Jews in Film and TV: A Bibliography of Materials in the UC Berkeley Library
	Books and Videos Journal Articles Yiddish Film Articles and Books on Individual films [Click on a film] Aimee & Jaguar Au Revoir, les Enfants Avalon Crossfire Downfall Europa Europa The Eternal Jew (Der Ewige Jude) Funny Girl Garden of the Finzi ContiniGentleman's Agreement The Goldbergs (TV/radio) The Golem Hate (La Haine) Hester Street The Jazz Singer Jud SussLife Is Beautiful Judgment at Nuremberg] The Marx Brothers Films Night and Fog The Passion of Christ The Pianist The Pawn Broker Schindler's List Seinfeld (TV) Sophie's Choice To Be or Not to Be Yentl Movies, Race & Ethnicity Videography Bibliography of articles and books about Jewish Studies documentaries in MRC Woody Allen Bibliography Israeli Film bibliography Books and Videos Aaron, Michele, Powrie, Phil (ed. and introd. "Cinema's Queer Jews: Jewishness and Masculinity in Yiddish Cinema." In: The Trouble with Men: Masculinities in European and Hollywood Cinema. / edited by Phil Powrie, Ann Davies and Bruce Babington. pp. 90-99.London ; New York : Wallflower Press, 2004. Main Stack PN1995.9.M46.T76 2004 The Americanization of the Holocaust Edited by Hilene Flanzbaum. Baltimore : Johns Hopkins University Press, 1999. Main Stack D804.45.U55.A49 1999 Anklewicz, Larry. Guide to Jewish films on video Hoboken, NJ: KTAV Pub. House, 2000. Media Resources Center PN1995.9.J46 A55 2000 Avisar, Ilan "Christian Ideology and Jewish Genocide in American Holocaust Movies." In: Literature, the Arts, and the Holocaust. Pinsker Sanford (ed.) pp: 21-42 Greenwood, FL: Penkevill, 1987. xi, 251 pp.Series title: Holocaust Studies-Annual; 3 (1985) UCB Main D810.J4 H654 Avisar, Ilan Screening the Holocaust: Cinema's Images of the Unimaginable / Ilan Avisar. Bloomington: Indiana University Press, c1988. Series title: Jewish literature and culture. UCB Main PN1995.9.H53 A951 1988 UCB Moffitt PN1995.9.H53 A95 1988 Avisar, Ilan. "Holocaust Movies and the Politics of Collective Memory." In: Thinking about the Holocaust: After Half a Century / edited by Alvin H. Rosenfeld. Bloomington: Indiana University Press, c1997. Jewish literature and culture. Main Stack D804.348.T55 1997 38-58. Baron, Lawrence. Projecting the Holocaust into the present : the changing focus of contemporary Holocaust cinema Lanham, Md. : Rowman & Littlefield, c2005. MAIN: PN1995.9.H53 B37 2005; View current status of this item Table of contents http://www.loc.gov/catdir/toc/ecip0512/2005012519.html Barr, Marleen. "Jews and Independence Day, Women and Independence Day: Science Fiction Apocalypse NowEvokes Feminism and Nazism." In: Imagining apocalypse: studies in cultural crisis / edited by David Seed. pp: 199-214. New York: St. Martin's Press, 2000. Main Stack PR830.S35.I43 2000 Bartov, Omer. The "Jew" in cinema: from the golem to Don't touch my Holocaust Bloomington: Indiana University Press, c2005. MAIN: PN1995.9.J46 B37 2005; View current status of this item Table of contents http://www.loc.gov/catdir/toc/ecip0418/2004013503.html Bartov, Omer. Murder in our Midst: The Holocaust, Industrial Killing, and Representation / Omer Bartov. New York: Oxford University Press, 1996. UCB Main D804.3 .B363 1996 Bartov, Omer. "'Seit die Juden weg Sind ...': Germany, History, and Representations of Absence." In: A User's Guide to German Cultural Studies / edited by Scott Denham, Irene Kacandes, and Jonathan Petropoulos. pp: 209-26. Ann Arbor: University of Michigan Press, c1997. Social history, popular culture, and politics in Germany Main Stack DD67.U74 1997 Bartov, Omer. The "Jew" in cinema: from the golem to Don't touch my Holocaust Bloomington: Indiana University Press, c2005. MAIN: PN1995.9.J46 B37 2005 Bender, Eileen T. "Androgynous Scribes, Duplicitous Inscription: Isaac Bashevis Singer'sCinematic Dreamscapes" In: Florida State University Conference on Literature and Film (10th: 1985: Tallahassee)The Kingdom of Dreams in Literature and Film: Selected Papersfrom the Tenth Annual Florida State University Conference on Literature and FilmTallahassee: University Presses of Florida, c1986. pp. 114-127. Main Stack PN1993.4.F641 1985 NRLF #: B 3 567 225 Bernard-Donals, Michael F. Between witness and testimony: the Holocaust and the limits of representaion Albany: State University of New York Press, c2001. MAIN: D804.3 .B4445 2001 Bial, Henry Acting Jewish : negotiating ethnicity on the American stage & screen Ann Arbor : University of Michigan Press, c2005. Main Stack PN1590.J48.B53 2005 Table of contents http://www.loc.gov/catdir/toc/ecip0513/2005014439.html Brook, Vincent Something ain't kosher here: the rise of the "Jewish" sitcom / Vincent Brook. New Brunswick, N.J.: Rutgers University Press, c2003. Main Stack PN1992.8.J48.B76 2003 Browder, Laura. "Made Jews: The Immigrants' Answer to Horatio Alger." In:Other Americans, other Americas: the politics and poetics of multiculturalism / edited by Magdalena J. Zaborowska. Aarhus, Denmark: Aarhus University Press, c1998. Dolphin (Arhus, Denmark) ; 28. Ethnic studies library: E184.A1.O86 1998 Buhle, Paul From the Lower East Side to Hollywood: Jews in American popular culture. London ; New York: Verso, 2004. MAIN: PN1590.J48 B84 2004; MOFF: PN1590.J48 B84 2004 Table of contents> http://www.loc.gov/catdir/toc/ecip0412/2003027790.html Burstein, Janet "Projected images: portraits of Jewish women in early American film." In: Talking back: images of Jewish women in American popular culture." / edited by Joyce Antler. Hanover, NH: Brandeis University Press, published by University Press of New England, c1998. Brandeis series in American Jewish history, culture, and life. Main Stack E184.J5.T25 1998 Carr, Steven Alan Hollywood and anti-semitism: a cultural history up to World War II / Steven Alan Carr. Cambridge [England]; New York: Cambridge University Press, 2001. Series title: Cambridge studies in the history of mass communications. UCB Moffitt PN1993.5.U65 C37 2001 Colombat, Andre The Holocaust in French Film / by Andre Pierre Colombat. Metuchen, N.J.: Scarecrow Press, 1993. Series title: Filmmakers series; no. 33. UCB Main PN1995.9.H53 C66 1993 Cowen, Paul S. "The cinematic melting pot: ethnicity, Jews, and psychoanalysis." In: Unspeakable images: ethnicity and the American cinema / edited by Lester D. Friedman. Urbana: University of Illinois Press, c1991. Main Stack PN1995.9.M56.U57 1991 Moffitt PN1995.9.M56.U57 1991 Compar Ethn PN1995.9.M56.U57 1991 Creating Jewish characters for TV Museum of Television and Radio. [videorecording] Los Angeles, CA: The Museum, [1998] VHS. University satellite seminar series. Television, the creative process Media Center VIDEO/C 5744 Cripps, Thomas "African Americans and Jews in Hollywood; antagonistic allies." In: Struggles in the promised land : toward a history of Black-Jewish relations in the United States / edited by Jack Salzman & Cornel West. pp: 257-274. New York : Oxford University Press, 1997. Main Stack E185.61.S915 1997 Dates, Jannette "The evolutionary image of the Jew in American film." In: Ethnic images in American film and television / edited by Randall M. Miller. Philadelphia: Balch Institute, 1978. Public papers in the humanities ; public paper no. 1 Moffitt PN1995.9.M56.E86 Davis, Todd F.; Womack, Kenneth. "The List Is Life: Schindler's List as Ethical Construct." In: Mapping the ethical turn: a reader in ethics, culture, and literary theory / edited by Todd F. Davis and Kenneth Womack. pp: 151-64 Charlottesville: University Press of Virginia, 2001. Main Stack PN98.M67.M37 2001 Desser, David. American Jewish filmmakers / David Desser and Lester D. Friedman. 2nd ed. Urbana: University of Illinois Press, c2004. Main Stack PN1998.2.D47 2004 UCB Main PN1998.2 .D47 1993 (earlier edition) Table of contents http://www.loc.gov/catdir/toc/ecip041/2003005506.html Desser, David "Jews in space: the "ordeal of masculinity" in contemporary American film and television." In: Ladies and gentlemen, boys and girls: gender in film at the end of the twentieth century / edited by Murray Pomerance. p. 267-81. Albany: State University of New York Press, c2001. SUNY series, cultural studies in cinema/video. Main Stack PN1995.9.S47.L33 2001 Doneson, Judith E. The Holocaust in American film / Judith E. Doneson. 2nd ed. Syracuse, N.Y.: Syracuse University Press, 2002. Judaic traditions in literature, music, and art. Main Stack PN1995.9.H53.D66 2002 UCB Main PN1995.9.H53 D661 1987 [earlier edition] UCB Moffitt PN1995.9.H53 D66 1987 [earlier edition] Eisenstein, Paul. Traumatic encounters: Holocaust representation and the Hegelian subject Albany: State University of New York Press, c2003. MAIN: PN56.H55 E48 2003 Elliot, Gertel Over the top Judaism: precedents and trends in the depiction of Jewish beliefs and observances in film and television Lanham, Md.: University Press of America, c2003. UCB MAIN: PN1992.8.J48 G47 2003 Entertaining America: Jews, movies, and broadcasting [Edited by] J. Hoberman and Jeffrey Shandler ; with contributions from Maurice Berger ... [et al.]. New York: Jewish Museum, under the auspices of the Jewish Theological Seminary of America ; Princeton: Princeton University Press, c2003. Erens, Patricia The Jew in American Cinema / Patricia Erens. Bloomington: Indiana University Press, c1984. Series title: Jewish literature and culture. UCB Main PN1995.9.J46 E7 1984 UCB Moffitt PN1995.9.J46 E7 1984 Friedman, Jonathan C. Rainbow Jews : Jewish and gay identity in the performing arts Lanham, MD : Lexington Books, c2007. MAIN: PN1590.G39 F75 2007 Table of contents http://www.loc.gov/catdir/toc/ecip076/2006100110.html Friedman, Lester D. "'Canyons of Nightmare': The Jewish Horror Film." In: Planks of Reason: Essays on the Horror Film / edited by Barry Keith Grant. Metuchen, N.J.: Scarecrow Press, 1984. pp 126-152. Main Stack PN1995.9.H6.P56 1984 Moffitt PN1995.9.H6.P56 1984 Friedman, Lester D. Hollywood's Image of the Jew / Lester D. Friedman. New York: Ungar, c1982. Series title: Ungar film library. UCB Bancroft E184.J5 F7 1982 UCB Main PN1995.9.J46 .F7 1982 UCB Moffitt PN1995.9.J46 .F7 1982 Friedman, Lester D. The Jewish Image in American Film / Lester D. Friedman. Secaucus, N.J.: Citadel Press, c1987. UCB Main PN1995.9.J46 F721 1987 UCB Moffitt PN1995.9.J46 F72 1987 Friedman, Murray "Jews in American film and television." In: Ethnic images in American film and television / edited by Randall M. Miller. Philadelphia: Balch Institute, 1978. Public papers in the humanities ; public paper no. 1 Moffitt PN1995.9.M56.E86 Friedman, Regine Mihal. L'image et Son Juif: Le Juif Dans le Cinema Nazi Regine Mihal Friedman. Paris: Payot, 1983. Series title: Aux origines de notre temps. NRLF B 3 567 669 . From Hester Street to Hollywood: The Jewish-American Stage and Screen Edited by Sarah Blacher Cohen. Bloomington: Indiana University Press, c1983. Series title: Jewish literature and culture. UCB Main PN3035 .F76 1983 UCB Moffitt PN3035 .F76 1983 Furman, Nelly "Called to witness; viewing Lanzmann's "Shoah"." In: Shaping losses : cultural memory and the Holocaust / edited by Julia Epstein and Lori Hope Lefkovitz. pp: 55-74. Urbana : University of Illinois Press, c2001. Main Stack D804.195.S47 2001 Furnish, Ben Nostalgia in Jewish-American theatre and film, 1979-2004 New York: P. Lang, c2005. MAIN: PN3035 .F87 2005 Table of contents http://www.loc.gov/catdir/toc/ecip044/2003011710.html Gabler, Neal. An Empire of Their Own: How the Jews Invented Hollywood / by Neal Gabler. 