os cineastas Federico Fellini, Michelangelo Antonioni, Luchino Visconti, Pier Paolo Pasolini, Bernardo Bertolucci e Ettore Scola; o longa A Grande Beleza (2013), de Paolo Sorrentino; os compositores Antonio Vivaldi, Giuseppe Verdi, Giacomo Puccini e Gioacchino Rossini; tenores Luciano Pavarotti, Andrea Bocelli e o grupo Il Volo; o produtor Giorgio Moroder, a cantora Raffaella Carrà, o cantor Umberto Tozzi, os DJ's Gigi D'Agostino e Benny Benassi; e os artistas Eros Ramazzotti e Tiziano Ferro Encerramento > A partir de 12min43s Confira a transcrição completa deste podcast no site: https://www.nervos.com.br/post/paradaculturaldasnacoes9-israel-italia *Músicas presentes no podcast: “Brazilian Fantasy (Standard Version)”, de Alexandre de Faria; “Hatikvah” (Hino de Israel), de Naftali Herz Imber e Samuel Cohen; “New Soul”, de Yael Naim; “Only for a Moment”, de Lola Marsh; “Il Canto degli Italiani” (Hino da Itália), de Goffredo Mameli e Michele Novaro; “Zitti e Buoni”, de Måneskin

‘I found a love in helping people through the struggle.’ Kedma Ough is an inventor, author, speaker, and entrepreneur. On top of that, she’s a champion for small businesses, helping them find grants and funding resources. ‘Adversity leads to character, but it doesn’t have to lead to suffering.’ Kedma talks about how she found her purpose in helping the underprivileged and why she decided to serve the underserved. We touch on her major challenges and the strategies she’s used to overcome them to be successful in serving the underprivileged communities. - Letting go of your pride and ego - How to bypass innovation-stifling processes at institutions - Creating tribes - Choosing confidence over arrogance - How vulnerability builds trust Get in touch with Kedma here: Personal website: https://kedmaough.com/ LinkedIn: https://www.linkedin.com/in/kedmaough/ Twitter: https://twitter.com/kedmaough

Nessa edição você vai conhecer essa nossa convidada que, desde pequena, se apodera muito bem da música. Ela é uma excelente cantora, compõe bem por demais e toca um instrumento muito legal chamado ukulele. Se você nunca ouviu falar desse instrumento, tenho certeza que você vai se encantar por esse som maravilhoso e pela voz dessa nossa convidada que é a Kedma Valéria aqui no Caixa de Música.

What You'll Learn From This Episode: The struggle to find financing Different avenues or ways to find funds besides the bank How funding is actually tied to your variable Related Links and Resources: My resource is I want to provide 'no cost' review of your funding, which is very rare. So, they can go right to www.kedmaough.com or, you can just hop on to www.bit.ly/targetfunds. Fill-up the form, I receive it, we go right into the meeting. Summary: Kedma Ough, MBA is one of today's most respected authorities on small business alternative funding and has advised more than 10,000 businesses to date leveraging $ 100 million in funds with the average business receiving $10,000 or more in resources and funding.  Previously, Ough worked on behalf of the Small Business Administration for more than a decade. In 2019, McGraw-Hill published Target Funding ®, a navigation system to identify targeted grants and funds for business owners. Ough is a proud fifth-generation entrepreneur and her great-great grandfather peddled various products throughout Ireland. Her favorite board game is Monopoly. Here are the highlights of this episode: 1:36 Kedma's ideal Client: My ideal client is an entrepreneur or a high ___ (I didn't get this) or an inventor who is struggling to find financing. So, it could be anyone; a startup business who's looking for funds, it could be an existing company who's trying to get additional capital, I have a situation right now where a woman minority on firm just want a huge stay contract. First time ever, for 53 million dollars and they need some funding in order to execute on it. She only needs 30 million and she needs it very quickly. But these are the kind of things I work with. I work with very unique cases and navigate through grants and resources and alternative funds to get the people the money they need to be successful. 2:40 Problem Kedma helps solve: I can do that in one hour; if I've been given an hour, I can do that. The first 10 minutes is to identify the problem and often I go through a list of how much money they miss out on before they met me. Second 20 minutes I do a strategy, the next 20 minutes after that we actually go right into an action plan. Right on line I'm already identifying resources targeting only their business. And the last 10 minutes I wrap up and I actually send out an action plan, that's a road map just for them. So, I can do it in an hour. 3:31 Typical symptoms that clients do before reaching out to Kedma: They have had the door slammed ten or more times before they find me. The lenders have slammed the door, resources, they're out of lost, they don't know where to go next, they're frustrated. And all they want to do is to make money, but what happens is that it's not of savviness, it's lack of access. If you can't access something, you're not going to be successful. That's when I step in. So, I like to tell my clients it's super simple. We're on the same highway, I just happen to be an Uber driver so I can get there quicker than you can. You can keep driving, but I know where we need to go. 4:34 What are some of the common mistakes that folks make before finding Kedma and her solution: Well, first thing they do and I want to apologize in advance, they go right to their bank. As much as I love the banks, they're very regulated and very specific and either you fit in their box or you don't fit in their box. Sometimes they'll get news that doesn't fit and they think all banks are that way, which is not true. We can take an example like SBA (bank) and I can tell you 3 different lenders who do it 3 different ways. Whether it's underwriting policy, whether it's the amount that needs to be put down for collateral, whether it's the length of the term. First thing is to realize that there are other avenues to look at. Second thing I would say is they are in a sense of panic in a lot of times and they make forward decisions.

What You’ll Learn From This Episode: The struggle to find financing Different avenues or ways to find funds besides the bank How funding is actually tied to your variable Related Links and Resources: My resource is I want to provide 'no cost' review of your funding, which is very rare. So, they can go right to www.kedmaough.com or, you can just hop on to www.bit.ly/targetfunds. Fill-up the form, I receive it, we go right into the meeting. Summary: Kedma Ough, MBA is one of today’s most respected authorities on small business alternative funding and has advised more than 10,000 businesses to date leveraging $ 100 million in funds with the average business receiving $10,000 or more in resources and funding.  Previously, Ough worked on behalf of the Small Business Administration for more than a decade. In 2019, McGraw-Hill published Target Funding ®, a navigation system to identify targeted grants and funds for business owners. Ough is a proud fifth-generation entrepreneur and her great-great grandfather peddled various products throughout Ireland. Her favorite board game is Monopoly. Here are the highlights of this episode: 1:36 Kedma’s ideal Client: My ideal client is an entrepreneur or a high ___ (I didn't get this) or an inventor who is struggling to find financing. So, it could be anyone; a startup business who's looking for funds, it could be an existing company who's trying to get additional capital, I have a situation right now where a woman minority on firm just want a huge stay contract. First time ever, for 53 million dollars and they need some funding in order to execute on it. She only needs 30 million and she needs it very quickly. But these are the kind of things I work with. I work with very unique cases and navigate through grants and resources and alternative funds to get the people the money they need to be successful. 2:40 Problem Kedma helps solve: I can do that in one hour; if I've been given an hour, I can do that. The first 10 minutes is to identify the problem and often I go through a list of how much money they miss out on before they met me. Second 20 minutes I do a strategy, the next 20 minutes after that we actually go right into an action plan. Right on line I'm already identifying resources targeting only their business. And the last 10 minutes I wrap up and I actually send out an action plan, that's a road map just for them. So, I can do it in an hour. 3:31 Typical symptoms that clients do before reaching out to Kedma: They have had the door slammed ten or more times before they find me. The lenders have slammed the door, resources, they're out of lost, they don't know where to go next, they're frustrated. And all they want to do is to make money, but what happens is that it's not of savviness, it's lack of access. If you can't access something, you're not going to be successful. That's when I step in. So, I like to tell my clients it's super simple. We're on the same highway, I just happen to be an Uber driver so I can get there quicker than you can. You can keep driving, but I know where we need to go. 4:34 What are some of the common mistakes that folks make before finding Kedma and her solution: Well, first thing they do and I want to apologize in advance, they go right to their bank. As much as I love the banks, they're very regulated and very specific and either you fit in their box or you don't fit in their box. Sometimes they'll get news that doesn't fit and they think all banks are that way, which is not true. We can take an example like SBA (bank) and I can tell you 3 different lenders who do it 3 different ways. Whether it's underwriting policy, whether it's the amount that needs to be put down for collateral, whether it's the length of the term. First thing is to realize that there are other avenues to look at. Second thing I would say is they are in a sense of panic in a lot of times and they make forward decisions.

When we look back at the journey of life we've travelled, what parables do we see? What lessons will we have learned that can bring value, success, and happiness to others? Indeed, it is from our stories of adversity, of truth, and of superhuman bravery that we discover the truth of who we are, and from there, our superpowers for helping others.In this episode, we meet Small-Business Superhero, Kedma Ough, who is an SBA Champion, Speaker, Entrepreneur, and Author of the Bestselling book: Target Funding.My Favorite Quotes from Kedma Ough in this episode, (paraphrased):“I am proud to be a fifth-generation entrepreneur...it's in my blood!”“The life you have tomorrow will be built on the business you do today.!”“I wear my SuperHero cape because it is who I am!”The best ways to connect with Kedma online are:Website: https://kedmaough.com/LinkedIn: https://www.linkedin.com/in/kedmaough/About the PROFITABLE HAPPINESS™ Podcast:In this podcast, we feature stories from highly successful Experts and Creative Entrepreneurs who exemplify the use of Profitable Happiness™ to build influence and business success. For a weekly journey of music, marketing, and motivation, subscribe to the PROFITABLE HAPPINESS™ Podcast with Dr. Pelè.https://drpele.comSupport the show (https://drpele.com)

Some countries protect its borders through tanks or checkpoints, but is it possible to do it through activism? By volunteering in local communities, participants at Kedma Student Villages are doing just that. Tune in as Tirael Cohen, Kedma’s founder and CEO, joins host Steven Shalowitz on this week’s episode of IsraelCast to discuss how the young generation of Israel has found meaning and belonging through volunteering on Israel’s borders.

Kedma Ough and Rashedia Mayhane spoke at the Survive and Thrive Summit about money tips and tools for your small business. Hosted and produced by Ramon Ray of Smart Hustle Media, the first two Summits were held in April and August 2020. The next one will be in this spring of 2021. It's free, so sign up for updates and registration information. Kedma is a small business superhero, an advocate to those navigating entrepreneurship and trying to be successful. During this challenging time, you need as many superheroes as possible who have your back since there are many new challenges we’ve never faced before. Read the blog post here: https://smarthustle.com/financial-tips-during-covid/ YouTube: https://www.youtube.com/channel/UC-49_TBNtz-j2AYga1-hv7g Subscribe today for weekly tips: https://ramonemail.com/   Listen on iTunes: https://apple.co/2EXG6nU   Listen on Soundcloud: https://soundcloud.com/smarthustle-1   Follow Smart Hustle on Twitter: https://twitter.com/smarthustlemag   Follow Ramon Ray on Twitter: https://twitter.com/RamonRay

Chegou a hora de saber como liderar pessoas e usar a tecnologia como aliada sem distorcer princípios de produtividade e humanidade. Veja agora o que a professora da FDC Kedma Nascimento, o CEO da Barros, Valdemar Barros e a psicóloga e Coach Organizacional, Altina Texeira.

Kedma Valéria é a nossa convidada dessa edição do Caixa de Quarentena. Conheça um pouco do talento dessa jovem que tem encantado a todos com seus louvores no ukulele. Confere aí! (programa exibido na TV Novo Tempo no dia 10/08/2020)

Snippet from the Connections Cafe episode on small business episode superhero Kedma Ough

In this episode we learn the framework you need in order to fund your small business. Kedma Ough is an national award-winning small business champion. She has helped thousands of entrepreneurs realize their dreams through uncovering hidden funds. Take a listen and see why Kedma has received over a hundred LinkedIn reviews and a book deal. Connect with Kedma on LinkedIn Check out her website - https://kedmaough.com/ And buy the book Target Funding: A Proven System to Get the Money and Resources You Need to Start or Grow Your Business

Kedma Ough, MBA, is a nationally recognized business development and business funding expert, innovation and entrepreneurship thought leader, award-winning champion of small business, and business advisor for independent inventors. She is also a proud fifth generation entrepreneur, whose great-great grandfather peddled various products across Ireland. Throughout her career, Ough’s driving mission has been to empower people—particularly minorities, veterans, women, people with disabilities, and innovators—to become business owners and to maximize the potential of their businesses. To date, she has helped more than 10,000 individuals fund, launch, and grow their businesses, in a wide range of industries.

Kedma Ough, MBA, is a nationally recognized business development and business funding expert, innovation and entrepreneurship thought leader, award-winning champion of small business, and business advisor for independent inventors. She is also a proud fifth generation entrepreneur, whose great-great grandfather peddled various products across Ireland. Throughout her career, Ough’s driving mission has been to empower people—particularly minorities, veterans, women, people with disabilities, and innovators—to become business owners and to maximize the potential of their businesses. To date, she has helped more than 10,000 individuals fund, launch, and grow their businesses, in a wide range of industries.

Kedma Ough, MBA, is a nationally recognized business development and business funding expert, innovation and entrepreneurship thought leader, award-winning champion of small business, and business advisor for independent inventors. She is also a proud fifth generation entrepreneur, whose great-great grandfather peddled various products across Ireland. Throughout her career, Ough’s driving mission has been to empower people—particularly minorities, veterans, women, people with disabilities, and innovators—to become business owners and to maximize the potential of their businesses. To date, she has helped more than 10,000 individuals fund, launch, and grow their businesses, in a wide range of industries.

