Jewish Film & New Media-An International Journal最新文献_第6页

On Haltof's Screening Auschwitz 关于哈尔托夫的奥斯维辛筛选

Jewish Film & New Media-An International Journal Pub Date : 2020-03-01 DOI: 10.13110/jewifilmnewmedi.8.1.0104

M. Oleszczyk

引用次数: 0

On Harris's Warriors, Witches, Whores 哈里斯的《勇士，女巫，妓女

Jewish Film & New Media-An International Journal Pub Date : 2020-03-01 DOI: 10.13110/jewifilmnewmedi.8.1.0108

Karen E. H. Skinazi

引用次数: 0

Decoding the Documentary "Secrets of Kabbalah": On Jewish Esoteric History and Pop Culture 解读纪录片“卡巴拉的秘密”:犹太秘传历史与流行文化

Jewish Film & New Media-An International Journal Pub Date : 2020-03-01 DOI: 10.13110/jewifilmnewmedi.8.1.0001

B. Ogren

引用次数: 0

National Fears in Israeli Horror Films 以色列恐怖电影中的民族恐惧

Jewish Film & New Media-An International Journal Pub Date : 2020-03-01 DOI: 10.13110/jewifilmnewmedi.8.1.0077

Ido Rosen

{"title":"National Fears in Israeli Horror Films","authors":"Ido Rosen","doi":"10.13110/jewifilmnewmedi.8.1.0077","DOIUrl":"https://doi.org/10.13110/jewifilmnewmedi.8.1.0077","url":null,"abstract":"ABSTRACT:Violence, wounds, blood, and death are common sights in the battlefield, which has been a favored setting for Israeli cinema from its outset. Local films, however, were not eager to linger over these corporeal horrors and were reluctant to expose the fragmented body and corpse. This has gradually changed, and these days it seems that Israeli cinema is as attracted to explicit images of graphic death as it is repulsed by them. The narratives have also changed, becoming more ideologically ambiguous, and therefore have been criticized by both sides of the political map. These shifts, which have been apparent in the dominant war genre, have permeated into other genres as well and have enabled the materialization of new forms. The death anxiety has been amplified in a wave of horror films that came out in the 2010s. They are harshly critical, and the monstrous enemies in them are internal. They attempt to address and solve problems that the creators of the war films were not fully capable of resolving. Their new style and content enable to deal with national historical traumas, as the casualties of war, and allow them to \"reopen old wounds\" in a manner that had not been attempted by Israeli filmmakers before.","PeriodicalId":40351,"journal":{"name":"Jewish Film & New Media-An International Journal","volume":"63 1","pages":"103 - 77"},"PeriodicalIF":0.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74114242","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: 2

On Skorin-Kapov's Darren Aronofsky's Films and the Fragility of Hope and Laine's Bodies in Pain: Emotion and the Cinema of Darren Aronofsky 论斯科林-卡波夫的《达伦·阿罗诺夫斯基的电影与希望的脆弱》和莱恩的《痛苦的身体》——达伦·阿罗诺夫斯基的情感与电影

Jewish Film & New Media-An International Journal Pub Date : 2020-03-01 DOI: 10.1353/jfn.2020.0006

B. Franz

引用次数: 0

On Shandler's Holocaust Memory in the Digital Age 关于数字时代的钱德勒大屠杀记忆

Jewish Film & New Media-An International Journal Pub Date : 2020-03-01 DOI: 10.13110/jewifilmnewmedi.8.1.0117

Shaina Hammerman

引用次数: 0

Representations of Refuseniks and Soviet Jewish Emigration in GLOW: Gorgeous Ladies of Wrestling 在辉光:华丽的摔跤女士的拒绝和苏联犹太移民的表现

Jewish Film & New Media-An International Journal Pub Date : 2020-03-01 DOI: 10.13110/jewifilmnewmedi.8.1.0048