1st ed. New York: Crown Publishers, c1988. UCB Law Lib KF4298 .G32 UCB Main PN1993.5.U65 G28 1988 UCB Moffitt PN1993.5.U65 G28 1988 Gertel, Elliot. Over the top Judaism: precedents and trends in the depiction of Jewish beliefs and observances in film and television/ Elliot B. Gertel. Lanham, Md.: University Press of America, c2003. Main Stack PN1992.8.J48.G47 2003 Gill, Jonathan. "'Hollywood Has Taken on a New Color': The Yiddish Blackface of Samuel Goldwyn's Porgy and Bess." In: Soundtrack available: essays on film and popular music / edited by Pamela Robertson Wojcik and Arthur Knight. pp: 347-71. Durham, NC: Duke University Press, 2001. Music ML2075.S68 2001 Gilman, Sander L. "Smart Jews": from The Caine mutiny to Schindler's list and beyond." In: Screening the past: film and the representation of history / edited by Tony Barta. p. 63-81. Westport, Conn.: Praeger, 1998. Main Stack PN1995.2.S38 1998 Goldberg, Judith N. Laughter Through Tears: The Yiddish Cinema Judith N. Goldberg. Rutherford [N.J.]: Fairleigh Dickinson University Press; London: Associated University Presses, c1983. UCB Main PN1995.9.Y54 G6 1983 Goldman, Eric A. Visions, Images, and Dreams: Yiddish Film Past and Present Series title: Studies in cinema; no. 24. UCB Main PN1995.9.Y54 G64 1983 Hahn, Barbara "Performing high and low: Jews in modern theater, cabaret, revue, and film." In: Berlin metropolis: Jews and the new culture, 1890-1918 / [edited by] Emily D. Bilski; with essays by Sigrid Bauschinger ... Berkeley: University of California Press; New York: Jewish Museum, under the auspices of the Jewish Theological Seminary of America, c1999. UCB Main N6885.B43 1999 Herzstein, Robert Edwin. "The Jew in Wartime Nazi Film: An Interpretation of Goebbels' Role in the Holocaust." In: Holocaust Studies Annual, 3 Greenwood, Fla.: Penkeville Pub. Co., 1984 Garland Reference Library of Social Science. pp: 177-188. UCB Main D810.J4.H654 Hirsch, Joshua Francis Afterimage: film, trauma, and the Holocaust. Philadelphia: Temple University Press, c2004. UCB Main: PN1995.9.H53 H57 2004 Hoberman, J. "Beyond the pale: Soviet Jews and Soviet Jewish cinema." In: The Red Atlantis: communist culture in the absence of communism / J. Hoberman. p. 67-92. Philadelphia: Temple University Press, 1998. Culture and the moving image. UCB Moffitt HX40.H5673 1998 Hoberman, J. Bridge of Light: Yiddish Film Between Two Worlds J. Hoberman. New York: Museum of Modern Art: Schocken Books, c1991. UCB Main PN1995.9.Y54 H6 1991 UCB Moffitt PN1995.9.Y54 H6 1991 Hoberman, J. "First "Jewish" superstar: Charlie Chaplin." In: Entertaining America: Jews, movies, and broadcasting / [edited by] J. Hoberman and Jeffrey Shandler. New York: Jewish Museum, under the auspices of the Jewish Theological Seminary of America ; Princeton: Princeton University Press, c2003. UCB Main Stack PN1590.J48.E58 2003 Hoberman, J. "A Face to the Shtetl: Soviet Yiddish Cinema, 1924-36." In: Inside the Film Factory: New Approaches to Russian and Soviet Cinema / edited by Richard Taylor and Ian Christie. London; New York, NY: Routledge, 1991. Soviet cinema series Main Stack PN1993.5.R9.I57 1991 Moffitt PN1993.5.R9.I57 1991124-50. Holocaust and the moving image : representations in film and television since 1933 Edited by Toby Haggith & Joanna Newman. London ; New York : Wallflower, 2005. Description xxiii, 317 p. : ill. ; 24 cm. Main Stack PN1995.9.H53.H65 2005 Section 1. Film as witness -- Film and the making of the Imperial War Museum's Holocaust exhibition / Suzanne Bardgett -- Preparing the video displays for the Imperial War Museum's Holocaust exhibition / Annie Dodds -- Filming the liberation of Bergen-Belsen / Toby Haggith -- Separate intentions : the Allied screening of concentration camp documentaries in defeated Germany in 1945-46 : Death mills and Memory of the camps / Kay Gladstone -- A witness to atrocity : film as evidence in international war crimes tribunals / Helen Lennon -- Section 2. Film as propaganda -- Veit Harlan's Jud Suss / Susan Tegel -- Fritz Hippler's The eternal Jew / Terry Charman -- Film documents of Theresienstadt / Lutz Becker -- Terezin : the town Hitler gave to the Jews / Zdenka Fantlova-Ehrlich -- The Ministry of Information and anti-Fascist short films of the Second World War / Matthew Lee -- Fighting the government with its own propaganda : the struggle for racial equality in the USA during the Second World War / Stephen Tuck -- Section 3. The Holocaust documentary in film and television -- Nuit et Brouillard : a turning point in the history and memory of the Holocaust / Christian Delage -- Baggage and responsibility - The world at war and the Holocaust / Michael Darlow -- The Nazis : a warning from history / Laurence Rees -- Kitty - Return to Auschwitz / Peter Morley -- Some reflections on Claude Lanzmann's approach to the examination of the Holocaust / Raye Farr -- But is it documentary? / Orly Yadin -- Silence : the role of the animators / Ruth Lingford & Tim Webb -- Oswiecim/Auschwitz : the shooting goes on... / Mira Hamermesh -- Seeing and hearing for ourselves : the spectacle of reality in the Holocaust documentary / Elizabeth Cowie -- Section 4. The Holocaust in feature films -- An overview of Hollywood cinema's treatment of the Holocaust / Trudy Gold -- Escape from Sobibor : a film made for television depicting the mass escape from Sobibor Extermination Camp / Jack Gold -- The Holocaust, film and education / Ian Wall -- Young people's viewing of Holocaust films in different cultural contexts / Anna Reading -- Living with the long journey : Alfred Radok's Daleka Cesta / Jiri Cieslar -- Double memory : the Holocaust in Polish film / Ewa Mazierska -- For the few, not the many : delusion and denial in Italian Holocaust films / Giacomo Lichtner -- The survivors' right to reply / Trudy Gold ... [et al.] -- Section 5. Legacy and other genocides -- Human Holocaust / Michael Darlow -- The Nazis : a warning from history / Laurence Rees -- Kitty - Return to Auschwitz / Peter Morley -- Some reflections on Claude Lanzmann's approach to the examination of the Holocaust / Raye Farr -- But is it documentary? / Orly Yadin -- Silence : the role of the animators The Holocaust film sourcebook Edited by Caroline Joan (Kay) Picart. Westport, Conn.: Praeger, c2004. Media Center: PN1995.9.H53. H66 2004 Insdorf, Annette. Indelible Shadows: Film and the Holocaust/ Annette Insdorf. 3rd ed. Cambridge ; New York: Cambridge University Press, 2003. Main Stack PN1995.9.H53.I57 2003 PFA PN1995.9.H53.I57 2003 Pacific Film Archive collection; non-circulating Electronic location: Sample text http://www.loc.gov/catdir/samples/cam033/2002023793.html Electronic location: Table of contents http://www.loc.gov/catdir/toc/cam024/2002023793.html Electronic location: Publisher description http://www.loc.gov/catdir/description/cam022/2002023793.html Insdorf, Annette. Indelible Shadows: Film and the Holocaust / Annette Insdorf. 2nd ed. Cambridge; New York: Cambridge University Press, 1989. UCB Main PN1995.9.H53 I57 1989 UCB Moffitt PN1995.9.H53 I57 1989 "The Jews." In: Ethnic images in American film and television / edited by Randall M. Miller. Philadelphia : Balch Institute, 1978. Moffitt PN1995.9.M56.E86 Jewish Film Directory: A Guide to More than 1200 Films of Jewish Interest from 32 Countries Over 85 Years Edited by Matthew Stevens]. Westport, Conn.: Greenwood Press, 1992. UCB Main PN1995.9.J46 J48 1992 UCB Media Ctr PN1995.9.J46 J48 1992 Johnston, Ruth D. "Joke-work : the construction of Jewish postmodern identity in contemporary theory and American film." In: You should see yourself : Jewish identity in postmodern American culture / edited by Vincent Brook. New Brunswick, N.J. : Rutgers University Press, c2006. Main Stack NX652.J48.Y68 2006 Das Jiddische Kino Redaktion, Ulrich Kurowski, Ronny Loewy, Thomas Brandlmeier; herausgegeben vom Munchner Filmzentrum, Freunde des Munchener Filmmuseums e.V. in Zusammenarbeit mit dem Kommunalen Kino Frankfurt und... Aufl.: 1oo. [Munchen]: Das Filmzentrum, [1980]. Series title: Film (Munich, Germany);. UCB Main PN1995.9.Y54 J521 1980 Kaplan, Louis. "'I Will Get a Terrific Laugh': On the Problematic Pleasures and Politics of Holocaust Humor." In: Hop on pop: the politics and pleasures of popular culture / edited by Henry Jenkins, Tara McPherson & Jane Shattuc. pp: 343-56. Durham, N.C.: Duke University Press, 2002. Main Stack E169.1.H77 2002 Koch, Gertrud Die Einstellung ist die Einstellung: Visuelle Konstruktionen des Judentums / Gertrud Koch. 1. Aufl., 1. Ausg. Frankfurt am Main: Suhrkamp, 1992. Series title: Edition Suhrkamp; 1674 = n.F., Bd. 674. UCB Main PN1995.9.J46 K6 1992 Koch, Gertrud; Spencer, Andy (translator); Hansen, Miriam (translator) "Torments of the Flesh, Coldness of the Spirit: Jewish Figures in the Films of Rainer Werner Fassbinder." In: Perspectives on German cinema / edited by Terri Ginsberg and Kirsten Moana Thompson. pp: 221-30. New York: G.K. Hall; London: Prentice Hall International, c1996. Perspectives on film. Main Stack PN1993.5.G3.P42 1996 Kohler, Eric D. "Hollywood and Holocaust: A Discourse on the Politics of Rescue." In: Holocaust Studies Annual, 3 Greenwood, Fla.: Penkeville Pub. Co., 1984 Garland Reference Library of Social Science. pp: 79-93. Main Stack D810.J4.H654 Kramer, Naomi. "The Transformation of the Shoah in Film." In: Building history: the Shoah in art, memory, and myth / edited by Peter M. Daley ... [et al.]. pp: 143-48 New York: P. Lang, c2001. McGill European studies ; vol. 4 Main Stack D804.18.B85 2001 Lefkowitz, Deborah. "On Silence and Other Disruptions." In: Feminism and Documentary / Diane Waldman and Janet Walker, editors. pp: 244-66. Minneapolis: University of Minnesota Press, c1999. Main Stack PN1995.9.W6.F447 1999 Link, Jyrgen. "Between Goethe's and Spielberg's 'Aura': On the Utility of a Nonoperational Concept." In: Mapping Benjamin: the work of art in the digital age / edited by Hans Ulrich Gumbrecht, Michael Marrinan. pp: 8 Stanford, Calif.: Stanford University Press, c2003. Main Stack BH201.M32 2003 Loshitzky, Yosefa. Identity politics on the Israeli screen Austin: University of Texas Press, 2001. Main Stack PN1993.5.I86 L37 2001 Lyons, Bonnie "Our mothers and our sisters and our cousins and our aunts: dialogues and dynamics in literature and film." In: Talking back: images of Jewish women in American popular culture / edited by Joyce Antler. Hanover, NH: Brandeis University Press, published by University Press of New England, c1998. Brandeis series in American Jewish history, culture, and life. Main Stack E184.J5.T25 1998 Mamadrama the Jewish mother in cinema / New York: Filmakers Library, [2001] Media Center: VIDEO/C 9255 Marcus, Millicent. Italian film in the shadow of Auschwitz / Millicent Marcus. Toronto ; Buffalo : University of Toronto Press, c2007. Main Stack PN1995.9.H53.M37 2007 Mast, Gerald "Woody Allen: the neurotic Jew as American clown." In: Jewish wry: essays on Jewish humor / edited, with an introduction by Sarah Blacher Cohen. Bloomington: Indiana University Press, c1987. Jewish literature and culture. Main Stack PN6149.J4.J481 1987 p. 125-40. McGraw, Eliza R. L. "Southern Jewishness on screen : Driving Miss Daisy and Southern Jewish documentary." In: Two covenants : representations of Southern Jewishness Baton Rouge : Louisiana State University Press, c2005. MAIN: PS153.J4 M34 2005 Table of contents http://www.loc.gov/catdir/toc/ecip0422/2004017727.html Michel, Sonya "Jews, Gender, American Cinema." In: Feminist perspectives on Jewish studies / Lynn Davidman & Shelly Tenenbaum, editors. pp: 244-69. New Haven: Yale University Press, c1994. UCB Main BM729.W6 F45 1994 UCB Moffitt BM729.W6 F45 1994 Mintz, Alan L. Popular culture and the shaping of Holocaust memory in America Seattle: University of Washington Press, c2001. UCB Main D804.45.U55 P67 2001 Nir, Yeshayahu "Jews as powerful victims; ambivalent attitudes in retrospective cinema." In: Major changes within the Jewish people in the wake of the Holocaust : proceedings of the Ninth Yad Vashem International Historical Conference / Yisrael Gutman, ed. ; Avital Saf, co-ed. ; [translators: Naftali Greenwood, Ralph Mandel, Stephanie Nakache]. pp: 635-639 Yad Vashem International Historical Conference (9th : 1993 : Jerusalem) Jerusalem : Yad Vashem, 1996. Main Stack DS134.Y3313 