Jewish Film & New Media-An International Journal最新文献

"Jewish" Genocidal Villains for Children? Emergent Holocaust Consciousness and Postwar Antisemitism in One Hundred and One Dalmatians and Chitty Chitty Bang Bang “犹太人”种族灭绝儿童恶棍？《一百零一只达尔马提亚人》和《飞天小飞天》中浮现的大屠杀意识与战后反犹主义

Jewish Film & New Media-An International Journal Pub Date : 2023-03-01 DOI: 10.1353/jfn.2023.a937527

Golan Moskowitz

{"title":"\"Jewish\" Genocidal Villains for Children? Emergent Holocaust Consciousness and Postwar Antisemitism in One Hundred and One Dalmatians and Chitty Chitty Bang Bang","authors":"Golan Moskowitz","doi":"10.1353/jfn.2023.a937527","DOIUrl":"https://doi.org/10.1353/jfn.2023.a937527","url":null,"abstract":"ABSTRACT: This article studies how two popular 1960s Anglophone children's films projected antisemitic ideas onto genocidal villains. Focusing on Cruella de Vil of Walt Disney's One Hundred and One Dalmatians (1961) and the Child Catcher of Ken Hughes's Chitty Chitty Bang Bang (1968), it analyzes the appearance of ethnically stereotyped, Jewish-suggestive figures presented as enactors of genocidal violence, rather than as victims or survivors of it. Subliminally reversing the resonance of the Holocaust's Jewish victimization by non-Jewish Europeans, these films both touch upon themes of genocidal atrocity that were belatedly emerging in broader Western popular culture of the 1960s, as well as maintain an antisemitic ethnic hierarchy in which implicitly \"Jewish,\" non-white, and queer bodies appear unworthy or dangerous. In these films, villains marked by Jewish, racialized, and queer stereotypes, as well as by antisemitic paradigms, categorically oppose the existence of an entire demographic or seek to confine and/or annihilate that demographic for their own perceived wellbeing. Contextualizing and analyzing this phenomenon, I consider its potential meanings for 1960s American audiences in relation to their shifting social and political realities, including the waning of public antisemitism, as well as the emergence of Second-Wave Feminism and the Gay Liberation movement.","PeriodicalId":40351,"journal":{"name":"Jewish Film & New Media-An International Journal","volume":"11 1","pages":"8-42"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"147911398","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Performing Exile as an Undercover Agent: The Spy Films of Lilli Palmer 表演流亡作为一个卧底特工:莉莉·帕尔默的间谍电影

Jewish Film & New Media-An International Journal Pub Date : 2021-09-01 DOI: 10.1353/jfn.2021.0008

Phyllis Lassner

引用次数: 0

Body, Ethnicity, and Gender in Video Art Works of Three Mizrahi-Masorti Women Artists in Post-Secular Israel 后世俗以色列三位Mizrahi-Masorti女性艺术家影像艺术作品中的身体、种族与性别

Jewish Film & New Media-An International Journal Pub Date : 2021-09-01 DOI: 10.1353/jfn.2021.0009

Yael Guilat

{"title":"Body, Ethnicity, and Gender in Video Art Works of Three Mizrahi-Masorti Women Artists in Post-Secular Israel","authors":"Yael Guilat","doi":"10.1353/jfn.2021.0009","DOIUrl":"https://doi.org/10.1353/jfn.2021.0009","url":null,"abstract":"ABSTRACT:Amid the social and political changes that Israel has seen in recent decades, gender and ethnicity and their place in Jewish rituals are finding more and more representation in art discourse and visual culture. Life in a Jewish and democratic state, as Israel defines itself, lays questions of halakha (codified religious law) at the doorsteps of Jewish women, religious or not. Thus, halakhic issues appear in the current works of Orthodox women artists, joining those artists who define themselves as Masorti (traditionalist) and others who do not lead religious lives but tackle post-secular challenges as secular believers or are just nonobservant. Discussed below are video art works by several Jewish-Israeli women artists, focusing on those who identify as Mizrahi-Masorti and use gendered lenses to investigate the Israeli post-secular discourse on halakhic texts and practices from intersectional perspectives on body, ethnicity, and gender. Their critical view transcends the trite binary demarcation of Israel’s religious and secular realms. Their video art works, I argue, express a demand for dual recognition of their reference to Jewish law: by Israel’s hegemonic society and by its art discourse. Through them, these artists define and redefine their female Mizrahi-Masorti identity as a continuous performance of the self.","PeriodicalId":40351,"journal":{"name":"Jewish Film & New Media-An International Journal","volume":"27 1","pages":"186 - 222"},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81129515","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Aaron Copland’s Hollywood Film Scores by Paula Musegades (review) 亚伦·科普兰的好莱坞电影配乐——宝拉·穆塞加德斯(评论)