Author of #TargetFunding, Speaker and Small Business Champion Kedma Ough stopped by to share her story from Bankruptcy to a whole new live and shared some not be missed tips on achieving that business dream through funding and grants.In the time of Covoid 19 funding and grants are more timely then ever so this episode is a must listen.Come and have a listen and make sure to follow us at:@ArianeAndrew@MattDillon1983@SippintheTeaTvShowIf you're more of a visual person: Check out Kedma's interview on our TV Show on YouTube: https://youtu.be/dooWcwG65-o

Kedma truly is a small business super hero.    She is a creative and staunch advocate for business owners to execute and win. As the author of Amazon Best Seller Target Funding, she has spent a decade showing small businesses where to find and get grant funding and other assets, credits, breaks and benefits.  >> get her book, read it and find some funding.   Other resources: Book: Stephen Key  1 Simple Idea Marketing During and After a Recession - PhD research paper 2015   Connect with Kedma on LinkedIn      

Kedma Ough, MBA, is a nationally recognized business development and business funding expert, innovation and entrepreneurship thought leader, award-winning champion of small business, and business advisor for independent inventors. She is also a proud fifth generation entrepreneur, whose great-great grandfather peddled various products across Ireland. Throughout her career, Ough’s driving mission has been to empower people—particularly minorities, veterans, women, people with disabilities, and innovators—to become business owners and to maximize the potential of their businesses. To date, she has helped more than 10,000 individuals fund, launch, and grow their businesses, in a wide range of industries.

Viva com alegria e esteja pronto para receber do sobrenatural! https://www.instagram.com/kedmelodia/

Sorria agora! Você está vivo!

Não seja resistente ao Amor de Deus.

Kedma Ough, MBA, is a nationally recognized business development and business funding expert, innovation and entrepreneurship thought leader, award-winning champion of small business, and business advisor for independent inventors. She is also a proud fifth generation entrepreneur, whose great-great grandfather peddled various products across Ireland. Throughout her career, Ough’s driving mission has been to empower people—particularly minorities, veterans, women, people with disabilities, and innovators—to become business owners and to maximize the potential of their businesses. To date, she has helped more than 10,000 individuals fund, launch, and grow their businesses, in a wide range of industries.

Kedma Ough, MBA, is a nationally recognized business development and business funding expert, innovation and entrepreneurship thought leader, award-winning champion of small business, and business advisor for independent inventors. She is also a proud fifth generation entrepreneur, whose great-great grandfather peddled various products across Ireland. Throughout her career, Ough’s driving mission has been to empower people—particularly minorities, veterans, women, people with disabilities, and innovators—to become business owners and to maximize the potential of their businesses. To date, she has helped more than 10,000 individuals fund, launch, and grow their businesses, in a wide range of industries.

Kedma Ough, MBA, is a nationally recognized business development and business funding expert, innovation and entrepreneurship thought leader, award-winning champion of small business, and business advisor for independent inventors. She is also a proud fifth generation entrepreneur, whose great-great grandfather peddled various products across Ireland. Throughout her career, Ough’s driving mission has been to empower people—particularly minorities, veterans, women, people with disabilities, and innovators—to become business owners and to maximize the potential of their businesses. To date, she has helped more than 10,000 individuals fund, launch, and grow their businesses, in a wide range of industries.

Kedma Ough, MBA, is a nationally recognized business development and business funding expert, innovation and entrepreneurship thought leader, award-winning champion of small business, and business advisor for independent inventors. She is also a proud fifth-generation entrepreneur, whose great-great-grandfather peddled various products across Ireland.

Get the full show notes for this episode by clicking or tapping here. Kedma Ough is a business development and business funding expert. Having experienced homelessness and abuse in her life, she’s made it her mission to help under-represented entrepreneurs find a way to get their businesses funded. Her book, “Target Funding” is all about how to find unique options for small businesses. Being a multi-passionate, she has focused her own entrepreneurship on two things: helping women and people of color get funding for their small businesses, and niche-ing down to serve and advocate for differently abled individuals. In this episode, Kedma and I talk about: -          How get funding for your small business -          Looking for superheroes in your life -          How to build a niche business that will support your dreams and be a match for your interests and strengths -          Owning who you are and bringing that into your business -          How to Jump Start Your Joy: practice gratitude, serve others, helping kids

Você está andando no caminho certo? Saiba que o Caminho é uma pessoa.

Existem muitas razões pra viver. Perceba isso sorrindo pela manhã, e conecte seu Espírito, sua Alma e o seu Corpo.

Já mudou o seu estilo de vida? Você vai precisar se libertar de tudo que te impede de viver. Fique tranquilo, isso é um processo. Evento de Independência Emocional e desbloqueios mentais que ocorreu no dia 07 e 08 de Setembro em SP.

Saia da zona de conforto agora e você será recompensado!

Seja natural. Relacionar-se com pessoas é mais uma razão porque viver. Continue se conectando com as que você ama, crie novos caminhos, tena uma nova visão. Esse é um relato sobre o evendo de Independência Emocional que aconteceu dia 07 e 08 de Setembro em SP.

História sobre o evento de Independência Emocional que aconteceu no dia 07 e 08 de Setembro em SP. Aqui relembro os fatos e conexões com pessoas excepcionanis. Você está preparado para se conectar e ser independente também?

A lierdade faz com que você conheça o seu propósito. Você é livre? Você já sabe qual é o seu propósito?

Corpo, Alma e Espírito. Os três estão funcionando bem em você? Conto a história sobre por que comecei a pensar sobre isso.

Você está vivo? Quem é você? Qual é o meu propósito nessa Terra? Esses são áudios sobre 12 Razões porque viver, sobre o Amor, a Liberdade e a experiência sobrenatural que a Kedma vive com Deus.

Do you struggle with a limiting self-image? Kedma Ough joins the show to discuss how to create a 'new story' about yourself, as well as the power of your thoughts and how to be happy in any situation.

Product licensing expert Stephen Key interviews Kedma Ough, a nationally recognized small business advocate who can show you how to find the funding you need to help bring your product, project, and/or invention to life. She is passionate about leveling the playing field for people. If you don't know how to play the game, you're at a disadvantage. Kedma has helped more than 10,000 businesses. She understand the needs of small businesses and more importantly she understands the needs to build exceptional programs that support small business communities. She is also a fifth-generational entrepreneur. Her new book by McGraw-Hill is called "Target Funding: A Proven System to Get the Money and Resources You Need to Start or Grow Your Business." Check it out: https://www.amazon.com/Target-Funding-Proven-Resources-Business/dp/1260132366 Connect with Kedma on LinkedIn: https://www.linkedin.com/in/kedmaough/ Find out more about Kedma: https://kedmaough.com/ Bringing an invention to market? Let inventRight, the world's leading experts on product licensing, show you how. Co-founded by Stephen Key and Andrew Krauss in 1999, inventRight has since helped people from more than 60 countries license their ideas. Visit http://www.inventright.com for more information and to become their student. Call #1-800-701-7993 to set up an appointment with Andrew or another member of the inventRight team to discuss how we can help you license your ideas. New to licensing? Read inventRight cofounder Stephen Key's bestselling book “One Simple Idea: Turn Your Dreams Into a Licensing Goldmine While Letting Others Do the Work.” Find it here: http://amzn.to/1LGotjB. Want to learn how to license your product ideas without a patent? Stephen's book “Sell Your Ideas With or Without a Patent” explains exactly how. Find it here: http://amzn.to/1T1dOU2. inventRight, LLC. is not a law firm and does not provide legal, patent, trademark, or copyright advice. Please exercise caution when evaluating any information, including but not limited to business opportunities; links to news stories; links to services, products, or other websites. No endorsements are issued by inventRight, LLC., expressed or implied. Depiction of any trademarks/logos does not represent endorsement of inventRight, LLC, its services, or products by the trademark owner. All trademarks are registered trademarks of their respective companies.

In this episode of the Bombshell Business Podcast, host Amber Hurdle interviews Kedma Ohh, author of Target Funding, about how to secure funding for your business. Together, they discuss:  *How she bounced back from filing bankruptcy in 2000  *How to find funding for your solid business plan *What most people get wrong when it comes to growing their business *When to use crowdfunding effectively This episode is a game-changer. Who isn't looking for more funding to take their business idea to the next level? Tune in, you won't regret it!  Links and Mentioned Resources Pre-Order Kedma's book Target Funding: A Proven System to Get the Money and Resources You Need to Start or Grow Your Business  About Kedma  Kedma Ough, MBA is the author of Target Funding: A Proven System to Get the Money and Resources You Need to Start or Grow Your Business. One of today’s most respected authorities on small business funding and entrepreneurship, she is a nationally renowned business coach and funding expert and winner of the Small Business Administration (SBA) Small Business Champion of the Year Award.  As a small business consultant and educator, she has guided more than 10,000 individuals through a wide range of business advising and is a past contributing writer for Entrepreneur. When she is not running around as a live superhero, she enjoys time with her family and traveling the world. Ough is a proud fifth-generation entrepreneur.  Get Social: Facebook | Twitter | YouTube | Instagram | LinkedIn   Want More of the Good Stuff? *Download the app: The Bombshell Business App by Amber Hurdle in the App Storeor Google Play *Subscribe to the podcast: The Bombshell Business Podcast on iTunes, Google Play, Stitcher, iHeart Radio, or ask Alexa to “play Bombshell Business Podcast with Amber Hurdle” *Read the book:The Bombshell Business Woman: How to Become a Bold, Brave, Female Entrepreneuron Amazon, Books-a-Million, Barnes & Noble& other retailers

Kedma Ough is a “small business superhero,” who has worked with over ten thousand entrepreneurs and small business leaders in the last two decades, helping them to attain capital and resources to grow their businesses. Kedma is also the author of the new book Target Funding: A Proven System to Get the Money and Resources You Need to Start or Grow Your Business. She is a fifth-generation entrepreneur and small business funding expert who believes in breaking down barriers and leveling the playing field for small businesses and fellow entrepreneurs. What You Will Learn: Kedma discusses her fascination with money and entrepreneurship starting at a young age, and she shares how her grandmother, an entrepreneur in Ireland, inspired her as the ideal role model of a strong businesswoman. Kedma shares about her first foray as an entrepreneur when she decided to start a bed and breakfast spa. She shares how being denied a business loan at the bank served as strong motivation to succeed. Kedma discusses her work as a business consultant and “small business superhero”. She shares why she works to elevate opportunities for entrepreneurs through every aspect of the business world and even works to improve business legislation. Kedma shares how her divorce led to filing bankruptcy, and she discusses the emotional crisis she experienced realizing that her bankruptcy was limiting her financial options. She talks about how she extracted herself and realized she could help others in similar situations Kedma explains the concept of Target Funding, and she shares how her methods can help her clients attain funding based upon variables unique to them and to their specific situations. Kedma offers a specific example of a tightly-targeted funding opportunity that recently came open, and she explains the importance of knowing about opportunities like this one and applying quickly. Kedma shares how the key to finding funding opportunities is found in “key words” such as “forgivable loans”. She offers specific examples of the kinds of funding she has been able to obtain. Kedma explains the concept of a “karma dollar”, and she shares why her passion for her work stems from wanting to help other business owners and entrepreneurs find the success she has enjoyed. How to connect with Kedma Ough: Website: www.kedmaough.com Website: www.targetfunding.com LinkedIn: www.linkedin.com/in/kedmaough/

Kedma Ough is a “small business superhero,” who has worked with over ten thousand entrepreneurs and small business leaders in the last two decades, helping them to attain capital and resources to grow their businesses. Kedma is also the author of the new book Target Funding: A Proven System to Get the Money and Resources You Need to Start or Grow Your Business. She is a fifth-generation entrepreneur and small business funding expert who believes in breaking down barriers and leveling the playing field for small businesses and fellow entrepreneurs.What You Will Learn:Kedma discusses her fascination with money and entrepreneurship starting at a young age, and she shares how her grandmother, an entrepreneur in Ireland, inspired her as the ideal role model of a strong businesswoman.Kedma shares about her first foray as an entrepreneur when she decided to start a bed and breakfast spa. She shares how being denied a business loan at the bank served as strong motivation to succeed.Kedma discusses her work as a business consultant and “small business superhero”. She shares why she works to elevate opportunities for entrepreneurs through every aspect of the business world and even works to improve business legislation.Kedma shares how her divorce led to filing bankruptcy, and she discusses the emotional crisis she experienced realizing that her bankruptcy was limiting her financial options. She talks about how she extracted herself and realized she could help others in similar situationsKedma explains the concept of Target Funding, and she shares how her methods can help her clients attain funding based upon variables unique to them and to their specific situations.Kedma offers a specific example of a tightly-targeted funding opportunity that recently came open, and she explains the importance of knowing about opportunities like this one and applying quickly.Kedma shares how the key to finding funding opportunities is found in “key words” such as “forgivable loans”. She offers specific examples of the kinds of funding she has been able to obtain.Kedma explains the concept of a “karma dollar”, and she shares why her passion for her work stems from wanting to help other business owners and entrepreneurs find the success she has enjoyed.How to connect with Kedma Ough:Website: www.kedmaough.comWebsite: www.targetfunding.comLinkedIn: www.linkedin.com/in/kedmaough/ See acast.com/privacy for privacy and opt-out information.

Kedma Ough has worked with over 10,000 small businesses to help them grow and is the author of Target Funding: A Proven System to get the money and resources you need to start and grow your business. Kedma was most recently the Director of the Innovation Center for the Oregon Small Business Development Centers.

In this episode, my guest Kedma Ough shares when you have nothing, that is when you reach for help. Her POWERFUL story will inspire you to keep going no matter how bad life gets. To learn more about Kedma, go to www.kedmaough.com. To connect with me and all that I do, go to www.michele-joy.com, or email me at michele@loamiraclemindset.com. Thanks for listening and Happy Manifesting!