1996 Pearl, Jonathan. The chosen image: television's portrayal of Jewish themes and characters / by Jonathan Pearl and Judith Pearl. Jefferson, N.C.: McFarland, c1999. Main Stack PN1992.8.J48.P43 1999 Perlmutter, Ruth "The images of Jews in American film." In: Ethnic images in American film and television / edited by Randall M. Miller. Philadelphia: Balch Institute, 1978. Public papers in the humanities ; public paper no. 1 Moffitt PN1995.9.M56.E86 Pollock, Griselda "Holocaust Tourism: Being There, Looking Back and the Ethics of Spatial Memory."In: Visual culture and tourism / edited by David Crouch and Nina Lubbren. English ed. Oxford ; New York: Berg, 2003. Anthropology G155.A1.V58 2003 Portuges, Catherine. "Hidden Subjects, Secret Identities: Figuring Jews, Gypsies, and Gender in 1990s Cinema of Eastern Europe." In: Writing New Identities: Gender, Nation, and Immigration in Contemporary Europe / Gisela Brinker-Gabler and Sidonie Smit... Minneapolis: University of Minnesota Press, c1997. pp: 196-215. UCB Main JV7590.W75 1997 Prawer, Siegbert Salomon Between two worlds : the Jewish presence in German and Austrian film, 1910-1933 New York : Berghahn Books, 2005. MAIN: PN1995.9.J46 P73 2005 The Representation of the Holocaust in literature and film Edited by Marc Lee Raphael ; with an introductory essay by Stephen J. Whitfield. Williamsburg, Va.: Department of Religion of the College of William and Mary, 2003. MAIN: PN56.H55 R47 2003 Contents: Introduction / Stephen J. Whitfield -- Psychoanalysis, epistemology, and Holocaust fiction: the case of Cynthia Ozick's the Shawl / Emily Miller Budick -- Gender and representation: love stories in Holocaust films / Esther Fuchs -- Separate realities: Jewish and non-Jewish representation of Jewish identity and the Holocaust in Austria / Dagmar C.G. Lorenz -- Ghost stories: The haunted history of the Italian Holocaust and the case of Rosetta Loy / Millicent Marucs -- Levinas, suffering and the Holocaust / Michael L. Morgan -- The Holocaust in every tongue / Naomi Seidman -- The return(s) of the uncanny in post-Holocaust discourse / Susan E. Shapiro -- The Holocaust and the encyclopedic imagination-see under: Grossman / Naomi B. Sokoloff. Rifkin, Adrian "Parvenu or palimpsest: some tracings of the Jew in modern France." In: The Jew in the text: modernity and the construction of identity / edited and introduced by Linda Nochlin & Tamar Garb. p. 276-91. New York, N.Y.: Thames and Hudson, 1996. Main Stack DS125.J484 1995 Rogin, Michael Blackface, White Noise: Jewish Immigrants in the Hollywood Melting Pot / Michael Rogin. Berkeley: University of California Press, c1996. UC users only UCB Main PN1995.9.N4 R64 1996 UCB Moffitt PN1995.9.N4 R64 1996 Rosenberg, Warren. "Jewish men with guns: remasculinization in contemporary Jewish American literature and film." In: Legacy of rage: Jewish masculinity, violence, and culture / Warren Rosenberg. Amherst, MA: University of Massachusetts Press, 2001. Main Stack PS153.J4.R67 2001 Sammond, Nicholas; Mukerji, Chandra ""What you are ... I wouldn't eat": ethnicity, whiteness, and performing "the Jew" in Hollywood's Golden Age." In: Classic Hollywood, classic whiteness / Daniel Bernardi, editor. Minneapolis: University of Minnesota Press, c2001. Main Stack PN1995.9.M56.C59 2001 Samuels, Stuart "The sweetening of America: the image of the Jew in film." In: Ethnic images in American film and television / edited by Randall M. Miller. Philadelphia: Balch Institute, 1978. Public papers in the humanities ; public paper no. 1 Moffitt PN1995.9.M56.E86 Santner, Eric L. Stranded Objects: Mourning, Memory, and Film in Postwar Germany / Eric L. Santner. Ithaca, N.Y.: Cornell University Press, 1990. UCB Main PN1993.5.G3 S33 1990 UCB Moffitt PN1993.5.G3 S33 1990 Schappes, Morris. U. "Oliver Twist and Anti-Semitism" In Celluloid Power: Social film Criticism from 'The Birth of a Nation' to 'Judgment at Nuremberg." Edited by David Platt, pp. 453-456. Metuchen, NJ: Scarecrow Press, 1992. Main Stack PN1995.9.P6.C44 1992 Scherr, Rebecca "The uses of memory and abuses of fiction; sexuality in Holocaust film, fiction, and memoir." In: Experience and expression : women, the Nazis, and the Holocaust / edited by Elizabeth R. Baer and Myrna Goldenberg. pp: 278-297. Detroit : Wayne State University Press, c2003. Main Stack D804.47.E86 2003 Scott, Adrian. "Some of My Worst Friends: Motion Pictures and Anti-Semitism." In Celluloid Power: Social film Criticism from 'The Birth of a Nation' to 'Judgment at Nuremberg." Edited by David Platt, pp. 408-419. Metuchen, NJ: Scarecrow Press, 1992. Main Stack PN1995.9.P6.C44 1992 Short, K. R. M. "Hollywood Fights Anti-Semitism, 1945-1947." In: Feature films as history / [edited by] K. R. M. Short. pp: 157-189 Knoxville, Tenn.: University of Tennessee Press, 1981 Main Stack PN1995.2.F38 Die Stadt ohne Juden Wien: Filmarchiv Austria , 2000. Main Stack PN1995.9.J46 S73 2000 Stier, Oren Baruch Committed to memory: cultural mediations of the Holocaust Amherst: University of Massachusetts Press, 2003. MAIN: D804.3 .S79 2003 Thissen, Judith. "Jewish Immigrant Audiences in New York City, 1905-14." In:American movie audiences: from the turn of the century to the early sound era / edited by Melvyn Stokes and Richard Maltby. pp: 15-28. London: Bfi Publishing, 1999. Main Stack PN1995.9.A8.A44 1999 Tryster, Hillel. Israel Before Israel: Silent Cinema in the Holy Land / by Hillel Tryster. [Jerusalem]: Steven Spielberg Jewish Film Archive of the Avraham Harman Institute of Contemporary Jewry, Hebrew University of Jerusalem and the Central Zionist Archives, 1995. UCB Main PN1993.5.I75 T79 1995 Walker, Janet Trauma cinema: documenting incest and the Holocaust Published: Berkeley: University of California Press, c2005. MAIN: PN1995.9.D6 W26 2005 MOFF: PN1995.9.D6 W26 2005 Table of contents http://www.loc.gov/catdir/toc/ecip0419/2004014327.html Walkowitz, Daniel J. "Smart Jews: from the Caine mutiny to Schindler's list and beyond." In: Screening the past: film and the representation of history / edited by Tony Barta. Westport, Conn.: Praeger, 1998. UCB Main PN1995.2.S38 1998 Weber, Donald "The limits of empathy: Hollywood's imagining of Jews ca. 1947." In: Key texts in American Jewish culture / edited by Jack Kugelmass. New Brunswick, N.J.: Rutgers University Press, c2003. UCB Main Stack E184.35.K49 2003 Welsch, Janice R. "Jews in space: the "ordeal of masculinity" in contemporary American film and television." In: Ladies and gentlemen, boys and girls: gender in film at the end of the twentieth century / edited by Murray Pomerance. Albany: State University of New York Press, c2001. SUNY series, cultural studies in cinema/video. Main Stack PN1995.9.S47.L33 2001 Wright, Rochelle The Visible Wall: Jews and Other Ethnic Outsiders in Swedish Film / Rochelle Wright. Carbondale: Southern Illinois University Press, c1998. UCB Main PN1995.9.J46 W75 1998 Zurawik, David. The Jews of prime time / David Zurawik. Hanover, NH: Brandeis University Press/University Press of New England, c2003. Brandeis series in American Jewish history, culture, and life. Main Stack PN1992.8.J48.Z87 2003 Journal Articles Aaron, Michele "The queer Jew and cinema : from Yidl to Yentl and back and beyond." Jewish Culture and History 3,1 (2000) 23-44 Alfaro-Velcamp, Theresa. "'Reelizing' Arab and Jewish ethnicity in Mexican film." Americas: A Quarterly Review of Inter-American Cultural History 63.2 (Oct 2006): 261(20). "A study explores how films like 'El baisano Jalil' and 'Novia que te vea' show the presence of immigrant groups in the cultural fabric of Mexico, and underscores the importance of film in conceptualizing the dimensions of ethnic identity. It draws on these two films and Mexican history to argue that 'mexicanidad' is a flexible, dynamic concept that allows ethnically 'other' individuals, such as Arab and Jewish immigrants, to join the Mexican nation." [Expanded Academic Index] Alter, Robert. "Defaming The Jews." Commentary 1973 55(1): 77-82. Examines the negative image of Jews in the film Portnoy's Complaint and other Jewish and non-Jewish fiction and humor since the late 1960's; contrasts useful satire with destructive stereotypes. Barr, Terry. "Eating Kosher, Staying Closer." (eight motion pictures that depict Jewish culture) Journal of Popular Film and Television v24, n3 (Fall, 1996):134 (11pages). UC users only "A study of eight motion pictures released in the late 1980sto the mid-1990s was made to show the importance of the ritual ofJewish family meal to their pursuit of socioeconomic and cultural placein America. These movies are 'Brighton Beach Memoirs;' 'Enemies, ALove Story;' 'Unstrung Heroes;' 'Quiz Show;' 'Crossing Delancey;''Crimes and Misdemeanors;' 'Avalon' and 'Mr. Saturday Night.'" [Expanded Academic Index] Baron, Lawrence (ed. and introd.) "Jewish Film." Shofar: An Interdisciplinary Journal of Jewish Studies, vol. 22, no. 1, pp. 1-121, Fall 2003. Baron, Lawrence "X-Men as J Men: The Jewish Subtext of a Comic Book Movie." Shofar: An Interdisciplinary Journal of Jewish Studies, vol. 22, no. 1, pp. 44-52, Fall 2003. Barr, Terry. "Stars, Light, and Finding the Way Home: Jewish Characters in Contemporary Film and Television." Studies in Popular Culture, vol. 15 no. 2. 1993. pp: 87-100. Baskind, Samantha. "The Fockerized Jew?: questioning Jewishness as cool in American popular entertainment.(Essay)." Shofar 25.4 (Summer 2007): 3(15). UC users only "This essay examines the recent upsurge in overt Jewish identity in American popular culture, using the film Meet the Parents (2000) and its sequel Meet the Fockers (2004) as a case study to demonstrate how the Jewish Jew is no longer avoided and when portrayed does not fall victim to stereotyping. While looking at these two films together, I describe a broader evolution in media from the de-ethnicized Jew, and for that matter the de-ethnicized Jewish actor, to performers flaunting (and thereby celebrating) Jewishness in a Christian-centric society that has found acceptance of the Other. The paper also questions what about Jewishness is cool and describes how viewer subjectivities influence the perception of coolness." [Expanded Academic Index] Baughman, James L. "That'll be the day": response to Freedman.