Jewish Film & New Media-An International Journal Pub Date : 2021-09-01 DOI: 10.1353/jfn.2021.0016

S. Whitfield

引用次数: 0

Giraffes on Horseback Salad: Salvador Dalí, the Marx Brothers, and the Strangest Movie Never Made by Josh Frank and Tim Heidecker (review) 马背上的长颈鹿沙拉:萨尔瓦多Dalí，马克思兄弟，以及乔什·弗兰克和蒂姆·海德克从未拍过的最奇怪的电影(评论)

Jewish Film & New Media-An International Journal Pub Date : 2021-09-01 DOI: 10.1353/jfn.2021.0015

Jonathan L. Friedmann

引用次数: 0

Stanley Kubrick: American Filmmaker by David Mikics (review) 斯坦利·库布里克:美国电影人大卫·米奇斯(评论)

Jewish Film & New Media-An International Journal Pub Date : 2021-09-01 DOI: 10.1353/jfn.2021.0017

M. Grinberg

引用次数: 0

ReFocus: The Films of Elaine May ed. by Alexandra Heller-Nicholas and Dean Brandum (review) 《重新聚焦:伊莱恩·梅的电影》，亚历山德拉·海勒-尼古拉斯和迪恩·布兰达姆主编(评论)

Jewish Film & New Media-An International Journal Pub Date : 2021-09-01 DOI: 10.1353/jfn.2021.0013

M. Shearer

引用次数: 0

Double-Crossed: Questions of Jewish Identity in The Great Dictator and Genghis Cohn 两面派:《大独裁者》和《成吉思汗》中的犹太人身份问题

Jewish Film & New Media-An International Journal Pub Date : 2021-09-01 DOI: 10.1353/jfn.2021.0006

A. Pogorelskin

{"title":"Double-Crossed: Questions of Jewish Identity in The Great Dictator and Genghis Cohn","authors":"A. Pogorelskin","doi":"10.1353/jfn.2021.0006","DOIUrl":"https://doi.org/10.1353/jfn.2021.0006","url":null,"abstract":"ABSTRACT:This essay investigates what the author argues are two cinematic explorations of Jewish identity: Charlie Chaplin’s The Great Dictator (1940) and Roman Gary’s Genghis Cohn (1994) as rendered by the director Elijah Moshinsky. Each film addresses, at times satirizes, the frightening possibilities attendant on Jewish identity. On one level, Chaplin parodies Hitler. He also parodies Goebbels. Moshinsky parodies the barely repressed Nazism, in the closet or just beneath the surface, in post-war Germany. Combining coincidence and resemblance, Chaplin’s Barber character assumes the identity of the Dictator Hynkel and in an address to the nation apologizes for the Beloved Phooey’s policies. But in Chaplin’s rendering, the ersatz Dictator remains a Jew. Moshinsky depicts a Jewish comedian executed in 1943 inextricably linked to his executioner, SS officer Otto Schatz. The two become one, not by coincidence, but by seeming intention on Cohn’s part, both to haunt Schatz and to turn him into a Jew. Chaplin’s film operates as a prediction, Gary’s as a memory. Both films, however, argue identity, especially Jewish identity, even when hidden, waits only to resurface.","PeriodicalId":40351,"journal":{"name":"Jewish Film & New Media-An International Journal","volume":"45 1","pages":"113 - 133"},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88095864","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Steven Spielberg: Interviews, Revised and Updated ed. by Brent Notbohm and Lester D. Friedman (review) 史蒂文·斯皮尔伯格:访谈，修订版和更新版，布伦特·诺特姆和莱斯特·d·弗里德曼编著(评论)

Jewish Film & New Media-An International Journal Pub Date : 2021-09-01 DOI: 10.1353/jfn.2021.0014

L. Baron

引用次数: 0

Funny Man: Mel Brooks by Patrick McGilligan (review) 《滑稽人:梅尔·布鲁克斯》，作者:帕特里克·麦吉利根(书评)

Jewish Film & New Media-An International Journal Pub Date : 2021-09-01 DOI: 10.1353/jfn.2021.0011

Sean S. Sidky

引用次数: 0