Cover page; Halftitle page; Title page; Copyright page; Contents; Figures; Acknowledgments; Preface; 1 Half a Century of Israeli Identities through Television; Before Television; "Television Aleph" (A), or the Period of Single-Channel Consensus; "Television Beit" (B), or the Period of Channel 2's Dominance; "Television Gimel" (C) or Israeli Post-Television; 2 Bringing Back the Nation: BeTipul 's Male Warrior; Trauma, Zionism, and Masculinity; Dan Halutz and the Trauma of the Victimizer; Menachem Yerushalmi and the Working Through of Trauma

Uri Kahana and the Trauma of Heterosexual Masculinity3 It's Not TV, It's BeTipul: Rethinking "Israeliness"; BeTipul: Text and Context; "BeTipul Is Symbolic of Israeli Society"; "BeTipul Is a Controversial Series"; "BeTipul Is Not Regular Television"; "BeTipul Is Headed by Talented Creators"; "BeTipul Is Psychologically Profound"; Conclusion; or the Text Also Speaks; 4 Bad Television/Good (Post-) Television: Aging and Masculinity in Nevelot (Eagles); Old Age and the Bad Object; Television as Bad Object; Nevelot as the Good Object

5 Small-Screen Trauma: Seriality and Post-Trauma in Parashat HaShavua and Waltz with BashirShaul the Dreamer; Between Parashat HaShavua and Waltz with Bashir; Second Season, Tenth Episode, Last Scene; 6 "Black Box": Memory, Television, and Ethnicity in Zaguri Imperia; Twenty Years On: Sh'chur and Zaguri; From "Dancers Dancing in the Snow" to "Habibi Diali"; "All But the White Foam": Television and Memory; Conclusion; or What's the Moral of the Story?; 7 The New Normative: Gay Fatherhood on Israeli Television; From Criminals and "Sick People" to Gay Fathers

Normative Gay Parenting on Israeli Broadcast TelevisionIma VeAbbaz (Mom and Dads); 8 Conclusion and Some Observations on Israeli Reality TV; Notes; References; Index