(History in the Making)(response to article in this issue, p. 585)(Critical Essay) American Literary History v12, n3 (Fall, 2000):605 (5 pages). The character of Futterman in John Ford's 'The Searchers' is not necessarily Jewish. The single consideration of race is too narrow a tool to examine such mass cultural artifacts as motion pictures. Bayer, Udo. "Laemmle's List: Carl Laemmle's Affidavits For Jewish Refugees." Film History [Australia] 1998 10(4): 501-521. "Examines film producer Carl Laemmle's philanthropic efforts, including over three hundred affidavits, during 1936-39 to persuade the US State Department to admit larger numbers of Jewish refugees who were being persecuted in Nazi Germany." [America History and Life] Bernheimer, Kathryn "J for Jewish." (Letter). Sight & Sound VII/6, June 97; p.72. Points out some errors in an article examining Jewish film ('Sight and Sound', March 1997). Brackman, Harold. "The Attack On "Jewish Hollywood": A Chapter In The History Of Modern American Anti-Semitism."Modern Judaism [Great Britain] 2000 20(1): 1-19. UC users only "Discusses how starting in the 1920's a "vituperative ethnoculture" influenced by white Protestants in America promoted the idea that the Hollywood film industry was controlled by Jews who were set on undermining American values. Conservative criticism of Hollywood continued into the 1990's, although, with important exceptions (such as Pat Buchanan) they were generally reluctant to play the Jewish card. Instead, some of this criticism came from radicals, such as black nationalist Louis Farrakhan, or from movie star Marlon Brando, or Berkeley academic Michael Rogin, who gave a scholarly patina to a pejorative characterization of Jews." [America History and Life] Brown, Nancy Thomas "From Weimar to Hollywood: Christian images and the portrayal of the Jew." Film & History Vol XXXII nr 2 (2002); p 14-23. "Focuses on the transmission and consequences of Christian anti-semitism. Examines the Weimar cinema's treatment of Jewish identity, the Nazis and finally the postwar Holocaust-related films. Argues that "Schindler's list" fits into the notion that Jewish survival depends on Christian benevolence." [FIAF] Brownlow, Kevin. "Hungry Hearts: A Hollywood Social Problem Film Of The 1920s." Film History 1987 1(2): 113-125. "Documents the case history of Hungry Hearts, a 1922 film release in which the original intention of producing a realistic drama about the difficulties of a poor Russian-Jewish immigrant family was abandoned by producers more concerned with making the film palatable to the public." [from ABC-CLIO America: History & Life] Cieutat, Michel "Le Juif selon Hollywood (de The jazz singer, 1927 ? Yentl, 1981)." Cin?mAction; nr.37 (Feb 1986); p.82-93 Describes the pre-1960's difficulty of presenting a film with a blatantly Jewish theme, and the efforts of US Jewish filmmakers to resist the assimilation expected of them by Hollywood. Clarens, Carlos "Jews in the movies." Film Comment 17,4 (1981) 33-48 Clarens, Carlos "Mogul - That's a Jewish Word." Film Comment XVII/4, July-Aug 81; p.34-36. Discusses the leading Jewish executives in the Hollywood film industry as a class and as a creative force. Cocks, Geoffrey. "The Hinting: Holocaust Imagery In Kubrick's The Shining." Psychohistory Review 1987 16(1): 115-136. "The genocide committed against the Jews by the Nazis during World War II "serves . . . as the veiled benchmark of evil" in Stanley Kubrick's movie The Shining (1980). Although the reclusive director has not confirmed the existence of any indirect references to the Holocaust in the film, such references are not inconsistent with his other work. This article analyzes the Kubrick corpus in terms of Freudian categories, Nazi policies toward the Jews, and the artistic tradition of the grotesque." [from ABC-CLIO America: History & Life] Cohen, D. "Dans les bagages culturels du juif: l'humour." Cin?mAction; nr.37 (Feb 1986); p.48-53 Examines the essentially Jewish humour in the films of Woody Allen, the Marx Brothers, Chaplin and Jerry Lewis. Cohen, Joseph. "Yiddish Film And The American Immigrant Experience." Film & History 1998 28(1-2): 30-44. The American Yiddish cinema, which consists of about 130 features and 30 short films made between 1910 and 1941, facilitated the processes of Americanization, modernization, and assimilation for immigrant Jewish viewers. Cripps, Thomas "The movie Jew as an image of assimilationism, 1903-1927." Journal of Popular Film and Television;Vol.IV nr.3 (1975); p.190-207 Tracing the history of the Jewish character in US film from 1903 through the coming of sound. Incl. a discussion of films that revolve around Jewish assimilation - especially with the Irish. Deleuze, Gilles; Murphy, Timothy S. (translator) "The Rich Jew." Discourse 20, no. 3 (1998 Fall): p. 44-46 Desser, David. "'Consumerist realism': American Jewish lifeand the classical Hollywood cinema." Film History (8:3) 1996, 261-80. Doneson, J.E. (UK) "The Abraham F. Rad Contemporary Jewish Film Archives, Jerusalem, Israel." Historical Journal of Film, Radio and Television V/1, Mar 85; p.113-118. Description of the archive's history and holdings. Doneson, Judith E. "Holocaust Revisited: A Catalyst For Memory Or Trivialization?" Annals of the American Academy of Political andSocial Science 1996 548: 70-77 "In any exchange on film and the Holocaust, the difficulty surfaces over the merits or, in many scholarly reviews, the lack of merit of Hollywood simulations of the Final Solution. Academic circles tend to oppose the Hollywood culture. Yet such cinematic dramatizations of the Holocaust have helped to shape memory of the Holocaust in the popular consciousness. This article examines the controversy over the perceived exploitative nature of Hollywood interpretations of the Final Solution and critiques of the film medium as a source for memory, but it also indicates a number of ways in which Holocaust-related films have become the defenders." [Historical Abstracts] Doneson, Judith E. "Portraits of the Jew in film; some recent studies." Studies in Contemporary Jewry 3 (1987) 222-227 Desser, David "'Consumerist realism': American Jewish life and the classical Hollywood cinema." Film History; Vol.VIII nr.3 (1996); p.261-280 Examines the influence of American-Jewish entrepreneurs in the film industry in the late silent era Desser, David The return of the repressed: the Jew on film. Quarterly Review of Film Studies; Vol.IX nr.2 (Spring 1984); p.126-132 Review essay on four recent contributions to Jewish film studies. Doneson, Judith E. "History And Television, 1978-1988: A Survey OfDramatizations Of The Holocaust." Dimensions 1989 4(3): 23-27. Examines recent American television films, including Holocaust (1978) and War and Remembrance(1988), designed to inform the American public about the mass murder of European Jews and others during World War II. Doneson, Judith E. "Portraits of the Jew in Film: Some Recent Studies." Studies in Contemporary Jewry 3 (1987) 222 Epstein, Leslie. "Blue Skies: Reflections on Hollywood and the Holocaust." Tikkun v4, n5 (Sept-Oct, 1989):11 (11 pages). Erens, Patricia. "Gangsters, Vampires, And J.A.P.'S: The Jew Surfaces In American Movies." Journal of Popular Film 1975 4(3): 208-222. Erens, Patricia Brett; Sinyor, Gary. "No Closer to Eden." (includes related article on Jews in films) Sight and Sound v3, n6 (June, 1993):20 (3 pages). Erens, Patricia "1947-1967: le r?le du Motion Picture Project ? Hollywood." Cin?mAction;nr.37 (Feb 1986); p.102-111 Describes the work of the US Motion Picture Project, set up in 1947 to prevent negative portrayals and stereotypes of Jewish characters in films. Erens, Patricia Gangsters, vampires and J.A.P.'s: The Jew surfaces in American movies." Journal of Popular Film and Television; Vol.IV nr.3 (1975); p.208-222 "Discussion of current films that deal with the Jew and the diversity of US film where heroes can be ethnic and still play the star. Discusses the emergence of the Jewish woman on screen, and the Jewish man in a new role, that of gangster." [FIAF] Erhart, Julia. "From Nazi whore to good German mother: revisiting resistance in the Holocaust film." Screen (Great Britain) 41 n4 (2000): 388-403. Ertel, R. "Le 'Yiddishland'." Cin?mAction; nr.37 (Feb 1986); p.56-61 Recognizes the role played in Hollywood by Jewish directors who have emigrated from the eastern countries of Europe. Euvrard, Janine "'?chapper au marketing sur la jud?it?." Cin?mAction; nr.37 (Feb 1986); p.158-163 French director M.D. perceives a lack of Jewish identity in French cinema and that of other countries. Euvrard, Janine "Roger Hanin: 'Il y a un humour juif s?pharade sp?cifique, different de l'humour juif new-yorkais'." Cin?mAction; nr.37 (Feb 1986); p.164-167 French director R.H. explains what makes a Jewish film. Fielder, Mari Kathleen. "Fatal Attraction: Irish-Jewish Romance In Early Film And Drama." Eire-Ireland 1985 20(3): 6-18. " A popular theme of live theater and films in the United States during the 1920's was romance between children of Irish and Jewish immigrants. The best-known of these dramas was Abie's Irish Rose, which opened on Broadway in 1922, but there were numerous other productions using the interfaith love theme. This theme offered many opportunities for the sentimental comedy favored by middle-class Protestant audiences. It also idealized the supposed aspiration of immigrants to "Americanize," and thus reassured Protestant audiences during a decade when nativist influences were strong." [from ABC-CLIO America: History & Life] Finler, Joel "J for Jewish." (Letter). Sight & Sound VII/10, Oct 97; p.72. Corrects errors in 'A-Z of cinema: J Jewish' published in 'Sight and Sound' March 1997. Freedman, Jonathan. "The affect of the market: economic and racial exchange in 'The Searchers'." (History in the Making)(Critical Essay) American Literary History v12, n3 (Fall, 2000):585 (15 pages). John Ford's 1956 film 'The Searchers' links commerce to race. This motion picture portrays corrupt capitalism in the Jewish character Fetterman and the possible redemption of an immigrant community through miscegenation. Friedman, Lester D. "Celluloid Assimilation: Jews in American Silent Movies." Journal of Popular Film and Television, vol. 15 no. 3. 1987 Fall. pp: 129-136. UC users only Friedman, Lester D. "Conversion of the Jews." (Jews in motion pictures) Film Comment v 17 July/Aug 1981. p. 39-42 Friedman, Lester D. "The Edge of Knowledge: Jews as Monsters Jews as Victims." MELUS, vol. 11 no. 3. 1984 Fall. pp: 49-62. Friedman, Lester. "The Rich and Varied Images of Jews in American Films."(End paper)(Exhibition of "Jews in American Cinema: 1898-1989" at the Jewish Community Center in Salt Lake City and Museums at Stony Brook, N.Y. Chronicle of Higher Education v37, n8 (Oct 24, 1990):B68. Friedman, R. M. "Exorcising the Past: Jewish Figures in Contemporary Films." Journal of Contemporary History Vol. 19, No. 3 (Jul., 1984), pp. 511-527 UC users only Fuchs, Esther. "Gender and Holocaust Docudrama: Gentile Heroines in Rescue Films." Shofar: An Interdisciplinary Journal of Jewish Studies. 22 (1): 80-94. 2003 Fall. Gabler, Neal. "The Jewish Problem." (anti-semitism in pre World War II Hollywood) American Film v13, n9 (July-Aug, 1988):39 (8 pages). Discusses the role of Jews in the creation of Hollywood, with comments on the question of anti-Semitism in Hollywood today from members of the industry. Gardner, Jared. "Covered Wagons and Decalogues: Paramount's Myths of Origins." Yale Journal of Criticism 2000 Fall, 13:2, 361-89. Gough-Yates, Kevin "Jews and Exiles in British Cinema." Leo Baeck Institute, Year Book 37 (1992) 517 Gauteur, Claude "R?actions en patchwork." Cin?mAction; nr.37 (Feb 1986); p.32-37 Quotes from the French press by Jewish directors recalling their problems in trying to set up films with Jewish themes. Gauteur, Claude "A propos de la difficult? d'une approche..." Cin?mAction; nr.37 (Feb 1986); p.26-31 Outlines the difficulties faced by the author from 1967-72 in setting up a project on the Jewish question and its treatment by the cinema. Geuens, Jean-Pierre. "Pornography and the Holocaust: The Last Transgression." Film Criticism, vol. 20 no. 1-2. 1995 Fall-1996 Winter. pp: 114-30. Goldmann, Annie "Richard Dembo. 'Il faut cesser de penser qu'il y a cin?ma juif quand on voit un Juif sur l'?cran'." Cin?mAction; nr.37 (Feb 1986); p.179-183 Dembo speaks of his identities as a Jew and a filmmaker, and comments on the cinema's treatment of Jewish themes. Gordon, Alex "Sight and Sound A-Z of Cinema. J Jewish." Sight & Sound VII/3, Mar 97; p.28-30,32. illus. A list of key films, key people, and a chronology of key events related to Jewish filmmakers, and the history of Jewish people. Greenblum, Joseph. "Does Hollywood Still Glorify Jewish Intermarriage? The Case of 'The Jazz Singer.'" American Jewish History v83, n4 (Dec, 1995):445 (25 pages) "Compares the film The Jazz Singer produced in1927 by Warner Brothers and starring Al Jolson with the 1980 Neil Diamond version, and the cinematic treatment of Jewish intermarriage and assimilation. As the first successful feature film with sound dialogue, the Jolson version presented viewers with the conflicts of interfaith romantic relationships, intermarriage as an element of Jewish Americanization, and career choices that override Jewish commitments. Although a commercial failure, the 1980 version clearly exemplified a shift from assimilation to pride in religious identity. The gentile in the 1980 remake accepted her partner's Jewishness and served as a catalyst in restoring the relationship of Jewish father and son." [America History and Life] Gross, Barry. "No Victim, She: Barbara Streisand and the Movie Jew."The Journal of Ethnic Studies, vol. 3 no. 1. 