When seemingly every path to funding is closed to business owners, entrepreneurs, and inventors, Kedma Ough – a national award-winning small business champion – helps them find the money and resources they seek. Kedma, a fifth generation entrepreneur, learned the secrets of business funding the hard way – by having countless doors slammed in her face. Now, after helping more than 10,000 individuals to get the funding they thought they could never qualify for, she’s written a book – Target Funding: A Proven System to Get the Money and Resources You Need to Start or Grow Your Business – detailing a wide range of alternative funding options. Too many great concepts never see the light of day, Kedma explains to host, author, and award-winning journalist Dean Rotbart, because they can’t find the necessary funding. She’s on a mission to change that. Photo: Kedma Ough, Target FundingPosted: July 1, 2019Monday Morning Run Time: 49:19

"Overnight I became homeless. At that moment, I made a commitment for the rest of my life to do impact and be a social influencer. So when you ask me how important social impact is, I can tell you right now, had those two things not happen I would not be here today talking, and I would not be here today living." Episode #29 of Season 2 of The Social Impactors Podcast features #SocialImpactor Kedma Ough, a fifth generation entrepreneur doved as the small business superhero, who is ferociously addicted to helping people find money. Kedma and I talk about how social impactors are the only reason she is alive today, how she uses her past trauma's in life to move forward and build a life of spirituality and service, and why she works with 1000 of entrepreneurs to find money, build a future, and become the best versions of themselves. Join the Social Impactors Community: 1. Leave a #iTunes review to help new people find it! Link: https://apple.co/2WI5Ckn 2. Check out my website and share it! There's even a #merch store to become a real life #socialimpactor! Link: http://bit.ly/thesocialimpactorswebsite #SocialImpactEverywhere --- Support this podcast: https://anchor.fm/theimpactorspodcast/support

Kedma Ough, MBA, is a nationally recognized business development and business funding expert, innovation and entrepreneurship thought leader, and business advisor. She's the author of “Target Funding” which is available to pre order at https://www.amazon.com/Target-Funding-Discover-Resources-Business/dp/1260132366.She joins Champ'Ron to discuss her background, her business, how she became a “superhero”, her upcoming book, and best practices for business owners seeking to fund up their companies!In “Ron's Rundown” Champ'Ron shares his thoughts on having the proper mindset and how he had personal challenges with that this week!!!Connect with Kedma!Facebook www.fb.com/Kedma-Ough-MBATwitter @kedmaoughInstagram @kedmaoughmbawww.kedmaough.com Advertise to our buying audience where the cool kids reside! Email me at ron@themybpodcast.comPowered by The Binge Podcast Network www.onabinge.comConnect with The MYB Team! www.themybpodcast.com

Amos Gitaï Collège de France Création artistique Année 2018 - 2019 Traverser les frontières Cinéma et histoire Kedma (2002), extraits Le cinéma est un artisanat Un processus d’élaboration et d’articulation De différentes strates Parfois dans les documentaires On est archéologue, on fouille Strate après strate Au fond on trouve un os ou un bout de maison Et alors la Maison devient un film Mais dans une autre ville Jérusalem. Et l’histoire des immigrants sur un bateau Comme dans Kedma La côte en face Une sorte de silhouette La crête du Carmel émerge de la mer Ceux qui sont venus, Et peut-être aussi ceux qui voulaient venir Mais ne sont pas venus Et ne viendront pas. Amos Gitaï, Mont Carmel (Gallimard, 2003) Personnalité invitée : Sylvie Lindeperg Sylvie Lindeperg est historienne, professeure à l’université Paris 1 Panthéon-Sorbonne, directrice du Centre d’études et de recherches en histoire et esthétique du cinéma (CERHEC). Ses recherches portent sur les liens entre le cinéma, la mémoire et l’histoire, en s’attachant plus particulièrement à la période de la seconde guerre mondiale. Elle a écrit et co-dirigé une douzaine d’ouvrages : Les Écrans de l’ombre (CNRS éditions, 1997 et réédition Point Histoire, Le Seuil, 2014), prix Jean Mitry de l’Institut Jean Vigo ; Clio de 5 à 7 (CNRS éditions, 2000) ; Nuit et Brouillard. Un film dans l’histoire (Odile Jacob, 2007), prix de la critique cinématographique et prix Limina (Italie) ; Univers concentrationnaire et génocide. Voir, savoir, comprendre, en collaboration avec Annette Wieviorka (Fayard, 2008) ; La Voie des images (Verdier, 2013) ; Le moment Eichmann, avec Annette Wieviorka, (Albin Michel, 2016), issu d’une série de conférences qui se sont déroulées au Collège de France, A qui appartiennent les images ? : le paradoxe des archives, entre marchandisation, libre circulation et respect des œuvres avec Ania Szczepanska (Maison des sciences de l'homme, 2017) ; Par le fil de l'image : cinéma, guerre, politique (éditions de la Sorbonne, 2017). Films présentés Berlin-Jérusalem (1989) Else Lasker-Schüler et Mania Shohat font route chacune de leur côté vers Jérusalem, ville mythique mais aussi bien réelle, qu’il leur faudra affronter… Construit à partir des biographiques de ces deux femmes, une poétesse expressionniste allemande et l’une des premières sionistes russes, le film fait l’aller-retour entre les cafés embués de Berlin dans les années 1930 et les collines de Jérusalem. Berlin-Jérusalem ou l’histoire d’utopies brisées. Plus tard tu comprendras (2008) Au moment où s’ouvre le procès de Klaus Barbie, Victor, qui vit à Paris, découvre que sa mère Rivka a toujours fait silence sur sa souffrance et les persécutions dont sa famille fut la victime pendant la Seconde Guerre mondiale, sous l’occupation. Il va tenter de reconstruire cette mémoire. Adapté du roman autobiographique de Jérôme Clément, Plus tard tu comprendras, paru aux éditions Grasset en 2009. Kedma (2002) « Comment faire de la fiction sur un mythe fondateur ? Pour l’Amérique, le cinéma hollywoodien a inventé le western. Pour Israël, Amos Gitaï a tourné Kedma. […] Pour nous dire que, dès la fondation d’Israël en mai 1948, effort sidérant pour transformer la fatalité d’un peuple en destin, un réel nettement plus délirant était au rendez-vous. Et Gitaï, au feu de son impressionnante mélancolie, ne ménage personne : ni les soldats du mandat britannique […] ni les combattants du Palmach, l’armée clandestine juive […] Il aurait fallu faire une nation inouïe et pas un État comme un autre. Car Gitaï dit ça aussi : que la question d’Israël n’est pas la question juive. Et que toute utopie finit mal en général. Quant aux Arabes, les autres grands déplacés du film, Gitaï ne leur confère pas un surcroît d’héroïsme, un supplément de martyre. Youssouf, un vieux paysan tracassé par les soldats juifs, se met à vociférer […]. Plus tard, Janusz le juif, déboussolé par les combats, se met à hurler […]. Nous en sommes toujours là, dans ce cauchemar, soliloque contre soliloque. » (Gérard Lefort, Libération, 17 mai 2002)

Amos Gitaï Collège de France Création artistique Année 2018 - 2019 Traverser les frontières Cinéma et histoire Kedma (2002), extraits Le cinéma est un artisanat Un processus d’élaboration et d’articulation De différentes strates Parfois dans les documentaires On est archéologue, on fouille Strate après strate Au fond on trouve un os ou un bout de maison Et alors la Maison devient un film Mais dans une autre ville Jérusalem. Et l’histoire des immigrants sur un bateau Comme dans Kedma La côte en face Une sorte de silhouette La crête du Carmel émerge de la mer Ceux qui sont venus, Et peut-être aussi ceux qui voulaient venir Mais ne sont pas venus Et ne viendront pas. Amos Gitaï, Mont Carmel (Gallimard, 2003) Personnalité invitée : Sylvie Lindeperg Sylvie Lindeperg est historienne, professeure à l’université Paris 1 Panthéon-Sorbonne, directrice du Centre d’études et de recherches en histoire et esthétique du cinéma (CERHEC). Ses recherches portent sur les liens entre le cinéma, la mémoire et l’histoire, en s’attachant plus particulièrement à la période de la seconde guerre mondiale. Elle a écrit et co-dirigé une douzaine d’ouvrages : Les Écrans de l’ombre (CNRS éditions, 1997 et réédition Point Histoire, Le Seuil, 2014), prix Jean Mitry de l’Institut Jean Vigo ; Clio de 5 à 7 (CNRS éditions, 2000) ; Nuit et Brouillard. Un film dans l’histoire (Odile Jacob, 2007), prix de la critique cinématographique et prix Limina (Italie) ; Univers concentrationnaire et génocide. Voir, savoir, comprendre, en collaboration avec Annette Wieviorka (Fayard, 2008) ; La Voie des images (Verdier, 2013) ; Le moment Eichmann, avec Annette Wieviorka, (Albin Michel, 2016), issu d’une série de conférences qui se sont déroulées au Collège de France, A qui appartiennent les images ? : le paradoxe des archives, entre marchandisation, libre circulation et respect des œuvres avec Ania Szczepanska (Maison des sciences de l'homme, 2017) ; Par le fil de l'image : cinéma, guerre, politique (éditions de la Sorbonne, 2017). Films présentés Berlin-Jérusalem (1989) Else Lasker-Schüler et Mania Shohat font route chacune de leur côté vers Jérusalem, ville mythique mais aussi bien réelle, qu’il leur faudra affronter… Construit à partir des biographiques de ces deux femmes, une poétesse expressionniste allemande et l’une des premières sionistes russes, le film fait l’aller-retour entre les cafés embués de Berlin dans les années 1930 et les collines de Jérusalem. Berlin-Jérusalem ou l’histoire d’utopies brisées. Plus tard tu comprendras (2008) Au moment où s’ouvre le procès de Klaus Barbie, Victor, qui vit à Paris, découvre que sa mère Rivka a toujours fait silence sur sa souffrance et les persécutions dont sa famille fut la victime pendant la Seconde Guerre mondiale, sous l’occupation. Il va tenter de reconstruire cette mémoire. Adapté du roman autobiographique de Jérôme Clément, Plus tard tu comprendras, paru aux éditions Grasset en 2009. Kedma (2002) « Comment faire de la fiction sur un mythe fondateur ? Pour l’Amérique, le cinéma hollywoodien a inventé le western. Pour Israël, Amos Gitaï a tourné Kedma. […] Pour nous dire que, dès la fondation d’Israël en mai 1948, effort sidérant pour transformer la fatalité d’un peuple en destin, un réel nettement plus délirant était au rendez-vous. Et Gitaï, au feu de son impressionnante mélancolie, ne ménage personne : ni les soldats du mandat britannique […] ni les combattants du Palmach, l’armée clandestine juive […] Il aurait fallu faire une nation inouïe et pas un État comme un autre. Car Gitaï dit ça aussi : que la question d’Israël n’est pas la question juive. Et que toute utopie finit mal en général. Quant aux Arabes, les autres grands déplacés du film, Gitaï ne leur confère pas un surcroît d’héroïsme, un supplément de martyre. Youssouf, un vieux paysan tracassé par les soldats juifs, se met à vociférer […]. Plus tard, Janusz le juif, déboussolé par les combats, se met à hurler […]. Nous en sommes toujours là, dans ce cauchemar, soliloque contre soliloque. » (Gérard Lefort, Libération, 17 mai 2002)

Amos Gitaï Collège de France Création artistique Année 2018 - 2019 Traverser les frontières Cinéma et histoire Kedma (2002), extraits Le cinéma est un artisanat Un processus d’élaboration et d’articulation De différentes strates Parfois dans les documentaires On est archéologue, on fouille Strate après strate Au fond on trouve un os ou un bout de maison Et alors la Maison devient un film Mais dans une autre ville Jérusalem. Et l’histoire des immigrants sur un bateau Comme dans Kedma La côte en face Une sorte de silhouette La crête du Carmel émerge de la mer Ceux qui sont venus, Et peut-être aussi ceux qui voulaient venir Mais ne sont pas venus Et ne viendront pas. Amos Gitaï, Mont Carmel (Gallimard, 2003) Personnalité invitée : Sylvie Lindeperg Sylvie Lindeperg est historienne, professeure à l’université Paris 1 Panthéon-Sorbonne, directrice du Centre d’études et de recherches en histoire et esthétique du cinéma (CERHEC). Ses recherches portent sur les liens entre le cinéma, la mémoire et l’histoire, en s’attachant plus particulièrement à la période de la seconde guerre mondiale. Elle a écrit et co-dirigé une douzaine d’ouvrages : Les Écrans de l’ombre (CNRS éditions, 1997 et réédition Point Histoire, Le Seuil, 2014), prix Jean Mitry de l’Institut Jean Vigo ; Clio de 5 à 7 (CNRS éditions, 2000) ; Nuit et Brouillard. Un film dans l’histoire (Odile Jacob, 2007), prix de la critique cinématographique et prix Limina (Italie) ; Univers concentrationnaire et génocide. Voir, savoir, comprendre, en collaboration avec Annette Wieviorka (Fayard, 2008) ; La Voie des images (Verdier, 2013) ; Le moment Eichmann, avec Annette Wieviorka, (Albin Michel, 2016), issu d’une série de conférences qui se sont déroulées au Collège de France, A qui appartiennent les images ? : le paradoxe des archives, entre marchandisation, libre circulation et respect des œuvres avec Ania Szczepanska (Maison des sciences de l'homme, 2017) ; Par le fil de l'image : cinéma, guerre, politique (éditions de la Sorbonne, 2017). Films présentés Berlin-Jérusalem (1989) Else Lasker-Schüler et Mania Shohat font route chacune de leur côté vers Jérusalem, ville mythique mais aussi bien réelle, qu’il leur faudra affronter… Construit à partir des biographiques de ces deux femmes, une poétesse expressionniste allemande et l’une des premières sionistes russes, le film fait l’aller-retour entre les cafés embués de Berlin dans les années 1930 et les collines de Jérusalem. Berlin-Jérusalem ou l’histoire d’utopies brisées. Plus tard tu comprendras (2008) Au moment où s’ouvre le procès de Klaus Barbie, Victor, qui vit à Paris, découvre que sa mère Rivka a toujours fait silence sur sa souffrance et les persécutions dont sa famille fut la victime pendant la Seconde Guerre mondiale, sous l’occupation. Il va tenter de reconstruire cette mémoire. Adapté du roman autobiographique de Jérôme Clément, Plus tard tu comprendras, paru aux éditions Grasset en 2009. Kedma (2002) « Comment faire de la fiction sur un mythe fondateur ? Pour l’Amérique, le cinéma hollywoodien a inventé le western. Pour Israël, Amos Gitaï a tourné Kedma. […] Pour nous dire que, dès la fondation d’Israël en mai 1948, effort sidérant pour transformer la fatalité d’un peuple en destin, un réel nettement plus délirant était au rendez-vous. Et Gitaï, au feu de son impressionnante mélancolie, ne ménage personne : ni les soldats du mandat britannique […] ni les combattants du Palmach, l’armée clandestine juive […] Il aurait fallu faire une nation inouïe et pas un État comme un autre. Car Gitaï dit ça aussi : que la question d’Israël n’est pas la question juive. Et que toute utopie finit mal en général. Quant aux Arabes, les autres grands déplacés du film, Gitaï ne leur confère pas un surcroît d’héroïsme, un supplément de martyre. Youssouf, un vieux paysan tracassé par les soldats juifs, se met à vociférer […]. Plus tard, Janusz le juif, déboussolé par les combats, se met à hurler […]. Nous en sommes toujours là, dans ce cauchemar, soliloque contre soliloque. » (Gérard Lefort, Libération, 17 mai 2002)