Thaïs Miller

{"title":"Representations of Refuseniks and Soviet Jewish Emigration in GLOW: Gorgeous Ladies of Wrestling","authors":"Thaïs Miller","doi":"10.13110/jewifilmnewmedi.8.1.0048","DOIUrl":"https://doi.org/10.13110/jewifilmnewmedi.8.1.0048","url":null,"abstract":"ABSTRACT:Liz Flahive and Carly Mensch's Netflix series, GLOW (2017–), reimagines the production of GLOW: Gorgeous Ladies of Wrestling (1986–1989), the first US professional wrestling show with an all-female cast. The Netflix series can be understood as historiographic metafiction: a reimagining of the past that captures a new perspective enlightened by hindsight. In season 1, episode 6, \"This Is One of Those Moments,\" Ruth Wilder (played by Alison Brie) unwittingly attends an unconventional bris thrown by Soviet Jews and refuseniks who have resettled in Los Angeles in the 1980s. Ruth constantly misreads and misinterprets the people and situations around her. Her subsequent misunderstanding is rendered comically and serves as a symbol for postmodern disorientation. Executive producer and guest writer Jenji Kohan incorporates mockery, ridicule, and hyperbole in a display of the self-deprecating, self-critical, and dark elements of Jewish humor in representing the position of refuseniks and Soviet Jewish émigrés in the United States. Engaging with diverse theories on Jewish humor in postmodern television, this article focuses on the relationship between suffering and celebration, intention and reality, and ancient ritual and modernity. This one episode epitomizes how these elements are performed and represented, forcing the audience to question what is genuine and what is forced or fake. Despite the characters' best efforts to attain authenticity, they continue to struggle to understand, belong, and interpret the cultures surrounding them.","PeriodicalId":40351,"journal":{"name":"Jewish Film & New Media-An International Journal","volume":"33 1","pages":"48 - 76"},"PeriodicalIF":0.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83150112","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: 2

Class Struggle in the Era of Identity Politics: The Revolutionary Modernism of Doron Tzabari 身份政治时代的阶级斗争:多伦·查巴里的革命现代主义

Jewish Film & New Media-An International Journal Pub Date : 2019-09-01 DOI: 10.13110/jewifilmnewmedi.6.2.0226

Yaron Peleg

{"title":"Class Struggle in the Era of Identity Politics: The Revolutionary Modernism of Doron Tzabari","authors":"Yaron Peleg","doi":"10.13110/jewifilmnewmedi.6.2.0226","DOIUrl":"https://doi.org/10.13110/jewifilmnewmedi.6.2.0226","url":null,"abstract":"ABSTRACT:From the beginning of its history, the Zionist workers’ society in the Land of Israel was plagued with fundamental ide ntity problems. Chief among them was the tension between the socialist vision of Zionist ideologues and their wish to cast that socialism in a national Jewish mold as well. The blurry lines between socialist ideology and national identity became progressively more apparent as the country matured and developed, especially after the neoliberalization of Israel since the 1990s. One of the most problematic legacies of this tension is the persistent socioeconomic differences between two groups of Israelis, Ashkenazi and Mizrahi, which are often cast in ethnic terms. This article looks at cinematic articulations of this tension and examines the tendency of Israeli culture, which is reflected in films, to relate to the gaps between Mizrahim and Ashkenazim as folklore rather than as social and economic problems. In doing so, many filmmakers in Israel fail to use their art to promote social and political change, as many of them try to do, for instance, with respect to the conflict with the Palestinians. The article describes this phenomenon, examines its nature, and focuses on the social cinema of writer, director, and social activist Doron Tzabari as a notable exception to this dynamic.","PeriodicalId":40351,"journal":{"name":"Jewish Film & New Media-An International Journal","volume":"83 1","pages":"226 - 241"},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88997289","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

On Ross's Hitler in Los Angeles: How Jews Foiled Nazi Plots Against Hollywood and America 罗斯的《希特勒在洛杉矶:犹太人如何挫败纳粹针对好莱坞和美国的阴谋

Jewish Film & New Media-An International Journal Pub Date : 2019-05-31 DOI: 10.13110/jewifilmnewmedi.6.1.0128

V. Brook

引用次数: 2

Making Peace or Piecemeal? Arnold Wesker's Screenplay and Wolfgang Storch's TV Adaptation of Arthur Koestler's Thieves in the Night 和平还是零敲碎打?阿诺德·威斯克的剧本和沃尔夫冈·斯托奇的电视改编阿瑟·库斯勒的《夜贼》

Jewish Film & New Media-An International Journal Pub Date : 2019-05-31 DOI: 10.13110/JEWIFILMNEWMEDI.6.1.0028

A. Stähler

引用次数: 2