1975 Spring. pp: 28-40. Herman, Felicia. "American Jews and the Effort to Reform Motion Pictures, 1933-1935. American Jewish Archives Journal 2001 53(1-2): 11-44. "The pervasive influence of American Jews in Hollywood and on film content is one of the historical truisms of the 20th century. Indeed, during the 1930's calls for movie censorship were sometimes inseparable from anti-Semitic attacks on "Jewish Hollywood." This article examines the role of prominent rabbis and Jewish leaders in the movement to "reform" film during the so-called Golden Age of Hollywood. The Jewish community adopted a number of strategies to cope with the issue. In 1934, the Jewish Anti-Defamation League directly communicated the necessity of reform to Jewish film industry executives. Meanwhile, the Central Conference of American Rabbis tried to create a prominent public role for Jews in an interfaith movement for the reform of Hollywood." [America History and Life] Herman, Felicia. "Hollywood, Nazism, and the Jews, 1933-1941." American Jewish History. 89(1):61-89.2001 Mar UC users only Herman, Felicia. "'The Most Dangerous Anti-Semitic Photoplay in Filmdom': American Jews and The King ofKings." (DeMille, 1927) Velvet Light Trap. 46:12-25. 2000 "Examines the relationship between the American Jewish community and the motion picture industry in the 20th century. Analyzes the 1927 blockbuster film "The King of Kings" directed by Cecil B. DeMille. Considers anti-Semitic sentiment prior to World War II in the United States. Informs that DeMille's film spurred the creation of the first official relationship between an American Jewish organization, the Independent Order of B'nai B'rith, and the Motion Picture Producers and Distributors Association (MPPDA), as well as a promise that the MPPDA would not allow production of films which denigrated the Jews in any way. Remarks on the popular response to this film and the controversy that ensued." [International Index to the Performing Arts] Herman, Felicia Hollywood, Nazism, and the Jews, 1933-41. American Jewish History 2001 89(1): 61-89. UC users only "Assesses the view that the Hollywood film industry avoided questioning Nazi persecution ofEurope's Jews prior to US entry into World War II. Jewish studio executives allegedly did not want to be accused of advocating Jewish propaganda by making films with overtly antifascist themes. Actually they were pressured by such organizations as the Anti-Defamation Leagueand by national Jewish leaders to avoid such themes lest American Jews suffer ananti-Semitic backlash. However, several films with antifascist themes, notably The House ofRothschild, The Life of Emile Zola, and the short film Sons of Liberty, won popular approval.The view of historians of the late 20th century notwithstanding, these films contain subtle yeteffective statements about the fascist threat to American values." [America History and Life] Hirsch, Joshua Francis Afterimage: film, trauma, and the Holocaust Philadelphia: Temple University Press, c2004. MAIN: PN1995.9.H53 H57 2004 Hoberman, J. "Der-Ershter-Talkies - 'Uncle Moses' and the Coming of Yiddish Sound Film." Film Comment, 1991 Nov-Dec, V27 N6:32-39. Hoberman, J. "Jews on the Screen." Film Comment 17:4 (1981:July/Aug.) 36 Holberg, Amelia S. "Betty Boop: Yiddish Film Star." American Jewish History v87, n4 (Dec, 1999):291. UC users only "Analyzes the Jewish context for the cartoons ofMax and Dave Fleischer, focusing on their Betty Boop series in the 1930's. Raised in the culture of Jewish, working-class, immigrant New York, the Fleischer brothers created cartoons that in subtle ways reflected their background. Early films had appealed to immigrant Jews for their slapstick vulgarity, whereas vaudeville attracted audiences with middle-class aspirations. The Fleischers retained an earthy Jewish view of American life, incorporating such themes as assimilation, generation gap, and stereotyping of other nationalities and races in their cartoons. Betty Boop became the flashy flapper in conflict with her own cultural background. The distinctiveness of the Betty Boop cartoons ended with the strictures of the Production Code in 1934 and the redefinition of cartoons as entertainment for a juvenile audience." [America History and Life] Horak, Jan-Christopher "Zionist Film Propaganda in Nazi Germany." Historical Journal of Film, Radio and Television IV/1, 84; p.49-58. A description of Zionist film production during the 1930's in Germany and the work of the Palestine Film Office. Isaac, Dan. "Film And The Holocaust." Centerpoint 1980 4(1): 137-140. Discusses two films by Czech filmmakers: The Cremator, directed by Juraj Herz, and Diamonds of the Night, directed by Jan Nemec; both films are vivid portrayals of the Holocaust in Czechoslovakia. Jancu, Robert. "Jackie Mason's World According to Hollywood." (portrayal of Jews and minorities in the media) Judaism: A Quarterly Journal v40, n2 (Spring, 1991):134 (14 pages). Jenkins, H. 'Shall we make it for New York or for distribution?': Eddie Cantor, Whoopee, and regional resistance to the talkies." Cinema Journal; Vol.XXIX nr.3 (Spring 1990); p.32-52 The openly Jewish comic persona of Eddie Cantor had to be toned down in films following "Whoopee!" for the benefit of regional US audiences unfamiliar with such Broadway and East Coast vaudeville material, and resistant to sound cinema in general. Kellman, Steven G. "Weddings, funerals, and thanksgivings; Jews in recent film." Midstream 37,2 (1991) 42-45 Kaminsky, S.M. "Eight comedy directors of the last decade." Film Reader; nr.1 (1975); p.59-65 Discusses the main themes in US comedy films and analyses the work of Woody Allen, Mel Brooks, Elaine May, Carl Reiner, Gene Saks, Jerry Paris, Mel Stuart, and Bud Yorkin; traces strains of Jewish humour. Kauffmann, Stanley "A Predicament." (films on the Holocaust)(Column)(Transcript) New Republic v213, n24 (Dec 11, 1995):24 (3 pages). Kenez, Peter "Jewish Themes in Stalinist Films." Judaism: A Quarterly Journal of Jewish Life and Thought 45, no. 3 (179) (1996Summer): p. 277-84 Kenez, Peter "Jewish Themes in Stalinist Films." Journal of Popular Culture 31, no. 4 (1998 Spring): p. 159-69 Kellman, Steven G. " We Lost It At The Movies." Midstream 1984 30(10): 43-45. Although the American film industry was founded by Jews, films have usually avoided portraying Jews, except as seeking assimilation into the American mainstream. Kenez, Peter. "Jewish Themes in Stalinist films."(Soviet Union) Judaism: A Quarterly Journal of Jewish Life and Thought v45, n3 (Summer, 1996):277 (8 pages). " Between 1924 and 1938 Soviet studios produced a handful of films on Jewish topics. Though none were especially outstanding, the films do deserve some attention as an instrument for examining change. The films shed light on changes in the Soviet film industry, as well as revealing changes in the political climate, especially the attitude toward Jews. During the period Soviet cinema became homogeneous and artistic experimentation was renounced. After the 1920's, Soviet cinema would never regain the international prestige it once enjoyed." [Historical Abstracts] Kirby, Jack Temple. "D. W. Griffith's Racial Portraiture." Phylon 1978 39(2): 118-127. "In his more than 400 films, David Wark Griffith treated racial themes frequently. He used stereotypes constantly: Jews were ingratiating and parsimonious, Italians and Hispanics passionate and often violent; American Indians noble savages; Orientals inscrutable and tradition-bound. Yet all of these ethnic types could be either good or bad, depending on the film. Griffith makes Indians heroes more often than villains, and sympathizes with the struggle against the encroaching whites. Ramona (1910) depicts white persecution of the mestiza Ramona and her Indian lover. Blacks, however, were either wicked or docile retainers; in Birth of a Nation (1915) Griffith enshrines these racial stereotypes in one of the greatest films ever made. In Intolerance, he chronicles many instances of that vice in history, but never racial prejudice as a form thereof. Griffith's racism, however, should not be singled out for condemnation; it was typical of the time, and many made films more viciously racist than did Griffith." [from ABC-CLIO America: History & Life] Kimmel, Daniel M. "Goebbel's Work." Film Comment XXII/6, Nov-Dec 86; p.74-75. illus. Describes the plans of the National Center for Jewish Film to distribute Nazi anti-Semitic films for academic purposes. Koch, Gertrud; Spencer, Andy; Hansen, Miriam "Torments of the Flesh, Coldness of the Spirit: Jewish Figures in the Films of Rainer Werner Fassbinder." New German Critique, No. 38, Special Issue on the German-Jewish Controversy. (Spring - Summer, 1986), pp. 28-38. UC users only Koch, Gertrud. "On the Disappearance of the Dead Among the Living - The Holocaust and the Confusion of Identities in the Films of Konrad Wolf." New German Critique 1993 Fall, 60, 57-75. Konigsberg, Ira. "Our Children and the Limits of Cinema." (media coverage of the Holocaust) Film Quarterly (Fall, 1998):7. "Our children" and the limits of cinema. Early Jewish responses to the Holocaust. Analysis of films made by European Jews in the years immediately following World War II. Konzett, Delia Caparoso "From Hollywood to Hester Street: Ghetto Film, Melodrama, and the Image of the Assimilated Jew in "Hungry Hearts"." Journal of Film and Video 50:4 [Winter 1998-1999] p. 18-33 "Examines the film adaptation of Jewish immigrant writer Anzia Yezierska's "Hungry Hearts" which offers an example of the ghetto film genre popular in the 1920s. Informs that like Yezierska's work, including her autobiography, "Red Ribbon on a White Horse" (1950), the film exploits popular conceptions surrounding immigrant culture, using critical melodrama to call attention to Hollywood's reliance on these sterotypes and visual representations. Suggests that both text and film attest to the centrality of the immigrant experience as a national narrative that reproduces and in turn is reproduced by the American dream. States that "Hungry Hearts" demonstrates the problematic visual representation of ethnic and collective identities, pointing to the inherent contradictions and ambivalence in the ghetto film as predicated on an authentic representation of ethnic and national identities and traditions." [International Index to the Performing Arts] Koven, Mikel J. "'Cool Jewz': contemporary Jewish identity in popular culture--an introduction." Shofar 25.4 (Summer 2007): UC users only Levinson, Julian "The Maimed Body and the Tortured Soul: Holocaust Survivors in American Film." The Yale Journal of Criticism 17.1 (2004) 141-160 UC users only Lutz Koepnick "Reframing the Past: Heritage Cinema and Holocaust in the 1990s." New German Critique, No. 87, Special Issue on Postwall Cinema. (Autumn, 2002), pp. 47-82. UC users only Kornblatt, Judith Deutsch "Ladies' Tailor and the End of Soviet Jewry." Jewish Social Studies: History, Culture, and Society 5, no. 3 (1999 Spring-Summer): p. 180-95 Krieger, Rosalin. "Does He Actually Say the Word Jewish?" -- Jewish Representations in Seinfeld." Journal For Cultural Research, Vol 7:4 October 2003. UC users only Krieger, Rosalin "Beyond Binaries and Condemnation: Opening New Theoretical Spaces in Jewish Television Studies." Culture, Theory & Critique, 2005, 46 (2), 131-145 "The Objective of this article is to critique the current literature on Jews and Jewishness in North American television. It is our contention that this work is problematic in a number of ways. First, it insists on a strict binary between "bad" and "good" television images and "bad" and "good" audience responses to these images. Second, it assumes that a unified, 'acceptable' Jewish identity pre-exists the production of these images and, and that this identity merely needs to be incorporated into the Television landscape to make its images 'better'. Third, it assumes a direct and unproblematic relationship between what the viewers see on television and how they understand the world. In the second half of this essay we introduce scholarship in other areas of TV and media studies, as well as in the emerging field of Jewish cultural studies, to point to the need to theorize a much more complex relationship between identity and spectatorship than is realized in much of the current literature on Jewishness and television." Langford, Barry. ""You Cannot Look At This": Thresholds Of Unrepresentability In Holocaust Film." Journal of Holocaust Education [Great Britain] 1999 8(3): 23-40. "Until recently the Holocaust was largely off-limitsto Hollywood, but Holocaust (1975), Sophie'sChoice (1982), War and Remembrance (1988),Triumph of the Spirit (1989), and Schindler'sList (1993) changed that perception, although allof those productions, and others, were very muchof existing genre templates, or of a genre. Thereis a counterexample to this genre, typified byShoah (1985), which ultimately insists that theworld of the extermination camps is forever apartfrom this world; both approaches to theHolocaust are necessary and complement eachother." [Historical Abstracts] Lanzmann, Claude. "From The Holocaust To "Holocaust." Dissent 1981 28(2): 188-194. Comments on the moral and historical implications of the Nazi extermination of Jews during World War II and discusses the validity of the American television mini-series, Holocaust. Laqueur, Walter. "Two New Films On America's Response To The Holocaust." American Jewish History 2001 89(1): 135-138. UC users only "Reviews two documentary films on America's response to the Holocaust. Holocaust: The Untold Story (2001) interviews contemporary journalists concerning the failure of the American press to publicize news about millions of Jews being murdered or to understand the information about it. They Looked Away (2000) deals with why Auschwitz was not bombed, examining political and cultural considerations as well as military decisions. They Looked Away effectively refutes the view that nothing could have been done." [America History and Life] Lesser, Julian (Bud). "FDR, Jews And The Movies." Western States Jewish History 1992 24(4): 290-296. "In 1923, Franklin D. Roosevelt submitted a film treatment to Eugene Zukor, son of Paramount Pictures founder Adolf Zukor, on the exploits of his idol, Admiral John Paul Jones. The treatment was returned a year later, but Roosevelt continued to hope that it might someday be produced." [from ABC-CLIO America: History & Life] Lester, Julius. "Black Supremacy and Anti-Semitism: Religion in Malcolm X." Cineaste 1993, 19:4, 16-17. Levi, Jennifer "Performing selves/performing as self; autobiographical films of children of Jewish Holocaust survivors." Journal of Religion and Film 3,2 (1999) Lieberfeld, Daniel; Sanders, Judith. "Here Under False Pretenses: The Marx Brothers Crash the Gates." American Scholar v64, n1 (Wntr, 1995):103 (6 pages). Liebman, Robert Leslie "Rabbis or rakes, schlemiels or supermen? Jewish identity in Charles Chaplin, Jerry Lewis and Woody Allen." Literature/Film Quarterly Vol.XII nr.3 (July 1984); p.195-201 On fantasies of the Jewish schlemiel/superhero in the films of C.C., J.L. and W.A. Lieberman, Rhonda. "Glamorous Jewesses." (on Barbra Streisand and the signification of Jewesses in Hollywood motion pictures) Artforum v31, n5 (Jan, 1993):5 (2 pages). The social context of Jews encompass their ability for pathos which is something the white Anglo-Saxon Protestant (WASP) has lost. The Jewess is depicted in Hollywood films as someone who leads the WASP back into his inner self to discover his ability to feel. On the other hand, the Jewess is also portrayed always striving for the economic status of the WASP, with plenitude as the favorite Jewish fantasy. Barbra Streisand and some of her films are cited as examples. Liebman, Stuart; Quart, Leonard. "Homevideo: Czech Films of the Holocaust." Cineaste v22, n1 (Wntr, 1996):49 (3 pages). Louvish, Simon. "Burning Crosses" (treatment of Jews in D.W. Griffith) Sight and Sound 10, no. 9 (2000 Sept): p. 12-13 On the racism of D.W. Griffith who originally shot the crucifixion of Christ in "Intolerance" showing Jews crucifying Christ rather than the released version which shows Roman soldiers nailing Christ to the cross. Louvish, Simon. "Out of the Shadows." Sight and Sound v3, n6 (June, 1993):18 (3 pages). "Discusses the Jewish experience as imagined by Hollywood and contrasting the viewpoint of recent Israeli cinema; plus an article questioning whether recent films such as "Mr. Saturday Night" and "Used people" offer new visions of Jewish identity." [FIAF] Lunde, Arne "The Visible Wall: Jews and Other Ethnic Outsiders in Swedish Film" Scandinavian Studies (73:1) Spring 2001, 84-86. (2001) UC users only Manchel, Frank. "Michael Rogin On Race, Gender And Film History." Historical Journal of Film, Radio and Television 1997 17(1): 137-143. "Reviews Michael Rogin's Blackface, White Noise:Jewish Immigrants in the Hollywood Melting Pot(1996), which explores the promotion of traditionalracist images by Jewish directors and studio heads inearly Hollywood, traces the roots of Hollywood racismto the tradition of blackface minstrelsy, and scrutinizesthe Hollywood legacy of racism in film." [America History and Life] Matis, D. "The First Jewish Sound Films and `Kiddush Hashem' of 1914 - The Soviet Film Industry Before Warner-Brothers' `The Jazz Singer'." Yiddish, 1995, V10 N1:34-40. May, Lary L. and May, Elaine Tyler. "Why Jewish Movie Moguls: An Exploration InAmerican Culture." American Jewish History 1982 72(1): 6-25. "Explains why Jewish immigrants replaced theProtestant pioneers as the dominant force in the American film industry by the 1920's. Besidesfirm commitment to America and urban commercialskills that fostered success in many newAmerican enterprises, Jews brought a moreexpressive, festive, non-Victorian traditionthat enabled them to discern and satisfy,through movies, early 20th-century middle-classurban America's taste for moral and recreational experimentation. By upgrading their nickelodeontheaters into luxurious movie palaces, creatingthe movie star and Hollywood studio as models of the new freer life, and controlling productionas well as distribution and supply, Jewish filmmoguls gained full assimilation for themselves, helped other Americans make the transition tomodern values, and established a truly Americaninstitution." [from ABC-CLIO America: History & Life] Mazierska, Ewa "Non-Jewish Jews, Good Poles and Historical Truth in the Films of AndrzejWajda." Historical Journal of Film, Radio and Television v20, n2 (June, 2000):213. UC users only Assesses whether Wajda's portrayal of Jews and the Polish-Jewish relationship is consistent with historical truth. McGraw, Eliza Russi Lowen. "Driving Miss Daisy: Southern Jewishness OnThe Big Screen." Southern Cultures 2001 7(2): 41-59. UC users only "The 1989 film Driving Miss Daisy suggests that Southern Jewish identity grew more complicated in the post-World War II era. Critics have charged that the film merely replicates the white/black racial hierarchies that define Southern society. But Daisy's Jewishness is central to the film and cannot be ignored. She refuses to acknowledge the relationship between the 1958 Atlanta Temple bombing and lynchings of African Americans; nevertheless, she and Hoke, her African American driver, have more in common than she realizes." [America History and Life] Meyer, William E. H., Jr. "An American 'Precedent'? Propaganda in American Movies: The Case of the Hollywood Jews." Literature/Film Quarterly 27, no. 4 (1999): p. 271-81 UC users only This article discusses the role of Jews in the American movie industry and the inclusion of self-serving propaganda in many American movies. Topics include the addition of Jewish characters during the adaptation of a book into a script and the depiction of Jews and Jewish culture in films. See also: Leitch, Thomas M. "Truth, justice, and the American gentile way: a reply to William E. H. Meyer, Jr." (Critical Essay) Literature-Film Quarterly v27, n4 (Oct, 1999):282 (13 pages). This article presents a criticism of an essay on Jews in the American movie industry by William E. H. Meyer. Topics include anti-Semitism throughout the essay, Meyer's exclusion of films by gentiles, and his lack of distinction between Jews in filmmaking and pro-Jewish attitudes in the finished film. Miller, Randall M. "Review Essay: Jews in (and on, behind, and around) Film." American Jewish History 74:2 (1984:Dec.) 189 Morris, Nomi. "Jews in Tinseltown: Was the American Dream Born in Eastern Europe." (formation of Hollywood film empire) Maclean's v111, n10 (March 9, 1998):70. Murray, Susan "Ethnic masculinity and early television's vaudeo star." Cinema Journal Vol XLII nr 1 (2002); p 97-119. "Discusses how the seemingly contradictory construction of many early television comedy stars (the primary example being Milton Berle) bespeaks rather coherent symbolic constructions of ethnicity, masculinity, and anxieties over the changing demographics of the American cultural landscape." [FIAF] Myers, Carmel. "Film Industry Recollections." Western States Jewish Historical Quarterly 1976 8(2): 126-135. "An early movie star tells how she got started in films. Her father was Rabbi Isidore Myers (1856-1922). Rabbi Myers was asked by film director David Wark Griffith to be a consultant for his film Intolerance. As payment for his services, Rabbi Myers' daughter was allowed to try out for a movie part in Griffith's next film. She got a part and that started her career in which she played leading roles opposite such male stars as Rudolph Valentino, Douglas Fairbanks, Jr., John Gilbert, Lew Cody, and William Haines. She was also very active in Jewish community affairs in Los Angeles." [from ABC-CLIO America: History & Life] Naaman, Dorit "Orientalism as alterity in Israeli cinema." Cinema Journal;Vol.XL nr.4 (Summer 2001); p.36-54 "Deals with the representation of Middle Eastern Jews and Palestinians in the Israeli B-movies of the 1970's and 1980's, specifically the phenomenon of "passing," whereby ethnicity and race are interchangeable in casting and plot. Such passing can empower Middle Eastern Jews to deconstruct ethnic stereotypes, while excluding Palestinians from participating in public discourse." [FIAF] Navailh, Fran?oise "L'image du Juif dans le cin?ma sovi?tique: les fant?mes du Yiddishland." Cin?mAction; nr.37 (Feb 1986); p.229-230 A history of Jewish portrayals in Soviet cinema. Ne'eman, Judd. "The Tragic Sense of Zionism: Shadow Cinema and the Holocaust" Shofar: An Interdisciplinary Journal of Jewish Studies Volume 24, Number 1, Fall 2005 UC users only "Holocaust-related films in Israeli cinema appear in several cycles. The 1980s cycle, which I call Shadow Cinema, expresses ambivalence and guilt and professes a perverse loyalty to a wound that will not heal and to the dead that have never been buried. The analysis of certain junctures in these films brings forth an unexpected analogy between the Sabra new Jew and the Nazi. I argue that these films echo a deeply ingrained recognition that the liquidation of the Diaspora sought by Zionism through immigration of millions of Jews to Palestine, was actually achieved by Nazi Germany through extermination of those same millions. Such inadvertent conflation must have elicited guilt feelings in the Jewish Yishuv in Palestine that had endorsed the "Negation of the Diaspora." The State of Israel, heir to the Yishuv, has inherited these guilt feelings. Israel has unwittingly engulfed itself in guilt for the destruction of the Jews by the Nazis. This tragic sense of Zionism has been in keeping long enough to have sunk in and made Israeli Jews carry indelible guilt vis-?