Amos Gitaï Collège de France Création artistique Année 2018 - 2019 Traverser les frontières Cinéma et histoire Kedma (2002), extraits Le cinéma est un artisanat Un processus d’élaboration et d’articulation De différentes strates Parfois dans les documentaires On est archéologue, on fouille Strate après strate Au fond on trouve un os ou un bout de maison Et alors la Maison devient un film Mais dans une autre ville Jérusalem. Et l’histoire des immigrants sur un bateau Comme dans Kedma La côte en face Une sorte de silhouette La crête du Carmel émerge de la mer Ceux qui sont venus, Et peut-être aussi ceux qui voulaient venir Mais ne sont pas venus Et ne viendront pas. Amos Gitaï, Mont Carmel (Gallimard, 2003) Personnalité invitée : Sylvie Lindeperg Sylvie Lindeperg est historienne, professeure à l’université Paris 1 Panthéon-Sorbonne, directrice du Centre d’études et de recherches en histoire et esthétique du cinéma (CERHEC). Ses recherches portent sur les liens entre le cinéma, la mémoire et l’histoire, en s’attachant plus particulièrement à la période de la seconde guerre mondiale. Elle a écrit et co-dirigé une douzaine d’ouvrages : Les Écrans de l’ombre (CNRS éditions, 1997 et réédition Point Histoire, Le Seuil, 2014), prix Jean Mitry de l’Institut Jean Vigo ; Clio de 5 à 7 (CNRS éditions, 2000) ; Nuit et Brouillard. Un film dans l’histoire (Odile Jacob, 2007), prix de la critique cinématographique et prix Limina (Italie) ; Univers concentrationnaire et génocide. Voir, savoir, comprendre, en collaboration avec Annette Wieviorka (Fayard, 2008) ; La Voie des images (Verdier, 2013) ; Le moment Eichmann, avec Annette Wieviorka, (Albin Michel, 2016), issu d’une série de conférences qui se sont déroulées au Collège de France, A qui appartiennent les images ? : le paradoxe des archives, entre marchandisation, libre circulation et respect des œuvres avec Ania Szczepanska (Maison des sciences de l'homme, 2017) ; Par le fil de l'image : cinéma, guerre, politique (éditions de la Sorbonne, 2017). Films présentés Berlin-Jérusalem (1989) Else Lasker-Schüler et Mania Shohat font route chacune de leur côté vers Jérusalem, ville mythique mais aussi bien réelle, qu’il leur faudra affronter… Construit à partir des biographiques de ces deux femmes, une poétesse expressionniste allemande et l’une des premières sionistes russes, le film fait l’aller-retour entre les cafés embués de Berlin dans les années 1930 et les collines de Jérusalem. Berlin-Jérusalem ou l’histoire d’utopies brisées. Plus tard tu comprendras (2008) Au moment où s’ouvre le procès de Klaus Barbie, Victor, qui vit à Paris, découvre que sa mère Rivka a toujours fait silence sur sa souffrance et les persécutions dont sa famille fut la victime pendant la Seconde Guerre mondiale, sous l’occupation. Il va tenter de reconstruire cette mémoire. Adapté du roman autobiographique de Jérôme Clément, Plus tard tu comprendras, paru aux éditions Grasset en 2009. Kedma (2002) « Comment faire de la fiction sur un mythe fondateur ? Pour l’Amérique, le cinéma hollywoodien a inventé le western. Pour Israël, Amos Gitaï a tourné Kedma. […] Pour nous dire que, dès la fondation d’Israël en mai 1948, effort sidérant pour transformer la fatalité d’un peuple en destin, un réel nettement plus délirant était au rendez-vous. Et Gitaï, au feu de son impressionnante mélancolie, ne ménage personne : ni les soldats du mandat britannique […] ni les combattants du Palmach, l’armée clandestine juive […] Il aurait fallu faire une nation inouïe et pas un État comme un autre. Car Gitaï dit ça aussi : que la question d’Israël n’est pas la question juive. Et que toute utopie finit mal en général. Quant aux Arabes, les autres grands déplacés du film, Gitaï ne leur confère pas un surcroît d’héroïsme, un supplément de martyre. Youssouf, un vieux paysan tracassé par les soldats juifs, se met à vociférer […]. Plus tard, Janusz le juif, déboussolé par les combats, se met à hurler […]. Nous en sommes toujours là, dans ce cauchemar, soliloque contre soliloque. » (Gérard Lefort, Libération, 17 mai 2002)

Amos Gitaï Collège de France Création artistique Année 2018 - 2019 Traverser les frontières Cinéma et histoire Kedma (2002), extraits Le cinéma est un artisanat Un processus d’élaboration et d’articulation De différentes strates Parfois dans les documentaires On est archéologue, on fouille Strate après strate Au fond on trouve un os ou un bout de maison Et alors la Maison devient un film Mais dans une autre ville Jérusalem. Et l’histoire des immigrants sur un bateau Comme dans Kedma La côte en face Une sorte de silhouette La crête du Carmel émerge de la mer Ceux qui sont venus, Et peut-être aussi ceux qui voulaient venir Mais ne sont pas venus Et ne viendront pas. Amos Gitaï, Mont Carmel (Gallimard, 2003) Personnalité invitée : Sylvie Lindeperg Sylvie Lindeperg est historienne, professeure à l’université Paris 1 Panthéon-Sorbonne, directrice du Centre d’études et de recherches en histoire et esthétique du cinéma (CERHEC). Ses recherches portent sur les liens entre le cinéma, la mémoire et l’histoire, en s’attachant plus particulièrement à la période de la seconde guerre mondiale. Elle a écrit et co-dirigé une douzaine d’ouvrages : Les Écrans de l’ombre (CNRS éditions, 1997 et réédition Point Histoire, Le Seuil, 2014), prix Jean Mitry de l’Institut Jean Vigo ; Clio de 5 à 7 (CNRS éditions, 2000) ; Nuit et Brouillard. Un film dans l’histoire (Odile Jacob, 2007), prix de la critique cinématographique et prix Limina (Italie) ; Univers concentrationnaire et génocide. Voir, savoir, comprendre, en collaboration avec Annette Wieviorka (Fayard, 2008) ; La Voie des images (Verdier, 2013) ; Le moment Eichmann, avec Annette Wieviorka, (Albin Michel, 2016), issu d’une série de conférences qui se sont déroulées au Collège de France, A qui appartiennent les images ? : le paradoxe des archives, entre marchandisation, libre circulation et respect des œuvres avec Ania Szczepanska (Maison des sciences de l'homme, 2017) ; Par le fil de l'image : cinéma, guerre, politique (éditions de la Sorbonne, 2017). Films présentés Berlin-Jérusalem (1989) Else Lasker-Schüler et Mania Shohat font route chacune de leur côté vers Jérusalem, ville mythique mais aussi bien réelle, qu’il leur faudra affronter… Construit à partir des biographiques de ces deux femmes, une poétesse expressionniste allemande et l’une des premières sionistes russes, le film fait l’aller-retour entre les cafés embués de Berlin dans les années 1930 et les collines de Jérusalem. Berlin-Jérusalem ou l’histoire d’utopies brisées. Plus tard tu comprendras (2008) Au moment où s’ouvre le procès de Klaus Barbie, Victor, qui vit à Paris, découvre que sa mère Rivka a toujours fait silence sur sa souffrance et les persécutions dont sa famille fut la victime pendant la Seconde Guerre mondiale, sous l’occupation. Il va tenter de reconstruire cette mémoire. Adapté du roman autobiographique de Jérôme Clément, Plus tard tu comprendras, paru aux éditions Grasset en 2009. Kedma (2002) « Comment faire de la fiction sur un mythe fondateur ? Pour l’Amérique, le cinéma hollywoodien a inventé le western. Pour Israël, Amos Gitaï a tourné Kedma. […] Pour nous dire que, dès la fondation d’Israël en mai 1948, effort sidérant pour transformer la fatalité d’un peuple en destin, un réel nettement plus délirant était au rendez-vous. Et Gitaï, au feu de son impressionnante mélancolie, ne ménage personne : ni les soldats du mandat britannique […] ni les combattants du Palmach, l’armée clandestine juive […] Il aurait fallu faire une nation inouïe et pas un État comme un autre. Car Gitaï dit ça aussi : que la question d’Israël n’est pas la question juive. Et que toute utopie finit mal en général. Quant aux Arabes, les autres grands déplacés du film, Gitaï ne leur confère pas un surcroît d’héroïsme, un supplément de martyre. Youssouf, un vieux paysan tracassé par les soldats juifs, se met à vociférer […]. Plus tard, Janusz le juif, déboussolé par les combats, se met à hurler […]. Nous en sommes toujours là, dans ce cauchemar, soliloque contre soliloque. » (Gérard Lefort, Libération, 17 mai 2002)

Amos Gitaï Collège de France Création artistique Année 2018 - 2019 Traverser les frontières Cinéma et histoire Kedma (2002), extraits Le cinéma est un artisanat Un processus d’élaboration et d’articulation De différentes strates Parfois dans les documentaires On est archéologue, on fouille Strate après strate Au fond on trouve un os ou un bout de maison Et alors la Maison devient un film Mais dans une autre ville Jérusalem. Et l’histoire des immigrants sur un bateau Comme dans Kedma La côte en face Une sorte de silhouette La crête du Carmel émerge de la mer Ceux qui sont venus, Et peut-être aussi ceux qui voulaient venir Mais ne sont pas venus Et ne viendront pas. Amos Gitaï, Mont Carmel (Gallimard, 2003) Personnalité invitée : Sylvie Lindeperg Sylvie Lindeperg est historienne, professeure à l’université Paris 1 Panthéon-Sorbonne, directrice du Centre d’études et de recherches en histoire et esthétique du cinéma (CERHEC). Ses recherches portent sur les liens entre le cinéma, la mémoire et l’histoire, en s’attachant plus particulièrement à la période de la seconde guerre mondiale. Elle a écrit et co-dirigé une douzaine d’ouvrages : Les Écrans de l’ombre (CNRS éditions, 1997 et réédition Point Histoire, Le Seuil, 2014), prix Jean Mitry de l’Institut Jean Vigo ; Clio de 5 à 7 (CNRS éditions, 2000) ; Nuit et Brouillard. Un film dans l’histoire (Odile Jacob, 2007), prix de la critique cinématographique et prix Limina (Italie) ; Univers concentrationnaire et génocide. Voir, savoir, comprendre, en collaboration avec Annette Wieviorka (Fayard, 2008) ; La Voie des images (Verdier, 2013) ; Le moment Eichmann, avec Annette Wieviorka, (Albin Michel, 2016), issu d’une série de conférences qui se sont déroulées au Collège de France, A qui appartiennent les images ? : le paradoxe des archives, entre marchandisation, libre circulation et respect des œuvres avec Ania Szczepanska (Maison des sciences de l'homme, 2017) ; Par le fil de l'image : cinéma, guerre, politique (éditions de la Sorbonne, 2017). Films présentés Berlin-Jérusalem (1989) Else Lasker-Schüler et Mania Shohat font route chacune de leur côté vers Jérusalem, ville mythique mais aussi bien réelle, qu’il leur faudra affronter… Construit à partir des biographiques de ces deux femmes, une poétesse expressionniste allemande et l’une des premières sionistes russes, le film fait l’aller-retour entre les cafés embués de Berlin dans les années 1930 et les collines de Jérusalem. Berlin-Jérusalem ou l’histoire d’utopies brisées. Plus tard tu comprendras (2008) Au moment où s’ouvre le procès de Klaus Barbie, Victor, qui vit à Paris, découvre que sa mère Rivka a toujours fait silence sur sa souffrance et les persécutions dont sa famille fut la victime pendant la Seconde Guerre mondiale, sous l’occupation. Il va tenter de reconstruire cette mémoire. Adapté du roman autobiographique de Jérôme Clément, Plus tard tu comprendras, paru aux éditions Grasset en 2009. Kedma (2002) « Comment faire de la fiction sur un mythe fondateur ? Pour l’Amérique, le cinéma hollywoodien a inventé le western. Pour Israël, Amos Gitaï a tourné Kedma. […] Pour nous dire que, dès la fondation d’Israël en mai 1948, effort sidérant pour transformer la fatalité d’un peuple en destin, un réel nettement plus délirant était au rendez-vous. Et Gitaï, au feu de son impressionnante mélancolie, ne ménage personne : ni les soldats du mandat britannique […] ni les combattants du Palmach, l’armée clandestine juive […] Il aurait fallu faire une nation inouïe et pas un État comme un autre. Car Gitaï dit ça aussi : que la question d’Israël n’est pas la question juive. Et que toute utopie finit mal en général. Quant aux Arabes, les autres grands déplacés du film, Gitaï ne leur confère pas un surcroît d’héroïsme, un supplément de martyre. Youssouf, un vieux paysan tracassé par les soldats juifs, se met à vociférer […]. Plus tard, Janusz le juif, déboussolé par les combats, se met à hurler […]. Nous en sommes toujours là, dans ce cauchemar, soliloque contre soliloque. » (Gérard Lefort, Libération, 17 mai 2002)

Amos Gitaï Collège de France Création artistique Année 2018 - 2019 Traverser les frontières Cinéma et histoire Kedma (2002), extraits Le cinéma est un artisanat Un processus d’élaboration et d’articulation De différentes strates Parfois dans les documentaires On est archéologue, on fouille Strate après strate Au fond on trouve un os ou un bout de maison Et alors la Maison devient un film Mais dans une autre ville Jérusalem. Et l’histoire des immigrants sur un bateau Comme dans Kedma La côte en face Une sorte de silhouette La crête du Carmel émerge de la mer Ceux qui sont venus, Et peut-être aussi ceux qui voulaient venir Mais ne sont pas venus Et ne viendront pas. Amos Gitaï, Mont Carmel (Gallimard, 2003) Personnalité invitée : Sylvie Lindeperg Sylvie Lindeperg est historienne, professeure à l’université Paris 1 Panthéon-Sorbonne, directrice du Centre d’études et de recherches en histoire et esthétique du cinéma (CERHEC). Ses recherches portent sur les liens entre le cinéma, la mémoire et l’histoire, en s’attachant plus particulièrement à la période de la seconde guerre mondiale. Elle a écrit et co-dirigé une douzaine d’ouvrages : Les Écrans de l’ombre (CNRS éditions, 1997 et réédition Point Histoire, Le Seuil, 2014), prix Jean Mitry de l’Institut Jean Vigo ; Clio de 5 à 7 (CNRS éditions, 2000) ; Nuit et Brouillard. Un film dans l’histoire (Odile Jacob, 2007), prix de la critique cinématographique et prix Limina (Italie) ; Univers concentrationnaire et génocide. Voir, savoir, comprendre, en collaboration avec Annette Wieviorka (Fayard, 2008) ; La Voie des images (Verdier, 2013) ; Le moment Eichmann, avec Annette Wieviorka, (Albin Michel, 2016), issu d’une série de conférences qui se sont déroulées au Collège de France, A qui appartiennent les images ? : le paradoxe des archives, entre marchandisation, libre circulation et respect des œuvres avec Ania Szczepanska (Maison des sciences de l'homme, 2017) ; Par le fil de l'image : cinéma, guerre, politique (éditions de la Sorbonne, 2017). Films présentés Berlin-Jérusalem (1989) Else Lasker-Schüler et Mania Shohat font route chacune de leur côté vers Jérusalem, ville mythique mais aussi bien réelle, qu’il leur faudra affronter… Construit à partir des biographiques de ces deux femmes, une poétesse expressionniste allemande et l’une des premières sionistes russes, le film fait l’aller-retour entre les cafés embués de Berlin dans les années 1930 et les collines de Jérusalem. Berlin-Jérusalem ou l’histoire d’utopies brisées. Plus tard tu comprendras (2008) Au moment où s’ouvre le procès de Klaus Barbie, Victor, qui vit à Paris, découvre que sa mère Rivka a toujours fait silence sur sa souffrance et les persécutions dont sa famille fut la victime pendant la Seconde Guerre mondiale, sous l’occupation. Il va tenter de reconstruire cette mémoire. Adapté du roman autobiographique de Jérôme Clément, Plus tard tu comprendras, paru aux éditions Grasset en 2009. Kedma (2002) « Comment faire de la fiction sur un mythe fondateur ? Pour l’Amérique, le cinéma hollywoodien a inventé le western. Pour Israël, Amos Gitaï a tourné Kedma. […] Pour nous dire que, dès la fondation d’Israël en mai 1948, effort sidérant pour transformer la fatalité d’un peuple en destin, un réel nettement plus délirant était au rendez-vous. Et Gitaï, au feu de son impressionnante mélancolie, ne ménage personne : ni les soldats du mandat britannique […] ni les combattants du Palmach, l’armée clandestine juive […] Il aurait fallu faire une nation inouïe et pas un État comme un autre. Car Gitaï dit ça aussi : que la question d’Israël n’est pas la question juive. Et que toute utopie finit mal en général. Quant aux Arabes, les autres grands déplacés du film, Gitaï ne leur confère pas un surcroît d’héroïsme, un supplément de martyre. Youssouf, un vieux paysan tracassé par les soldats juifs, se met à vociférer […]. Plus tard, Janusz le juif, déboussolé par les combats, se met à hurler […]. Nous en sommes toujours là, dans ce cauchemar, soliloque contre soliloque. » (Gérard Lefort, Libération, 17 mai 2002)

Amos Gitaï Collège de France Création artistique Année 2018 - 2019 Traverser les frontières Cinéma et histoire Kedma (2002), extraits Le cinéma est un artisanat Un processus d’élaboration et d’articulation De différentes strates Parfois dans les documentaires On est archéologue, on fouille Strate après strate Au fond on trouve un os ou un bout de maison Et alors la Maison devient un film Mais dans une autre ville Jérusalem. Et l’histoire des immigrants sur un bateau Comme dans Kedma La côte en face Une sorte de silhouette La crête du Carmel émerge de la mer Ceux qui sont venus, Et peut-être aussi ceux qui voulaient venir Mais ne sont pas venus Et ne viendront pas. Amos Gitaï, Mont Carmel (Gallimard, 2003) Personnalité invitée : Sylvie Lindeperg Sylvie Lindeperg est historienne, professeure à l’université Paris 1 Panthéon-Sorbonne, directrice du Centre d’études et de recherches en histoire et esthétique du cinéma (CERHEC). Ses recherches portent sur les liens entre le cinéma, la mémoire et l’histoire, en s’attachant plus particulièrement à la période de la seconde guerre mondiale. Elle a écrit et co-dirigé une douzaine d’ouvrages : Les Écrans de l’ombre (CNRS éditions, 1997 et réédition Point Histoire, Le Seuil, 2014), prix Jean Mitry de l’Institut Jean Vigo ; Clio de 5 à 7 (CNRS éditions, 2000) ; Nuit et Brouillard. Un film dans l’histoire (Odile Jacob, 2007), prix de la critique cinématographique et prix Limina (Italie) ; Univers concentrationnaire et génocide. Voir, savoir, comprendre, en collaboration avec Annette Wieviorka (Fayard, 2008) ; La Voie des images (Verdier, 2013) ; Le moment Eichmann, avec Annette Wieviorka, (Albin Michel, 2016), issu d’une série de conférences qui se sont déroulées au Collège de France, A qui appartiennent les images ? : le paradoxe des archives, entre marchandisation, libre circulation et respect des œuvres avec Ania Szczepanska (Maison des sciences de l'homme, 2017) ; Par le fil de l'image : cinéma, guerre, politique (éditions de la Sorbonne, 2017). Films présentés Berlin-Jérusalem (1989) Else Lasker-Schüler et Mania Shohat font route chacune de leur côté vers Jérusalem, ville mythique mais aussi bien réelle, qu’il leur faudra affronter… Construit à partir des biographiques de ces deux femmes, une poétesse expressionniste allemande et l’une des premières sionistes russes, le film fait l’aller-retour entre les cafés embués de Berlin dans les années 1930 et les collines de Jérusalem. Berlin-Jérusalem ou l’histoire d’utopies brisées. Plus tard tu comprendras (2008) Au moment où s’ouvre le procès de Klaus Barbie, Victor, qui vit à Paris, découvre que sa mère Rivka a toujours fait silence sur sa souffrance et les persécutions dont sa famille fut la victime pendant la Seconde Guerre mondiale, sous l’occupation. Il va tenter de reconstruire cette mémoire. Adapté du roman autobiographique de Jérôme Clément, Plus tard tu comprendras, paru aux éditions Grasset en 2009. Kedma (2002) « Comment faire de la fiction sur un mythe fondateur ? Pour l’Amérique, le cinéma hollywoodien a inventé le western. Pour Israël, Amos Gitaï a tourné Kedma. […] Pour nous dire que, dès la fondation d’Israël en mai 1948, effort sidérant pour transformer la fatalité d’un peuple en destin, un réel nettement plus délirant était au rendez-vous. Et Gitaï, au feu de son impressionnante mélancolie, ne ménage personne : ni les soldats du mandat britannique […] ni les combattants du Palmach, l’armée clandestine juive […] Il aurait fallu faire une nation inouïe et pas un État comme un autre. Car Gitaï dit ça aussi : que la question d’Israël n’est pas la question juive. Et que toute utopie finit mal en général. Quant aux Arabes, les autres grands déplacés du film, Gitaï ne leur confère pas un surcroît d’héroïsme, un supplément de martyre. Youssouf, un vieux paysan tracassé par les soldats juifs, se met à vociférer […]. Plus tard, Janusz le juif, déboussolé par les combats, se met à hurler […]. Nous en sommes toujours là, dans ce cauchemar, soliloque contre soliloque. » (Gérard Lefort, Libération, 17 mai 2002)

Amos Gitaï Collège de France Création artistique Année 2018 - 2019 Traverser les frontières Cinéma et histoire Kedma (2002), extraits Le cinéma est un artisanat Un processus d’élaboration et d’articulation De différentes strates Parfois dans les documentaires On est archéologue, on fouille Strate après strate Au fond on trouve un os ou un bout de maison Et alors la Maison devient un film Mais dans une autre ville Jérusalem. Et l’histoire des immigrants sur un bateau Comme dans Kedma La côte en face Une sorte de silhouette La crête du Carmel émerge de la mer Ceux qui sont venus, Et peut-être aussi ceux qui voulaient venir Mais ne sont pas venus Et ne viendront pas. Amos Gitaï, Mont Carmel (Gallimard, 2003) Personnalité invitée : Sylvie Lindeperg Sylvie Lindeperg est historienne, professeure à l’université Paris 1 Panthéon-Sorbonne, directrice du Centre d’études et de recherches en histoire et esthétique du cinéma (CERHEC). Ses recherches portent sur les liens entre le cinéma, la mémoire et l’histoire, en s’attachant plus particulièrement à la période de la seconde guerre mondiale. Elle a écrit et co-dirigé une douzaine d’ouvrages : Les Écrans de l’ombre (CNRS éditions, 1997 et réédition Point Histoire, Le Seuil, 2014), prix Jean Mitry de l’Institut Jean Vigo ; Clio de 5 à 7 (CNRS éditions, 2000) ; Nuit et Brouillard. Un film dans l’histoire (Odile Jacob, 2007), prix de la critique cinématographique et prix Limina (Italie) ; Univers concentrationnaire et génocide. Voir, savoir, comprendre, en collaboration avec Annette Wieviorka (Fayard, 2008) ; La Voie des images (Verdier, 2013) ; Le moment Eichmann, avec Annette Wieviorka, (Albin Michel, 2016), issu d’une série de conférences qui se sont déroulées au Collège de France, A qui appartiennent les images ? : le paradoxe des archives, entre marchandisation, libre circulation et respect des œuvres avec Ania Szczepanska (Maison des sciences de l'homme, 2017) ; Par le fil de l'image : cinéma, guerre, politique (éditions de la Sorbonne, 2017). Films présentés Berlin-Jérusalem (1989) Else Lasker-Schüler et Mania Shohat font route chacune de leur côté vers Jérusalem, ville mythique mais aussi bien réelle, qu’il leur faudra affronter… Construit à partir des biographiques de ces deux femmes, une poétesse expressionniste allemande et l’une des premières sionistes russes, le film fait l’aller-retour entre les cafés embués de Berlin dans les années 1930 et les collines de Jérusalem. Berlin-Jérusalem ou l’histoire d’utopies brisées. Plus tard tu comprendras (2008) Au moment où s’ouvre le procès de Klaus Barbie, Victor, qui vit à Paris, découvre que sa mère Rivka a toujours fait silence sur sa souffrance et les persécutions dont sa famille fut la victime pendant la Seconde Guerre mondiale, sous l’occupation. Il va tenter de reconstruire cette mémoire. Adapté du roman autobiographique de Jérôme Clément, Plus tard tu comprendras, paru aux éditions Grasset en 2009. Kedma (2002) « Comment faire de la fiction sur un mythe fondateur ? Pour l’Amérique, le cinéma hollywoodien a inventé le western. Pour Israël, Amos Gitaï a tourné Kedma. […] Pour nous dire que, dès la fondation d’Israël en mai 1948, effort sidérant pour transformer la fatalité d’un peuple en destin, un réel nettement plus délirant était au rendez-vous. Et Gitaï, au feu de son impressionnante mélancolie, ne ménage personne : ni les soldats du mandat britannique […] ni les combattants du Palmach, l’armée clandestine juive […] Il aurait fallu faire une nation inouïe et pas un État comme un autre. Car Gitaï dit ça aussi : que la question d’Israël n’est pas la question juive. Et que toute utopie finit mal en général. Quant aux Arabes, les autres grands déplacés du film, Gitaï ne leur confère pas un surcroît d’héroïsme, un supplément de martyre. Youssouf, un vieux paysan tracassé par les soldats juifs, se met à vociférer […]. Plus tard, Janusz le juif, déboussolé par les combats, se met à hurler […]. Nous en sommes toujours là, dans ce cauchemar, soliloque contre soliloque. » (Gérard Lefort, Libération, 17 mai 2002)