-vis the victims of the Holocaust. Israel lives in a tangled "dead-end future," obsessed with endless bleeding and bloodletting to expiate the six million dead for whose death it innocently and unconsciously puts the blame on itself." New, E. "Film and the Flattening Of Jewish-American Fiction, Malamud,Bernard, Allen,Woody, And Lee,Spike In The City." Contemporary Literature, 1993 Fall, V34 N3:425-450. O'Connor, John J. "This Jewish mom dominates TV, too." (stereotypes and caricatures continue on modern situation comedies) (Living Arts Pages) The New York Times Oct 14, 1993 v143 pB2(N) pC20(L) col 1 (15 col in) Ostriker, Alicia "Whither exodus? Movies as midrash." Michigan Quarterly Review (42:1) [Winter 2003] , p.138-150. (A Special Issue: Jewish in American (Part Two) UC users only "Ostriker discusses the Hollywood films "The Ten Commandments," directed by Cecil B. De Mille, and the animated "The Prince of Egypt" in terms of the Jewish genre of midrash. She argues that the Biblical interpretations of Hollywood epics are appropriate acts of appropriation that are essentially midrashic." (ABELL) "Out of the shtetl: the rediscovery of Yiddish film." The Economist (US) Jan 4, 1992 v322 n7740 p80(1) (982 words) UC users only The National Centre for Jewish Film at Brandeis University mounted a global search for Yiddish films. Twenty-eight motion pictures are now making a world tour. The Yiddish cinema which began in the 1900s in Eastern Europe, was almost wiped out by the second great European war. Ozick, Cynthia. "The Rights of History and the Rights of Imagination." (fiction and films about Jewish Holocaust) Commentary v107, n3 (March, 1999):22 (1 page). Pally, Marcia "Kaddish for the fading image of Jews in film." Film Comment Feb 1984 v20 p49(7) Perlmutter, Ruth "The melting pot and the humoring of America: Hollywood and the Jew." Film Reader; nr.5 (1982); p.247-256 Examines Jewish ambivalence towards assimilation in US society, as shown in the films of Chaplin,the Marx Brothers, and "The jazz singer". Portuges, Catherine. "Exile and Return: Jewish Identity in Post-Communist Hungarian Cinema. Discourse: Journal for Theoretical Studies in Media and Culture, vol. 17 no. 3. 1995 Spring. pp: 24-37. Quart, Leonard. "The Triumph of Assimilation: Ethnicity, Race and the Jewish Moguls." Cineaste, vol. 18 no. 4. 1991. pp: 8-11 "Traces the representation of ethnicity and race in Hollywood films from 1900 to the present, arguing that Jewish moguls sanitized racial issues in the interests of assimilation and financial security." [FIAF] Rogin, Michael Paul "Black sacrifice, Jewish redemption; from Al Jolson's "Jazz Singer" to John Garfield's "Body and Soul"." In: African Americans and Jews in the twentieth century : studies in convergence and conflict / edited by V.P. Franklin ... [et al.]. pp: 87-101. Columbia, Mo. : University of Missouri Press, c1998. Main Stack E184.36.A34.A47 1998 Rosenberg, Jay (ed. and introd.). Whifield, Stephen J. (ed. and introd.). "The Cinema of Jewish Experience."Prooftexts-A Journal of Jewish Literary History. 22(1-2):1-244. 2002 Winter-Spring Table of contents for this issue Rosenberg, Warren "Coming Out of the Ethnic Closet: Jewishness in the Films of Barry Levinson." Shofar: An Interdisciplinary Journal of Jewish Studies, vol. 22, no. 1, pp. 29-43, Fall 2003. UC users only Rosenfeld, Alvin H. "The Americanization of the Holocaust." Commentary, vol. 99 no. 6. 1995 June. pp: 35-40. Roskies, David G. "Yiddish on screen." (Yiddish motion pictures) Commentary v93, n4 (April, 1992):47 (4 pages). Yiddish motion pictures were not popular in the US and, consequently, not many films were made. Brandeis University has the largest collection of Jewish films in the world. Influential Yiddish films are described. Saposnik, Irv "Jolson, the Jazz Singer and the Jewish mother: or how my Yiddishe momme became my mammy."Judaism: A Quarterly Journal of Jewish Life and Thought Fall 1994 v43 n4 p432(11) "Al Jolson, star of the 'The Jazz Singer,' was one of the most prominent Jewish-American performers of his time. His music, celebrated in the landmark film which ushered in the era of sound in the movies, mixed the spirit of the jazz age with a sentiment that was very distinctively Jewish. His classic film thus provides a unique insight into the nuances of Yiddish American culture and the manner it was amalgamated into the popular culture of Jolson's time." [Expanded Academic Index] Shandler, Jeffrey. "Ost Und West, Old World And New: Nostalgia and Anti-nostalgia On The Silver Screen." YIVO Annual 1993 21: 153-188. "Discusses the 1923 silent satiric comedy Ost und West, which juxtaposes the traditions and customs of American immigrant Jews, Polish Jews, and Viennese upper-middle-class Jews. Directed by Sidney M. Goldin and starring Molly Picon, the film evokes both the "going home" and the "antifolklore" genres. After enjoying a successful run in Vienna, where it was made, the film was shown in Poland, Romania, France, and the United States, where it was retitled in English and Yiddish and called Mazel Tov." [from ABC-CLIO America: History & Life] Sicular, Eve "'A Yingl mit a Yingl hot epes a tam': The Celluloid Closet of Yiddish Film." Jewish Folklore and Ethnology Review, vol. 16, no. 1, pp. 40-45, 1994 Sigal, Clancy. "Hollywood During The Great Fear."Present Tense 1982 9(3): 45-48. "Discusses the impact on the Hollywood Jewish community of McCarthyism, blacklisting, and the investigations of the House Committee on Un-American Activities, focusing on the position of Jews, including the author, who worked in the movie industry." [from ABC-CLIO America: History & Life] Slide, Anthony "Hollywood's Fascist follies." Film Comment v. 27 (July/August 1991) p. 62-7 "Despite its image as a liberal community, Hollywood in the 1930s had a hypocritical side. Jewish heads of Fox, Paramount, and Metro-Goldwyn-Mayer maintained polite relations with Nazi Germany for economic reasons, even though they knew what was happening to their fellow Jews in Germany. The major film studios were operating within Germany as late as April 1937, and they maintained offices in Vienna following the German annexation in 1938. George Gyssling, German consul in Los Angeles, closely watched the Hollywood film industry, ensuring that nothing anti-Nazi appeared on the screen. In addition, considerable fascistic activities took place within the film industry. Such right wing, quasi-military troops as the California Light Horse Regiment and the Hollywood Hussars were formed by Hollywood stars, and the Anti-Communist Federation of America circulated violently anti-Semitic fliers." [Art Index] Sorlin, Pierre "Jewish images in French cinema of the 1930s." Historical Journal of Film, Radio and Television; Vol.I nr.2 (Oct 1981); p.139-150 The depiction of Jews in fiction films and the reinforcement of traditional prejudices. Stern, Frank "The Return to the Disowned Home-German Jews and the Other Germany." New German Critique: An Interdisciplinary Journal of German Studies 67, (1996 Winter): p. 57-72 Stratton, David "Mamadrama: the Jewish mother in cinema." Variety; Vol.CCCLXXXIV nr.9 (Oct 15 2001); p.35 Stratton, Jon "Not really white - again: performing Jewish difference in Hollywood films since the 1980s." Screen; Vol.XLII nr.2 (Summer 2001); p.142-166 "Three films of the 1980s, Barbara Streisand's Yentl, Woody Allen's Zelig, and Susan Seidelman's Desperately Seeking Susan, ambiguously express a transformation in how Jews and Jewishness were expressed in American films. During the late 1940s and 1950s, following a long Enlightenment tradition, Jews were depicted as white and their difference was identified in terms of religion rather than culturally. Correlating with a rise in the popular acceptance of a type of multiculturalism that celebrates ethno-racial difference and of the identity politics associated with it, Yentl, Zelig, and Desperately Seeking Susan mark the awkward and ambivalent start of an attempt to express Jewishness as a performance that identifies Jews as a distinct group within American multiculturalism, while preserving, in a moderated form, their classification as white. Jewish self-identification in terms of descent continues, but there is now an emphasis in Hollywood film on distinctive, shared cultural signifiers that will clearly distinguish Jews as a group from whites, especially Anglo-Americans." [Art Index] Tweraser, Felix. "Defining The Holocaust: The Problems And Promise Of Representation." Rendezvous 1999 34(1): 1-8. "Introduces subsequent articles in the journal that examine the "problem of historical memory" as it applies to the Holocaust; that is, how memory is transmitted and the most effective means to do it - such as film, oral history, diaries, and fictional accounts." [Historical Abstracts] Tryster, Hillel "The Land of Promise (1935: A Case Study in Zionist Film Propaganda." Historical Journal of Film, Radio and TelevisionXV/2, June 95; p.187-217. Examines the circumstances surrounding the conception, production and exhibition of "The land of promise", using material from the Central Zionist Archives. Some original documents are reproduced in the microfiche supplement. Vietor-Engl?nder, Deborah. "Theater And Film As A Medium For Presenting The Experiences Of Shoah Survivors Today." European Legacy 1996 1(3): 1254-1259. " The presentations of different modes of survival in the filmed autobiography Hitlerjunge Salomon and a play based on the experience of Theresienstadt have both been effective in making the Shoah experience meaningful and immediate to young people." [Historical Abstracts] Vogel, A. "You Have To Survive Even If It Kills You." (Jewish Film Emigre Exiles Before 1945) Film Comment, 1994 Mar-Apr, V30 N2:31-36. Walker, Janet Trauma cinema: documenting incest and the Holocaust Berkeley: University of California Press, c2005. MOFF: PN1995.9.D6 W26 2005; circ info Table of contents http://www.loc.gov/catdir/toc/ecip0419/2004014327.html Weber, Donald "The limits of empathy; Hollywood's imaging of Jews circa 1947." Key Texts in American Jewish Culture (2003) 91-104 Welch, David "'Jews Out!': Anti-Semitic Film Propaganda in Nazi Germany and the 'Jewish Question'." British Journal of Holocaust Education 1:1 (1992:Summer) 55 Whitfield, Stephen J. "Our American Jewish Heritage: The Hollywood Version." American Jewish History 1986 75(3): 322-340. "Analyzes Hollywood's depiction of the Jew as one reflection of the shifting status of Jews in American society. In the silent film era the Jew was a comic figure who achieved success through shrewdness and, finally, intermarriage. During the 1930's-50's - the era of the powerful Jewish movie moguls - Jewishness, both religious and cultural, was submerged in favor of universalism, partly in reaction to strong anti-Semitism in the nation. Since 1960, the expression of Jewish identity and particularity has been unabashed." [from ABC-CLIO America: History & Life] Woodbury, Marsha "Jewish images that injure." In: Images that injure : pictorial stereotypes in the media / edited by Paul Martin Lester and Susan Dente Ross ; foreword by Everette E. Dennis. Edition 2nd ed. Westport, Conn. : Praeger, c2003. Main Stack P96.S74.I45 2003 Reviews and Articles About Specific Films in the MRC Collection Aimee & Jaguar Cormican, Muriel ""Aim?e und Jaguar" and the banality of evil." German Studies Review 26,1 (2003) 105-119 Davidson, John E. "A story of faces and intimate spaces; form and history in Max F?rberb?ck's "Aim?e und Jaguar"." Quarterly Review of Film and Video 19,4 (2002) 323-341 UC users only Parkinson, Anna M. "Of Death, Kitsch, and Melancholia: Aim?e und Jaguar: 'Eine Liebesgeschichte, Berlin 