Amos Gitaï Collège de France Création artistique Année 2018 - 2019 Traverser les frontières Cinéma et histoire Kedma (2002), extraits Le cinéma est un artisanat Un processus d’élaboration et d’articulation De différentes strates Parfois dans les documentaires On est archéologue, on fouille Strate après strate Au fond on trouve un os ou un bout de maison Et alors la Maison devient un film Mais dans une autre ville Jérusalem. Et l’histoire des immigrants sur un bateau Comme dans Kedma La côte en face Une sorte de silhouette La crête du Carmel émerge de la mer Ceux qui sont venus, Et peut-être aussi ceux qui voulaient venir Mais ne sont pas venus Et ne viendront pas. Amos Gitaï, Mont Carmel (Gallimard, 2003) Personnalité invitée : Sylvie Lindeperg Sylvie Lindeperg est historienne, professeure à l’université Paris 1 Panthéon-Sorbonne, directrice du Centre d’études et de recherches en histoire et esthétique du cinéma (CERHEC). Ses recherches portent sur les liens entre le cinéma, la mémoire et l’histoire, en s’attachant plus particulièrement à la période de la seconde guerre mondiale. Elle a écrit et co-dirigé une douzaine d’ouvrages : Les Écrans de l’ombre (CNRS éditions, 1997 et réédition Point Histoire, Le Seuil, 2014), prix Jean Mitry de l’Institut Jean Vigo ; Clio de 5 à 7 (CNRS éditions, 2000) ; Nuit et Brouillard. Un film dans l’histoire (Odile Jacob, 2007), prix de la critique cinématographique et prix Limina (Italie) ; Univers concentrationnaire et génocide. Voir, savoir, comprendre, en collaboration avec Annette Wieviorka (Fayard, 2008) ; La Voie des images (Verdier, 2013) ; Le moment Eichmann, avec Annette Wieviorka, (Albin Michel, 2016), issu d’une série de conférences qui se sont déroulées au Collège de France, A qui appartiennent les images ? : le paradoxe des archives, entre marchandisation, libre circulation et respect des œuvres avec Ania Szczepanska (Maison des sciences de l'homme, 2017) ; Par le fil de l'image : cinéma, guerre, politique (éditions de la Sorbonne, 2017). Films présentés Berlin-Jérusalem (1989) Else Lasker-Schüler et Mania Shohat font route chacune de leur côté vers Jérusalem, ville mythique mais aussi bien réelle, qu’il leur faudra affronter… Construit à partir des biographiques de ces deux femmes, une poétesse expressionniste allemande et l’une des premières sionistes russes, le film fait l’aller-retour entre les cafés embués de Berlin dans les années 1930 et les collines de Jérusalem. Berlin-Jérusalem ou l’histoire d’utopies brisées. Plus tard tu comprendras (2008) Au moment où s’ouvre le procès de Klaus Barbie, Victor, qui vit à Paris, découvre que sa mère Rivka a toujours fait silence sur sa souffrance et les persécutions dont sa famille fut la victime pendant la Seconde Guerre mondiale, sous l’occupation. Il va tenter de reconstruire cette mémoire. Adapté du roman autobiographique de Jérôme Clément, Plus tard tu comprendras, paru aux éditions Grasset en 2009. Kedma (2002) « Comment faire de la fiction sur un mythe fondateur ? Pour l’Amérique, le cinéma hollywoodien a inventé le western. Pour Israël, Amos Gitaï a tourné Kedma. […] Pour nous dire que, dès la fondation d’Israël en mai 1948, effort sidérant pour transformer la fatalité d’un peuple en destin, un réel nettement plus délirant était au rendez-vous. Et Gitaï, au feu de son impressionnante mélancolie, ne ménage personne : ni les soldats du mandat britannique […] ni les combattants du Palmach, l’armée clandestine juive […] Il aurait fallu faire une nation inouïe et pas un État comme un autre. Car Gitaï dit ça aussi : que la question d’Israël n’est pas la question juive. Et que toute utopie finit mal en général. Quant aux Arabes, les autres grands déplacés du film, Gitaï ne leur confère pas un surcroît d’héroïsme, un supplément de martyre. Youssouf, un vieux paysan tracassé par les soldats juifs, se met à vociférer […]. Plus tard, Janusz le juif, déboussolé par les combats, se met à hurler […]. Nous en sommes toujours là, dans ce cauchemar, soliloque contre soliloque. » (Gérard Lefort, Libération, 17 mai 2002)

Amos Gitaï Collège de France Création artistique Année 2018 - 2019 Traverser les frontières Cinéma et histoire Kedma (2002), extraits Le cinéma est un artisanat Un processus d’élaboration et d’articulation De différentes strates Parfois dans les documentaires On est archéologue, on fouille Strate après strate Au fond on trouve un os ou un bout de maison Et alors la Maison devient un film Mais dans une autre ville Jérusalem. Et l’histoire des immigrants sur un bateau Comme dans Kedma La côte en face Une sorte de silhouette La crête du Carmel émerge de la mer Ceux qui sont venus, Et peut-être aussi ceux qui voulaient venir Mais ne sont pas venus Et ne viendront pas. Amos Gitaï, Mont Carmel (Gallimard, 2003) Personnalité invitée : Sylvie Lindeperg Sylvie Lindeperg est historienne, professeure à l’université Paris 1 Panthéon-Sorbonne, directrice du Centre d’études et de recherches en histoire et esthétique du cinéma (CERHEC). Ses recherches portent sur les liens entre le cinéma, la mémoire et l’histoire, en s’attachant plus particulièrement à la période de la seconde guerre mondiale. Elle a écrit et co-dirigé une douzaine d’ouvrages : Les Écrans de l’ombre (CNRS éditions, 1997 et réédition Point Histoire, Le Seuil, 2014), prix Jean Mitry de l’Institut Jean Vigo ; Clio de 5 à 7 (CNRS éditions, 2000) ; Nuit et Brouillard. Un film dans l’histoire (Odile Jacob, 2007), prix de la critique cinématographique et prix Limina (Italie) ; Univers concentrationnaire et génocide. Voir, savoir, comprendre, en collaboration avec Annette Wieviorka (Fayard, 2008) ; La Voie des images (Verdier, 2013) ; Le moment Eichmann, avec Annette Wieviorka, (Albin Michel, 2016), issu d’une série de conférences qui se sont déroulées au Collège de France, A qui appartiennent les images ? : le paradoxe des archives, entre marchandisation, libre circulation et respect des œuvres avec Ania Szczepanska (Maison des sciences de l'homme, 2017) ; Par le fil de l'image : cinéma, guerre, politique (éditions de la Sorbonne, 2017). Films présentés Berlin-Jérusalem (1989) Else Lasker-Schüler et Mania Shohat font route chacune de leur côté vers Jérusalem, ville mythique mais aussi bien réelle, qu’il leur faudra affronter… Construit à partir des biographiques de ces deux femmes, une poétesse expressionniste allemande et l’une des premières sionistes russes, le film fait l’aller-retour entre les cafés embués de Berlin dans les années 1930 et les collines de Jérusalem. Berlin-Jérusalem ou l’histoire d’utopies brisées. Plus tard tu comprendras (2008) Au moment où s’ouvre le procès de Klaus Barbie, Victor, qui vit à Paris, découvre que sa mère Rivka a toujours fait silence sur sa souffrance et les persécutions dont sa famille fut la victime pendant la Seconde Guerre mondiale, sous l’occupation. Il va tenter de reconstruire cette mémoire. Adapté du roman autobiographique de Jérôme Clément, Plus tard tu comprendras, paru aux éditions Grasset en 2009. Kedma (2002) « Comment faire de la fiction sur un mythe fondateur ? Pour l’Amérique, le cinéma hollywoodien a inventé le western. Pour Israël, Amos Gitaï a tourné Kedma. […] Pour nous dire que, dès la fondation d’Israël en mai 1948, effort sidérant pour transformer la fatalité d’un peuple en destin, un réel nettement plus délirant était au rendez-vous. Et Gitaï, au feu de son impressionnante mélancolie, ne ménage personne : ni les soldats du mandat britannique […] ni les combattants du Palmach, l’armée clandestine juive […] Il aurait fallu faire une nation inouïe et pas un État comme un autre. Car Gitaï dit ça aussi : que la question d’Israël n’est pas la question juive. Et que toute utopie finit mal en général. Quant aux Arabes, les autres grands déplacés du film, Gitaï ne leur confère pas un surcroît d’héroïsme, un supplément de martyre. Youssouf, un vieux paysan tracassé par les soldats juifs, se met à vociférer […]. Plus tard, Janusz le juif, déboussolé par les combats, se met à hurler […]. Nous en sommes toujours là, dans ce cauchemar, soliloque contre soliloque. » (Gérard Lefort, Libération, 17 mai 2002)

Amos Gitaï Collège de France Création artistique Année 2018 - 2019 Traverser les frontières Cinéma et histoire Kedma (2002), extraits Le cinéma est un artisanat Un processus d’élaboration et d’articulation De différentes strates Parfois dans les documentaires On est archéologue, on fouille Strate après strate Au fond on trouve un os ou un bout de maison Et alors la Maison devient un film Mais dans une autre ville Jérusalem. Et l’histoire des immigrants sur un bateau Comme dans Kedma La côte en face Une sorte de silhouette La crête du Carmel émerge de la mer Ceux qui sont venus, Et peut-être aussi ceux qui voulaient venir Mais ne sont pas venus Et ne viendront pas. Amos Gitaï, Mont Carmel (Gallimard, 2003) Personnalité invitée : Sylvie Lindeperg Sylvie Lindeperg est historienne, professeure à l’université Paris 1 Panthéon-Sorbonne, directrice du Centre d’études et de recherches en histoire et esthétique du cinéma (CERHEC). Ses recherches portent sur les liens entre le cinéma, la mémoire et l’histoire, en s’attachant plus particulièrement à la période de la seconde guerre mondiale. Elle a écrit et co-dirigé une douzaine d’ouvrages : Les Écrans de l’ombre (CNRS éditions, 1997 et réédition Point Histoire, Le Seuil, 2014), prix Jean Mitry de l’Institut Jean Vigo ; Clio de 5 à 7 (CNRS éditions, 2000) ; Nuit et Brouillard. Un film dans l’histoire (Odile Jacob, 2007), prix de la critique cinématographique et prix Limina (Italie) ; Univers concentrationnaire et génocide. Voir, savoir, comprendre, en collaboration avec Annette Wieviorka (Fayard, 2008) ; La Voie des images (Verdier, 2013) ; Le moment Eichmann, avec Annette Wieviorka, (Albin Michel, 2016), issu d’une série de conférences qui se sont déroulées au Collège de France, A qui appartiennent les images ? : le paradoxe des archives, entre marchandisation, libre circulation et respect des œuvres avec Ania Szczepanska (Maison des sciences de l'homme, 2017) ; Par le fil de l'image : cinéma, guerre, politique (éditions de la Sorbonne, 2017). Films présentés Berlin-Jérusalem (1989) Else Lasker-Schüler et Mania Shohat font route chacune de leur côté vers Jérusalem, ville mythique mais aussi bien réelle, qu’il leur faudra affronter… Construit à partir des biographiques de ces deux femmes, une poétesse expressionniste allemande et l’une des premières sionistes russes, le film fait l’aller-retour entre les cafés embués de Berlin dans les années 1930 et les collines de Jérusalem. Berlin-Jérusalem ou l’histoire d’utopies brisées. Plus tard tu comprendras (2008) Au moment où s’ouvre le procès de Klaus Barbie, Victor, qui vit à Paris, découvre que sa mère Rivka a toujours fait silence sur sa souffrance et les persécutions dont sa famille fut la victime pendant la Seconde Guerre mondiale, sous l’occupation. Il va tenter de reconstruire cette mémoire. Adapté du roman autobiographique de Jérôme Clément, Plus tard tu comprendras, paru aux éditions Grasset en 2009. Kedma (2002) « Comment faire de la fiction sur un mythe fondateur ? Pour l’Amérique, le cinéma hollywoodien a inventé le western. Pour Israël, Amos Gitaï a tourné Kedma. […] Pour nous dire que, dès la fondation d’Israël en mai 1948, effort sidérant pour transformer la fatalité d’un peuple en destin, un réel nettement plus délirant était au rendez-vous. Et Gitaï, au feu de son impressionnante mélancolie, ne ménage personne : ni les soldats du mandat britannique […] ni les combattants du Palmach, l’armée clandestine juive […] Il aurait fallu faire une nation inouïe et pas un État comme un autre. Car Gitaï dit ça aussi : que la question d’Israël n’est pas la question juive. Et que toute utopie finit mal en général. Quant aux Arabes, les autres grands déplacés du film, Gitaï ne leur confère pas un surcroît d’héroïsme, un supplément de martyre. Youssouf, un vieux paysan tracassé par les soldats juifs, se met à vociférer […]. Plus tard, Janusz le juif, déboussolé par les combats, se met à hurler […]. Nous en sommes toujours là, dans ce cauchemar, soliloque contre soliloque. » (Gérard Lefort, Libération, 17 mai 2002)

Amos Gitaï Collège de France Création artistique Année 2018 - 2019 Traverser les frontières Cinéma et histoire Kedma (2002), extraits Le cinéma est un artisanat Un processus d’élaboration et d’articulation De différentes strates Parfois dans les documentaires On est archéologue, on fouille Strate après strate Au fond on trouve un os ou un bout de maison Et alors la Maison devient un film Mais dans une autre ville Jérusalem. Et l’histoire des immigrants sur un bateau Comme dans Kedma La côte en face Une sorte de silhouette La crête du Carmel émerge de la mer Ceux qui sont venus, Et peut-être aussi ceux qui voulaient venir Mais ne sont pas venus Et ne viendront pas. Amos Gitaï, Mont Carmel (Gallimard, 2003) Personnalité invitée : Sylvie Lindeperg Sylvie Lindeperg est historienne, professeure à l’université Paris 1 Panthéon-Sorbonne, directrice du Centre d’études et de recherches en histoire et esthétique du cinéma (CERHEC). Ses recherches portent sur les liens entre le cinéma, la mémoire et l’histoire, en s’attachant plus particulièrement à la période de la seconde guerre mondiale. Elle a écrit et co-dirigé une douzaine d’ouvrages : Les Écrans de l’ombre (CNRS éditions, 1997 et réédition Point Histoire, Le Seuil, 2014), prix Jean Mitry de l’Institut Jean Vigo ; Clio de 5 à 7 (CNRS éditions, 2000) ; Nuit et Brouillard. Un film dans l’histoire (Odile Jacob, 2007), prix de la critique cinématographique et prix Limina (Italie) ; Univers concentrationnaire et génocide. Voir, savoir, comprendre, en collaboration avec Annette Wieviorka (Fayard, 2008) ; La Voie des images (Verdier, 2013) ; Le moment Eichmann, avec Annette Wieviorka, (Albin Michel, 2016), issu d’une série de conférences qui se sont déroulées au Collège de France, A qui appartiennent les images ? : le paradoxe des archives, entre marchandisation, libre circulation et respect des œuvres avec Ania Szczepanska (Maison des sciences de l'homme, 2017) ; Par le fil de l'image : cinéma, guerre, politique (éditions de la Sorbonne, 2017). Films présentés Berlin-Jérusalem (1989) Else Lasker-Schüler et Mania Shohat font route chacune de leur côté vers Jérusalem, ville mythique mais aussi bien réelle, qu’il leur faudra affronter… Construit à partir des biographiques de ces deux femmes, une poétesse expressionniste allemande et l’une des premières sionistes russes, le film fait l’aller-retour entre les cafés embués de Berlin dans les années 1930 et les collines de Jérusalem. Berlin-Jérusalem ou l’histoire d’utopies brisées. Plus tard tu comprendras (2008) Au moment où s’ouvre le procès de Klaus Barbie, Victor, qui vit à Paris, découvre que sa mère Rivka a toujours fait silence sur sa souffrance et les persécutions dont sa famille fut la victime pendant la Seconde Guerre mondiale, sous l’occupation. Il va tenter de reconstruire cette mémoire. Adapté du roman autobiographique de Jérôme Clément, Plus tard tu comprendras, paru aux éditions Grasset en 2009. Kedma (2002) « Comment faire de la fiction sur un mythe fondateur ? Pour l’Amérique, le cinéma hollywoodien a inventé le western. Pour Israël, Amos Gitaï a tourné Kedma. […] Pour nous dire que, dès la fondation d’Israël en mai 1948, effort sidérant pour transformer la fatalité d’un peuple en destin, un réel nettement plus délirant était au rendez-vous. Et Gitaï, au feu de son impressionnante mélancolie, ne ménage personne : ni les soldats du mandat britannique […] ni les combattants du Palmach, l’armée clandestine juive […] Il aurait fallu faire une nation inouïe et pas un État comme un autre. Car Gitaï dit ça aussi : que la question d’Israël n’est pas la question juive. Et que toute utopie finit mal en général. Quant aux Arabes, les autres grands déplacés du film, Gitaï ne leur confère pas un surcroît d’héroïsme, un supplément de martyre. Youssouf, un vieux paysan tracassé par les soldats juifs, se met à vociférer […]. Plus tard, Janusz le juif, déboussolé par les combats, se met à hurler […]. Nous en sommes toujours là, dans ce cauchemar, soliloque contre soliloque. » (Gérard Lefort, Libération, 17 mai 2002)

Amos Gitaï Collège de France Création artistique Année 2018 - 2019 Traverser les frontières Cinéma et histoire Kedma (2002), extraits Le cinéma est un artisanat Un processus d’élaboration et d’articulation De différentes strates Parfois dans les documentaires On est archéologue, on fouille Strate après strate Au fond on trouve un os ou un bout de maison Et alors la Maison devient un film Mais dans une autre ville Jérusalem. Et l’histoire des immigrants sur un bateau Comme dans Kedma La côte en face Une sorte de silhouette La crête du Carmel émerge de la mer Ceux qui sont venus, Et peut-être aussi ceux qui voulaient venir Mais ne sont pas venus Et ne viendront pas. Amos Gitaï, Mont Carmel (Gallimard, 2003) Personnalité invitée : Sylvie Lindeperg Sylvie Lindeperg est historienne, professeure à l’université Paris 1 Panthéon-Sorbonne, directrice du Centre d’études et de recherches en histoire et esthétique du cinéma (CERHEC). Ses recherches portent sur les liens entre le cinéma, la mémoire et l’histoire, en s’attachant plus particulièrement à la période de la seconde guerre mondiale. Elle a écrit et co-dirigé une douzaine d’ouvrages : Les Écrans de l’ombre (CNRS éditions, 1997 et réédition Point Histoire, Le Seuil, 2014), prix Jean Mitry de l’Institut Jean Vigo ; Clio de 5 à 7 (CNRS éditions, 2000) ; Nuit et Brouillard. Un film dans l’histoire (Odile Jacob, 2007), prix de la critique cinématographique et prix Limina (Italie) ; Univers concentrationnaire et génocide. Voir, savoir, comprendre, en collaboration avec Annette Wieviorka (Fayard, 2008) ; La Voie des images (Verdier, 2013) ; Le moment Eichmann, avec Annette Wieviorka, (Albin Michel, 2016), issu d’une série de conférences qui se sont déroulées au Collège de France, A qui appartiennent les images ? : le paradoxe des archives, entre marchandisation, libre circulation et respect des œuvres avec Ania Szczepanska (Maison des sciences de l'homme, 2017) ; Par le fil de l'image : cinéma, guerre, politique (éditions de la Sorbonne, 2017). Films présentés Berlin-Jérusalem (1989) Else Lasker-Schüler et Mania Shohat font route chacune de leur côté vers Jérusalem, ville mythique mais aussi bien réelle, qu’il leur faudra affronter… Construit à partir des biographiques de ces deux femmes, une poétesse expressionniste allemande et l’une des premières sionistes russes, le film fait l’aller-retour entre les cafés embués de Berlin dans les années 1930 et les collines de Jérusalem. Berlin-Jérusalem ou l’histoire d’utopies brisées. Plus tard tu comprendras (2008) Au moment où s’ouvre le procès de Klaus Barbie, Victor, qui vit à Paris, découvre que sa mère Rivka a toujours fait silence sur sa souffrance et les persécutions dont sa famille fut la victime pendant la Seconde Guerre mondiale, sous l’occupation. Il va tenter de reconstruire cette mémoire. Adapté du roman autobiographique de Jérôme Clément, Plus tard tu comprendras, paru aux éditions Grasset en 2009. Kedma (2002) « Comment faire de la fiction sur un mythe fondateur ? Pour l’Amérique, le cinéma hollywoodien a inventé le western. Pour Israël, Amos Gitaï a tourné Kedma. […] Pour nous dire que, dès la fondation d’Israël en mai 1948, effort sidérant pour transformer la fatalité d’un peuple en destin, un réel nettement plus délirant était au rendez-vous. Et Gitaï, au feu de son impressionnante mélancolie, ne ménage personne : ni les soldats du mandat britannique […] ni les combattants du Palmach, l’armée clandestine juive […] Il aurait fallu faire une nation inouïe et pas un État comme un autre. Car Gitaï dit ça aussi : que la question d’Israël n’est pas la question juive. Et que toute utopie finit mal en général. Quant aux Arabes, les autres grands déplacés du film, Gitaï ne leur confère pas un surcroît d’héroïsme, un supplément de martyre. Youssouf, un vieux paysan tracassé par les soldats juifs, se met à vociférer […]. Plus tard, Janusz le juif, déboussolé par les combats, se met à hurler […]. Nous en sommes toujours là, dans ce cauchemar, soliloque contre soliloque. » (Gérard Lefort, Libération, 17 mai 2002)

Amos Gitaï Collège de France Création artistique Année 2018 - 2019 Traverser les frontières Cinéma et histoire Kedma (2002), extraits Le cinéma est un artisanat Un processus d’élaboration et d’articulation De différentes strates Parfois dans les documentaires On est archéologue, on fouille Strate après strate Au fond on trouve un os ou un bout de maison Et alors la Maison devient un film Mais dans une autre ville Jérusalem. Et l’histoire des immigrants sur un bateau Comme dans Kedma La côte en face Une sorte de silhouette La crête du Carmel émerge de la mer Ceux qui sont venus, Et peut-être aussi ceux qui voulaient venir Mais ne sont pas venus Et ne viendront pas. Amos Gitaï, Mont Carmel (Gallimard, 2003) Personnalité invitée : Sylvie Lindeperg Sylvie Lindeperg est historienne, professeure à l’université Paris 1 Panthéon-Sorbonne, directrice du Centre d’études et de recherches en histoire et esthétique du cinéma (CERHEC). Ses recherches portent sur les liens entre le cinéma, la mémoire et l’histoire, en s’attachant plus particulièrement à la période de la seconde guerre mondiale. Elle a écrit et co-dirigé une douzaine d’ouvrages : Les Écrans de l’ombre (CNRS éditions, 1997 et réédition Point Histoire, Le Seuil, 2014), prix Jean Mitry de l’Institut Jean Vigo ; Clio de 5 à 7 (CNRS éditions, 2000) ; Nuit et Brouillard. Un film dans l’histoire (Odile Jacob, 2007), prix de la critique cinématographique et prix Limina (Italie) ; Univers concentrationnaire et génocide. Voir, savoir, comprendre, en collaboration avec Annette Wieviorka (Fayard, 2008) ; La Voie des images (Verdier, 2013) ; Le moment Eichmann, avec Annette Wieviorka, (Albin Michel, 2016), issu d’une série de conférences qui se sont déroulées au Collège de France, A qui appartiennent les images ? : le paradoxe des archives, entre marchandisation, libre circulation et respect des œuvres avec Ania Szczepanska (Maison des sciences de l'homme, 2017) ; Par le fil de l'image : cinéma, guerre, politique (éditions de la Sorbonne, 2017). Films présentés Berlin-Jérusalem (1989) Else Lasker-Schüler et Mania Shohat font route chacune de leur côté vers Jérusalem, ville mythique mais aussi bien réelle, qu’il leur faudra affronter… Construit à partir des biographiques de ces deux femmes, une poétesse expressionniste allemande et l’une des premières sionistes russes, le film fait l’aller-retour entre les cafés embués de Berlin dans les années 1930 et les collines de Jérusalem. Berlin-Jérusalem ou l’histoire d’utopies brisées. Plus tard tu comprendras (2008) Au moment où s’ouvre le procès de Klaus Barbie, Victor, qui vit à Paris, découvre que sa mère Rivka a toujours fait silence sur sa souffrance et les persécutions dont sa famille fut la victime pendant la Seconde Guerre mondiale, sous l’occupation. Il va tenter de reconstruire cette mémoire. Adapté du roman autobiographique de Jérôme Clément, Plus tard tu comprendras, paru aux éditions Grasset en 2009. Kedma (2002) « Comment faire de la fiction sur un mythe fondateur ? Pour l’Amérique, le cinéma hollywoodien a inventé le western. Pour Israël, Amos Gitaï a tourné Kedma. […] Pour nous dire que, dès la fondation d’Israël en mai 1948, effort sidérant pour transformer la fatalité d’un peuple en destin, un réel nettement plus délirant était au rendez-vous. Et Gitaï, au feu de son impressionnante mélancolie, ne ménage personne : ni les soldats du mandat britannique […] ni les combattants du Palmach, l’armée clandestine juive […] Il aurait fallu faire une nation inouïe et pas un État comme un autre. Car Gitaï dit ça aussi : que la question d’Israël n’est pas la question juive. Et que toute utopie finit mal en général. Quant aux Arabes, les autres grands déplacés du film, Gitaï ne leur confère pas un surcroît d’héroïsme, un supplément de martyre. Youssouf, un vieux paysan tracassé par les soldats juifs, se met à vociférer […]. Plus tard, Janusz le juif, déboussolé par les combats, se met à hurler […]. Nous en sommes toujours là, dans ce cauchemar, soliloque contre soliloque. » (Gérard Lefort, Libération, 17 mai 2002)

Amos Gitaï Collège de France Création artistique Année 2018 - 2019 Traverser les frontières Cinéma et histoire Kedma (2002), extraits Le cinéma est un artisanat Un processus d’élaboration et d’articulation De différentes strates Parfois dans les documentaires On est archéologue, on fouille Strate après strate Au fond on trouve un os ou un bout de maison Et alors la Maison devient un film Mais dans une autre ville Jérusalem. Et l’histoire des immigrants sur un bateau Comme dans Kedma La côte en face Une sorte de silhouette La crête du Carmel émerge de la mer Ceux qui sont venus, Et peut-être aussi ceux qui voulaient venir Mais ne sont pas venus Et ne viendront pas. Amos Gitaï, Mont Carmel (Gallimard, 2003) Personnalité invitée : Sylvie Lindeperg Sylvie Lindeperg est historienne, professeure à l’université Paris 1 Panthéon-Sorbonne, directrice du Centre d’études et de recherches en histoire et esthétique du cinéma (CERHEC). Ses recherches portent sur les liens entre le cinéma, la mémoire et l’histoire, en s’attachant plus particulièrement à la période de la seconde guerre mondiale. Elle a écrit et co-dirigé une douzaine d’ouvrages : Les Écrans de l’ombre (CNRS éditions, 1997 et réédition Point Histoire, Le Seuil, 2014), prix Jean Mitry de l’Institut Jean Vigo ; Clio de 5 à 7 (CNRS éditions, 2000) ; Nuit et Brouillard. Un film dans l’histoire (Odile Jacob, 2007), prix de la critique cinématographique et prix Limina (Italie) ; Univers concentrationnaire et génocide. Voir, savoir, comprendre, en collaboration avec Annette Wieviorka (Fayard, 2008) ; La Voie des images (Verdier, 2013) ; Le moment Eichmann, avec Annette Wieviorka, (Albin Michel, 2016), issu d’une série de conférences qui se sont déroulées au Collège de France, A qui appartiennent les images ? : le paradoxe des archives, entre marchandisation, libre circulation et respect des œuvres avec Ania Szczepanska (Maison des sciences de l'homme, 2017) ; Par le fil de l'image : cinéma, guerre, politique (éditions de la Sorbonne, 2017). Films présentés Berlin-Jérusalem (1989) Else Lasker-Schüler et Mania Shohat font route chacune de leur côté vers Jérusalem, ville mythique mais aussi bien réelle, qu’il leur faudra affronter… Construit à partir des biographiques de ces deux femmes, une poétesse expressionniste allemande et l’une des premières sionistes russes, le film fait l’aller-retour entre les cafés embués de Berlin dans les années 1930 et les collines de Jérusalem. Berlin-Jérusalem ou l’histoire d’utopies brisées. Plus tard tu comprendras (2008) Au moment où s’ouvre le procès de Klaus Barbie, Victor, qui vit à Paris, découvre que sa mère Rivka a toujours fait silence sur sa souffrance et les persécutions dont sa famille fut la victime pendant la Seconde Guerre mondiale, sous l’occupation. Il va tenter de reconstruire cette mémoire. Adapté du roman autobiographique de Jérôme Clément, Plus tard tu comprendras, paru aux éditions Grasset en 2009. Kedma (2002) « Comment faire de la fiction sur un mythe fondateur ? Pour l’Amérique, le cinéma hollywoodien a inventé le western. Pour Israël, Amos Gitaï a tourné Kedma. […] Pour nous dire que, dès la fondation d’Israël en mai 1948, effort sidérant pour transformer la fatalité d’un peuple en destin, un réel nettement plus délirant était au rendez-vous. Et Gitaï, au feu de son impressionnante mélancolie, ne ménage personne : ni les soldats du mandat britannique […] ni les combattants du Palmach, l’armée clandestine juive […] Il aurait fallu faire une nation inouïe et pas un État comme un autre. Car Gitaï dit ça aussi : que la question d’Israël n’est pas la question juive. Et que toute utopie finit mal en général. Quant aux Arabes, les autres grands déplacés du film, Gitaï ne leur confère pas un surcroît d’héroïsme, un supplément de martyre. Youssouf, un vieux paysan tracassé par les soldats juifs, se met à vociférer […]. Plus tard, Janusz le juif, déboussolé par les combats, se met à hurler […]. Nous en sommes toujours là, dans ce cauchemar, soliloque contre soliloque. » (Gérard Lefort, Libération, 17 mai 2002)