1943' or 'Eine Liebe grosser als der Tod'?" In: German culture and the uncomfortable past : representations of national socialism in contemporary Germanic literature / edited by Helmut Schmitz. Aldershot; Burlington, VA : Ashgate, c2001. Main Stack PT405.G454 2001 Sieg, Katrin "Sexual Desire and Social Transformation in Aim?e & Jaguar." Signs, vol. 28, no. 1, pp. 303-31, Fall 2002 UC users only Taberner, Stuart. "Philo-Semitism in Recent German Film: Aim?e und Jaguar, Rosenstrasse and Das Wunder von Bern." German Life and Letters, vol. 58, no. 3, pp. 357-72, Summer 2005 Au Revoir, les Enfants Ansen, David. "Au Revoir, les Enfants." (movie reviews) Newsweek v111, n7 (Feb 15, 1988):70. Bailey, Brian J. "Capturing Hatred on Film." (appreciation for director Louis Malle and his film, 'Au Revoir les Enfants')(Column) Washington Post v119 (Sat, Dec 16, 1995):A23, col 6, 15 col in. Benayoun, Robert; Aud?, Fran?oise; Jeancolas, Jean-Pierre " Louis Malle. Un ailleurs infinement proche." Positif nr 320 (Oct 1987); p 29-39. L.M. on his film "Au revoir, les enfants", war-time memories and his period in the USA. Bernstein, Richard. "The Dark School Days of Louis Malle." ('Au Revoir les Enfants,' movie based on childhood of Louis Malle) New York Times v137, sec2 (Sun, Feb 7, 1988):H1(N), H1(L), col 1, 65 col in. Blake, Richard A. "Au Revoir, les Enfants." (movie reviews) America v158, n18 (May 7, 1988):489 (2 pages). Canby, Vincent. "Au Revoir, les Enfants." (movie reviews) New York Times v137 (Fri, Feb 12, 1988):17(N), C15(L), col 1, 20 col in. Chase, Donald. "Au Revoir, les Enfants." (Louis Malle's views about his film) American Film v13, n4 (Jan-Feb, 1988):7. Corbett, Anne. "Au Revoir, les Enfants." (2nd Opinion) Times Educational Supplement, n3858 (June 8, 1990):A23. Corbitt, J.C. "Au Revoir to film illiteracy: An interdisciplinary exploration of Au Revoir Les Enfants." English Journal January 1998 87(1), 83-87. Retrieved February 2, 2003 from ProQuest database. "This article examines the educational value of using film to teach secondary students about historical events like the Holocaust. Corbitt contends that films are very powerful teaching tools if educators select them properly and teach their students to view them with media savvy. He demonstrates how this educational task can be accomplished by outlining the instructional steps involved in teaching a specific classroom unit about the film, Au Revoir Les Enfants. This educational curriculum features many thought-provoking discussion topics that can be used to stimulate greater thought and reflection about the historical themes related to the Holocaust." [from Holocaust Education web site] Corliss, Ricahrd. "Au Revoir, les Enfants." (movie reviews) Time v131, n8 (Feb 22, 1988):94 (2 pages). Denby, David. "Au Revoir, les Enfants." (movie reviews) New York v21, n8 (Feb 22, 1988):70 (2 pages) Ehrlich, Linda C. "The Name of the Child: Cinema as Social Critique." Film Criticism XIV/2, Winter 89-90; p.12-23. Examines the common theme in the treatment of children in "Salaam Bombay!", "Sansho dayu", "Au revoir les enfants" and "El esp?ritu de la colmena". Higgins, Lynn A. "If Looks Could Kill: Louis Malle's Portraits of Collaboration."In: Fascism, aesthetics, and culture / edited by Richard J. Golsan. pp: 198-211. Hanover, NH: University Press of New England, c1992. Main Stack HM101.F34 1992 Hoffmann, Stanley. "Au Revoir, les Enfants." (movie reviews) New York Review of Books v35, n8 (May 12, 1988):19 (3 pages). Hoffmann, Stanley "Au Revoir, les Enfants." (movie reviews)New York Review of Books v35, n8 (May 12, 1988):19 (3 pages). Kael, Pauline. "Au Revoir, les Enfants." (movie reviews) New Yorker v64, n1 (Feb 22, 1988):85 (2 pages). Kauffmann, Stanley. "Au Revoir, les Enfants." (movie reviews) New Republic v198, n8 (Feb 22, 1988):24 (2 pages). Kemp, Philip. "Au Revoir, les Enfants." (movie reviews) Sight and Sound v57, n4 (Autumn, 1988):283 (2 pages). Lavoignat, Jean-Pierre. "Louis Malle: Au revoir les enfants." Studio Magazine. 99:110-11. 1995 Lerner, Barbara. A "Michelin Noir." Commentary. 101(5):49-53. 1996 May Malle, Louis Au revoir les enfants: a screenplay / by Louis Malle; translated from the French by Anselm Hollo. 1st ed. New York: Grove Press, 1988. Series title: An Evergreen book. UCB Main PN1997.R53413 M31 1988 Malle, Louis Au revoir, les enfants: scenario / Louis Malle. [Paris]: Gallimard, c1987. UCB Main PN1997.R534 M31 1987 Markham, James M. "Malle Returns to Childhood Trauma." (Louis Malle; recreates Holocaust childhood in film "Au Revoir les Enfants") New York Times v137 (Wed, Oct 21, 1987):21(N), C19(L), col 4, 15 col in. Mitchell, Elvis. "Childhood's End." (Au Revoir les Enfants) Rolling Stone, n522 (March 24, 1988):48. New, Elisa. "Good-Bye, Children; Good-Bye, Mary, Mother of Sorrows: The Church and the Holocaust in the Art ofLouis Malle." Prooftexts-A Journal of Jewish Literary History. 22(1-2):118-40. 2002 Winter-Spring O'Brien, Tom. "Au Revoir, les Enfants." (movie reviews) Commonweal v115, n6 (March 25, 1988):180 (2 pages). Roud, Richard "Malle x 4." Sight & Sound Vol LVIII nr 2 (Spring 1989); p 125-127. Analysis of four films which, for Richard Roud, represent the essential Louis Malle: "Les amants", "Le souffle au coeur", "Lacombe Lucien" and "Au revoir les enfants". Salamon, Julie. "Au Revoir, les Enfants." (movie reviews) (Leisure and Arts) Wall Street Journal (Thu, Feb 11, 1988):20(W), 28(E), col 1, 19 col in. Shipman, David. "Au Revoir, les Enfants." (movie reviews) Contemporary Review v257, n1497 (Oct, 1990):213 (4 pages). Shorley, Christopher. "History, Memory and Art in Louis Malle's Au revoir les enfants." In: The seeing century: film, vision and identity / edited by Wendy Everett. pp: 49-59. Amsterdam ; Atlanta: Rodopi, 2000. Critical studies (Amsterdam, Netherlands) ; v.14. Main Stack PN1995.25.S44 2000 Simon, John. "Au Revoir, les Enfants." (movie reviews) National Review v40, n7 (April 15, 1988):52 (3 pages). Toubiana, Serge "Regards d'enfants. Souvenirs d'en France." Cahiers du Cin?ma nr 400 (Oct 1987); p 18-22. Louis Malle on the subject and background to "Au revoir les enfant Avalon Alleva, Richard. "Avalon." (movie reviews) Commonweal v118, n2 (Jan 25, 1991):54 (3 pages). "Avalon." (movie reviews) Time v136, n21 (Nov 12, 1990):104. "Avalon." (movie reviews) Newsweek v116, n15 (Oct 8, 1990):66 (2 pages). Blake, Richard A. "Avalon." (movie reviews) America v164, n2 (Jan 19, 1991):39. Bowman, James. "Avalon." (movie reviews) American Spectator v24, n1 (Jan, 1991):35 (2 pages). Denby, David. "Avalon." (movie reviews) New York v23, n40 (Oct 15, 1990):68. Goldman, Eric A. "Avalon and Liberty Heights: Toward a Better Understanding of the American Jewish Experience through Cinema." American Jewish History, vol. 91, no. 1, pp. 109-27, March 2003. Johnson, Brian D. "Avalon." (movie reviews) Maclean's v103, n42 (Oct 15, 1990):80. Kassel, Michael B. "The American Jewish Immigrant Family In Film And History: The Historical Accuracy Of Barry Levinson's Avalon." Film & History 1996 26(1-4): 52-60. "In the film Avalon (1990), writer-director Barry Levinson offers a historically accurate and dramatically compelling treatment of the American Jewish immigrant experience, with both its gains and losses." [from ABC-CLIO America: History & Life] Klawans, Stuart. "Avalon." (movie reviews) Nation v251, n15 (Nov 5, 1990):539 (2 pages). Kauffmann, Stanley. "Avalon." (movie reviews) New Republic v203, n19 (Nov 5, 1990):26 (2 pages). Kael, Pauline. "Avalon." (movie reviews) New Yorker v66, n36 (Oct 22, 1990):107 (2 pages). Maslin, Janet. "Avalon." (movie reviews) New York Times v140 (Fri, Oct 5, 1990):C1(L), col 3, 19 col in. Maslin, Janet. "Avalon." (movie reviews) (Living Arts Pages) New York Times v140 (Fri, Oct 5, 1990):B1(N), col 1, 23 col in. Travers, Peter. "Avalon." (movie reviews) Rolling Stone, n589 (Oct 18, 1990):45. Crossfire Fox, D. "Crossfire and HUAC: Surviving the Slings and Arrows of the Committee." Film History III/1, 89; p.29-37. Examines the reasons why "Crossfire" was successful at the box office despite HUAC's insinuation of communist leanings. Holt, Jennifer "Hollywood and politics caught in the Cold War Crossfire (1947)." Film & History; Vol.XXXI nr.1 (2001); p.6-12 Examines how Cold War politics influenced the screenplay, production, as well as, the careers of theproducer and director of the film "Crossfire". Leff, Leonard J. "Film into Story: The Narrative Scheme of Crossfire." Literature/ Film Quarterly, vol. 12 no. 3. 1984. pp: 171-179. The timeless quality of "Crossfire" derives from its elaboration of the problem of identity and its celebration of the narrative imagination. Weber, Donald "The limits of empathy: Hollywood's imagining of Jews ca. 1947." In: Key texts in American Jewish culture / edited by Jack Kugelmass. New Brunswick, N.J.: Rutgers University Press, c2003. UCB Main Stack E184.35.K49 2003 Downfall (Untergang) Bendix, John. "Facing Hitler: German responses to Downfall.(Forum)(Adolf Hitler)." German Politics and Society 25.1 (Spring 2007): 70(21). UC users only "Bernd Eichinger's Der Untergang is the first all-German production in fifty years to feature Hitler in a full-length dramatic film. This article explores the choices and intentions of the producer/scriptwriter, aspects of German public opinion about Hitler, and the critical responses to what was widely seen as an effort to humanize Hitler on screen-though I argue it was ultimately more an effort to finally lay Hitler to rest." [Ingenta] Burleigh, Michael. "Addicted to cold courtesies." TLS. Times Literary Supplement 5325 (April 22, 2005): 18(1). Enright, R. "Filming Degree Zero: Oliver Hirschbiegel's "Downfall"." Border Crossings v. 24 no. 2 (May 2005) p. 18-19 UC users only "A review of Oliver Hirschbiegel's Downfall, a film about Hitler's final days in a Berlin bunker. Watching this film is an act of bearing witness to unspeakable barbarisms, but there is no lesson to be learned nor anything exceptional about the people. The film's direction, cinematography, and acting are all exemplary, but the deeds overarch the man and the film must constantly compete with a history outside its frame. The efforts that Downfall makes to humanize Hitler have little effect in changing the way we read history, and the problem is that Hirschbiegel has made a perfect film about people who had no soul." [Art Index] Falcon, Richard. "Downfall." Sight and Sound 15.5 (May 2005): 52(2). UC users only "Downfall offers a bewildering roll call of real-life Nazi figures, sacrificing narrative economy, emotional engagement, and authorial perspective for a pedantic approach to historical completeness. Offering no emotional access points apart from morbid curiosity or the desire for a visual history lesson, the movie is ultimately of interest for Bruno Ganz's daring, slightly mad performance as a shuffling, ingratiating Fuhrer. The implicit argument made by this performance, which is backed by the movie's huge success at the German box office, is that commercial cinema can now treat Hitler like any other historical dictator." [Art Index] Furtado, Peter. "Downfall (15)." History Today 55.4 (April 2005): 27(1). Haase, Christine "Ready for his close-up? Representing Hitler in Der Untergang (Downfall, 2004)." Studies in European Cinema3 Issue: 3, March 2007 Page(s): 189-199 UC users only "This article analyzes the controversial German film Der Untergang (Hirschbiegel 2004) in light of the demands and limits of representations of the Holocaust and the Third Reich. It addresses the question of how a fictional rendition of Hitler, and thus a 'personalization' of the dictator, might aid or prevent the furthering of our understanding of the events that took place during the Nazi regime, and it examines the representational strategies used in the film to make it a meaningful contribution to worki