Amos Gitaï Collège de France Création artistique Année 2018 - 2019 Traverser les frontières Cinéma et histoire Kedma (2002), extraits Le cinéma est un artisanat Un processus d’élaboration et d’articulation De différentes strates Parfois dans les documentaires On est archéologue, on fouille Strate après strate Au fond on trouve un os ou un bout de maison Et alors la Maison devient un film Mais dans une autre ville Jérusalem. Et l’histoire des immigrants sur un bateau Comme dans Kedma La côte en face Une sorte de silhouette La crête du Carmel émerge de la mer Ceux qui sont venus, Et peut-être aussi ceux qui voulaient venir Mais ne sont pas venus Et ne viendront pas. Amos Gitaï, Mont Carmel (Gallimard, 2003) Personnalité invitée : Sylvie Lindeperg Sylvie Lindeperg est historienne, professeure à l’université Paris 1 Panthéon-Sorbonne, directrice du Centre d’études et de recherches en histoire et esthétique du cinéma (CERHEC). Ses recherches portent sur les liens entre le cinéma, la mémoire et l’histoire, en s’attachant plus particulièrement à la période de la seconde guerre mondiale. Elle a écrit et co-dirigé une douzaine d’ouvrages : Les Écrans de l’ombre (CNRS éditions, 1997 et réédition Point Histoire, Le Seuil, 2014), prix Jean Mitry de l’Institut Jean Vigo ; Clio de 5 à 7 (CNRS éditions, 2000) ; Nuit et Brouillard. Un film dans l’histoire (Odile Jacob, 2007), prix de la critique cinématographique et prix Limina (Italie) ; Univers concentrationnaire et génocide. Voir, savoir, comprendre, en collaboration avec Annette Wieviorka (Fayard, 2008) ; La Voie des images (Verdier, 2013) ; Le moment Eichmann, avec Annette Wieviorka, (Albin Michel, 2016), issu d’une série de conférences qui se sont déroulées au Collège de France, A qui appartiennent les images ? : le paradoxe des archives, entre marchandisation, libre circulation et respect des œuvres avec Ania Szczepanska (Maison des sciences de l'homme, 2017) ; Par le fil de l'image : cinéma, guerre, politique (éditions de la Sorbonne, 2017). Films présentés Berlin-Jérusalem (1989) Else Lasker-Schüler et Mania Shohat font route chacune de leur côté vers Jérusalem, ville mythique mais aussi bien réelle, qu’il leur faudra affronter… Construit à partir des biographiques de ces deux femmes, une poétesse expressionniste allemande et l’une des premières sionistes russes, le film fait l’aller-retour entre les cafés embués de Berlin dans les années 1930 et les collines de Jérusalem. Berlin-Jérusalem ou l’histoire d’utopies brisées. Plus tard tu comprendras (2008) Au moment où s’ouvre le procès de Klaus Barbie, Victor, qui vit à Paris, découvre que sa mère Rivka a toujours fait silence sur sa souffrance et les persécutions dont sa famille fut la victime pendant la Seconde Guerre mondiale, sous l’occupation. Il va tenter de reconstruire cette mémoire. Adapté du roman autobiographique de Jérôme Clément, Plus tard tu comprendras, paru aux éditions Grasset en 2009. Kedma (2002) « Comment faire de la fiction sur un mythe fondateur ? Pour l’Amérique, le cinéma hollywoodien a inventé le western. Pour Israël, Amos Gitaï a tourné Kedma. […] Pour nous dire que, dès la fondation d’Israël en mai 1948, effort sidérant pour transformer la fatalité d’un peuple en destin, un réel nettement plus délirant était au rendez-vous. Et Gitaï, au feu de son impressionnante mélancolie, ne ménage personne : ni les soldats du mandat britannique […] ni les combattants du Palmach, l’armée clandestine juive […] Il aurait fallu faire une nation inouïe et pas un État comme un autre. Car Gitaï dit ça aussi : que la question d’Israël n’est pas la question juive. Et que toute utopie finit mal en général. Quant aux Arabes, les autres grands déplacés du film, Gitaï ne leur confère pas un surcroît d’héroïsme, un supplément de martyre. Youssouf, un vieux paysan tracassé par les soldats juifs, se met à vociférer […]. Plus tard, Janusz le juif, déboussolé par les combats, se met à hurler […]. Nous en sommes toujours là, dans ce cauchemar, soliloque contre soliloque. » (Gérard Lefort, Libération, 17 mai 2002)

Amos Gitaï Collège de France Création artistique Année 2018 - 2019 Traverser les frontières Cinéma et histoire Kedma (2002), extraits Le cinéma est un artisanat Un processus d’élaboration et d’articulation De différentes strates Parfois dans les documentaires On est archéologue, on fouille Strate après strate Au fond on trouve un os ou un bout de maison Et alors la Maison devient un film Mais dans une autre ville Jérusalem. Et l’histoire des immigrants sur un bateau Comme dans Kedma La côte en face Une sorte de silhouette La crête du Carmel émerge de la mer Ceux qui sont venus, Et peut-être aussi ceux qui voulaient venir Mais ne sont pas venus Et ne viendront pas. Amos Gitaï, Mont Carmel (Gallimard, 2003) Personnalité invitée : Sylvie Lindeperg Sylvie Lindeperg est historienne, professeure à l’université Paris 1 Panthéon-Sorbonne, directrice du Centre d’études et de recherches en histoire et esthétique du cinéma (CERHEC). Ses recherches portent sur les liens entre le cinéma, la mémoire et l’histoire, en s’attachant plus particulièrement à la période de la seconde guerre mondiale. Elle a écrit et co-dirigé une douzaine d’ouvrages : Les Écrans de l’ombre (CNRS éditions, 1997 et réédition Point Histoire, Le Seuil, 2014), prix Jean Mitry de l’Institut Jean Vigo ; Clio de 5 à 7 (CNRS éditions, 2000) ; Nuit et Brouillard. Un film dans l’histoire (Odile Jacob, 2007), prix de la critique cinématographique et prix Limina (Italie) ; Univers concentrationnaire et génocide. Voir, savoir, comprendre, en collaboration avec Annette Wieviorka (Fayard, 2008) ; La Voie des images (Verdier, 2013) ; Le moment Eichmann, avec Annette Wieviorka, (Albin Michel, 2016), issu d’une série de conférences qui se sont déroulées au Collège de France, A qui appartiennent les images ? : le paradoxe des archives, entre marchandisation, libre circulation et respect des œuvres avec Ania Szczepanska (Maison des sciences de l'homme, 2017) ; Par le fil de l'image : cinéma, guerre, politique (éditions de la Sorbonne, 2017). Films présentés Berlin-Jérusalem (1989) Else Lasker-Schüler et Mania Shohat font route chacune de leur côté vers Jérusalem, ville mythique mais aussi bien réelle, qu’il leur faudra affronter… Construit à partir des biographiques de ces deux femmes, une poétesse expressionniste allemande et l’une des premières sionistes russes, le film fait l’aller-retour entre les cafés embués de Berlin dans les années 1930 et les collines de Jérusalem. Berlin-Jérusalem ou l’histoire d’utopies brisées. Plus tard tu comprendras (2008) Au moment où s’ouvre le procès de Klaus Barbie, Victor, qui vit à Paris, découvre que sa mère Rivka a toujours fait silence sur sa souffrance et les persécutions dont sa famille fut la victime pendant la Seconde Guerre mondiale, sous l’occupation. Il va tenter de reconstruire cette mémoire. Adapté du roman autobiographique de Jérôme Clément, Plus tard tu comprendras, paru aux éditions Grasset en 2009. Kedma (2002) « Comment faire de la fiction sur un mythe fondateur ? Pour l’Amérique, le cinéma hollywoodien a inventé le western. Pour Israël, Amos Gitaï a tourné Kedma. […] Pour nous dire que, dès la fondation d’Israël en mai 1948, effort sidérant pour transformer la fatalité d’un peuple en destin, un réel nettement plus délirant était au rendez-vous. Et Gitaï, au feu de son impressionnante mélancolie, ne ménage personne : ni les soldats du mandat britannique […] ni les combattants du Palmach, l’armée clandestine juive […] Il aurait fallu faire une nation inouïe et pas un État comme un autre. Car Gitaï dit ça aussi : que la question d’Israël n’est pas la question juive. Et que toute utopie finit mal en général. Quant aux Arabes, les autres grands déplacés du film, Gitaï ne leur confère pas un surcroît d’héroïsme, un supplément de martyre. Youssouf, un vieux paysan tracassé par les soldats juifs, se met à vociférer […]. Plus tard, Janusz le juif, déboussolé par les combats, se met à hurler […]. Nous en sommes toujours là, dans ce cauchemar, soliloque contre soliloque. » (Gérard Lefort, Libération, 17 mai 2002)

Kedma Ough wants to pay it forward. The multipreneur is already bootstrapping two new businesses, and while she’s at it, she’s helping women in business get funded – with investment, loans, crowdfunding, and other creative financing methods. She shares her inspiration, her financial tips, and how to juggle it all!

Business genius and fifth-generation entrepreneur Kedma Ough returns to The Startup Sessions!  Kedma joins me for an honest, straightforward conversation on how to get laser-focused in your business despite the ‘curse' of having so many options of what to work on daily! Kedma shares the two powerful perspectives that she starts every morning with, how this propels her forward, as well as […] The post Episode 165: How To Become Your Own Business Superhero with Kedma Ough first appeared on Michael Knouse.

Kedma Ough serves as the Director of Innovation for Small Business Development Centers across the state of Oregon. In her role, she supports inventors from vision setting and execution all the way to achievement and success. Kedma regularly contributes to Entrepreneur Magazine, and has received many distinguished recognitions including the SBA's Women Champion of the Year, Small Business State Champion Award, and National Small Business Influencer Leadership Award. Kedma definitely is a true powerhouse and someone you want in your corner as a proven champion to out entrepreneurs just like us.

Kedma Ough serves as the Director of Innovation for Small Business Development Centers across the state of Oregon. In her role, she supports inventors from vision setting and execution all the way to achievement and success. Kedma regularly contributes to Entrepreneur Magazine, and has received many distinguished recognitions including the SBA's Women Champion of the Year, Small Business State Champion Award, and National Small Business Influencer Leadership Award. Kedma definitely is a true powerhouse and someone you want in your corner as a proven champion to out entrepreneurs just like us.

Amos talked about his new film, about Israel not being a monolithic culture, peace, and why the “other” should exist.Film SynopsisRabin, The Last DayIMDBTrailer  Lauded director Amos Gitaï (Kippur) delves into the prelude and aftermath of the 1995 assassination of Israeli Prime Minister Yitzhak Rabin in this gripping docudrama.For many Israelis, the assassination of Prime Minister Yitzhak Rabin in 1995 marked a grim turning point for their country. In the words of the commission set up to investigate the murder, “Israeli society [would] never be the same again. As a democracy, political assassination was not part of our culture.” In the eyes of even more people, the murder ended all hope for the Israeli-Palestinian peace process through the Oslo Accords and altered the course of history. But, as Amos Gitaï sets out to prove in his brave and provocative new film, Rabin’s assassination was not just the act of one fanatic; it was the culmination of a hate campaign that emanated from the rabbis and public figures of Israel’s far right.Gitaï has done an immense amount of research on the subject, digging deep into the precursors to the assassination. The mandate of the official Commission of Inquiry was severely limited; to Gitaï, Rabin, the Last Day is meant to be the inquiry that wasn’t, and he is determined to provide a wider context. While he mixes in documentary footage and occasional interviews with key figures (among them Shimon Peres and the PM’s late widow, Leah Rabin), most of the film is a dramatic re-enactment of the investigation, the hearings, and the testimony of Rabin’s assassin, Yigal Amir. Basing every line of dialogue on documentary evidence (including a full transcript of the Shamgar Commission hearing), the director probes the collective psyche of a country so divided that certain elements would stop at nothing to get their way.Gitaï broadens his net, too, touching on the issue of the controversial settlements as well as the anti-Rabin invective that came from certain synagogues and the mouths of rival politicians. Rarely has such an important historical figure, and event, been given such respect from a filmmaker. The revelations in Rabin are spellbinding.BiographyAmos Gitaï was born in Haifa, Israel, and received a Ph.D. in architecture from the University of California, Berkeley. Many of his films have played the Festival, including the documentaries Brand New Day, The Arena of Murder, and Carmel, and the narrative features Berlin Jerusalem, Kadosh, Kippur, Kedma, Alila, Promised Land, Free Zone, Disengagement, One Day You’ll Understand, and Roses à credit. Rabin, The Last Day is his latest film. See acast.com/privacy for privacy and opt-out information.

May is heating up with an incredible discussion about Doing Work That Matters with Kedma Ough. Here is what Kedma said to me at the end of our interview: “We have an obligation to show people how to live in a world where they wake up excited every day.” I don't know if I've ever heard someone speak their mission […] The post Episode 29: Driven to Make a Difference with Kedma Ough first appeared on Michael Knouse.